The first detailed description of a stringed keyboard instrument in China seems to date from 1654. Regarding this, François Picard, "Music (17th and 18th centuries)", in Prof.

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For revival of the guqin in the Ming dynasty (1368 - 1644) see the General Introduction to the 1425 Guqin handbook, Shen Qi Mi Pu; see also My Shen Qi Mi Pu Project. In sum, the compiler of the Shen Qi Mi Pu wrote that at the beginning the Ming dynasty the guqin had either fallen out of use or was played by the wrong sort of people, so he was trying to revive it to its former glory. By the end of the Ming dynasty the guqin was probably more widely played than ever before. However, the present state of research makes it difficult to assess how this affected the quality of the music compared to that of earlier periods.


The portrait of Matteo Ricci above was found in Pacific Rim Report. A number of other portraits can also be found online.

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The closing track, ‘Devil’s Door’, was originally performed live in 1974, but never featured on a Nektar album. Updated and recorded for this album, the song features the presence of the late Roye Albrighton on the introduction to the track, whose wonderful guitar part was taken from a live soundboard recording made in 1974.


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The Name of This Band Is Talking Heads was a barnstormer of a live album, a double CDed beast capturing a band just before reaching their peak. Circa Stop Making Sense, David and the other three did reach their peak. And, really, you won’t find an album by a better band at a better moment in their career on this entire list. Unfortunately, Stop Making Sense is a film, not an album. For a stage-show arranged with Napoleonic precision, the idea to chop and screw the order and length of the endeavour seems strangely self-defeating.

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I was aware of the Tannahill lyric, it is the ‘root source’ of, but it is not the same as, the McPeake lyric. The point is, McPeake apparently DID *compose the song as it’s currently performed and a lot of money was made by others from what he did.


While the focus here is very much Simmons and his linguistics, there are 2 music oriented tracks on hand with Donald Vega on keys and guitarist Russell Malone, as “Here’s To Oscar” brings a breezy, playful moment, while “there Will Never Be Another You” is sublime balladry where gentle keys are contrasted against agile bass plucking. Another welcomed surprise is Liza Jessie Peterson’s guest vocals on the relevant and scathing “Where Do I Begin”, where victims of recent injustice are cited as beats and stylish sounds complement the affair.

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Heat Death is a shorter but no less interesting display of TC Superstar’s glowing songwriting prowess that puts the club friendly “Denial” in the lead of position, while the light and airy “Bargaining” and the addictive electro-pop of “Anger” could easily make this Austin sextet a household name. The warm energy of “Acceptance” ends the EP with crisp, proficient musicianship and memorable song craft that puts the exclamation point on this glorious release.

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We can only put together existing elements, whatever the artform. We don’t invent pitches or colours but we combine them in new ways. We recognise originality, but can it be measured if we don’t actually create anything from nothing?


The album was essentially a collaboration between Chris Squire and his friend Andrew Pryce Jackman, a gifted arranger who had been a member of The Syn, Squire’s pre-Yes group. The sessions saw contributions from former Yes drummer BILL BRUFORD, Yes keyboard player PATRICK MORAZ and noted musicians MEL COLLINS and JIMMY HASTINGS. Released in November 1975, FISH OUT OF WATER was a Top 30 chart hit in the UK and made the US Billboard Top 75 album chart, going on to sell nearly 500,000 copies worldwide.

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The Rule-Breaker — Astronautalis: Astronautalis (né Andy Bothwell) made his name as a battle-rapper, a fierce presence on the underground circuit. At Scribble Jam, Cincinnati's famed annual hip-hop festival, Astronautalis vanquished opponents on the same stage that helped birth the careers of Eminem, Sage Francis and Buck 65. That was more than eight years ago. Today, the model-handsome emcee combines his love of hip-hop, classic country, shoegazey pop and freak-folk into an act that cheerfully, willfully defies categorization. This year's Mighty Ocean and Nine Dark Theaters embraces everything from sweeping strings to barroom piano, from old-school beatboxing to voice modulation, from gossamer-delicate harmonies to harsh spoken-word rebukes.


The lyrics are all mealy-mushed epigrams we’ve heard many times before about loneliness and mortality; so are the guitars. But in the case of the latter, it’s an asset, lending itself to a lost in space jangle akin to early REM or a precursor to My Bloody Valentine. But see, those bands weren’t very popular; on their second album, the group still languished in reverb-laden obscurity despite being picked up on the US end of Rough Trade.

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Some of this music is as technically demanding as anything VdGG have ever played. Other passages rely on the feel and empathy which has been built up over the years. As a whole, it’s a confident and assertive exploration of the possibilities of a modern trio.

Stankonia may have broken them to the world, but Aquemini made them who they were. Two albums spent practicing before this, the apex of an aesthetic, that dirty south thang down pat but two years too soon for the mainstream thinkers to fully cotton on. Don’t get me wrong, it sold its worth, but the consumers were always down with things, especially hip hop, before the critics and list makers understood. There’s a definite sense that the hype Stankonia got was partly a hangover from the hype this should have had.


When we come to the dumb beasts, the oxen and sheep are the hardest worked, the oxen, thanks to whose labor we have bread to chew on, the sheep, because their wool tricks us out so fine. It’s the greatest outrage under the sun for people to eat mutton and then wear a tunic.

It was not so much the boys who attracted our attention, although they might well have merited it, as it was the spectacle afforded by this beslippered paterfamilias playing with a green ball. If one but touched the ground, he never stooped for it to put it back in play; for a slave stood by with a bagful from which the players were supplied. We noted other innovations as well, for two eunuchs were stationed at opposite sides of the ring, one of whom held a silver chamber-pot, the other counted the balls; not those which bounced back and forth from hand to hand, in play, but those which fell to the ground.


Butchers and perfumers are born under the Balance, and all who think that it is their business to straighten things out. Poisoners and assassins are born under the Scorpion. Cross-eyed people who look at the vegetables and sneak away with the bacon, are born under the Archer. Horny-handed sons of toil are born under Capricorn. Bartenders and pumpkin-heads are born under the Water-Carrier. Caterers and rhetoricians are born under the Fishes: and so the world turns round, just like a mill, and something bad always comes to the top, and men are either being born or else they’re dying.


David Cousins, leader of STRAWBS says: “Settlement is something extraordinary. I can’t think of another band who can go from metal grunge to the lilt of an Irish ghost story – or from a song in 6/8 time to singing in 4/4 over a 5/4 backbeat – in half an hour.


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Walls of Jericho, With Devils Amongst Us All (Trustkill): Imagine the enraged screams of your most intimidating bitch of an ex-girlfriend. Then put a roaring hardcore band behind her.

There’s sweetness and sourness, but very little room for an in-between. Consider the flavors of various sweet-and-sour products you may have tried: Sweet and sour chicken ends up tasting as though it were cooked in lemon-scent Lysol, and you can generally count on any sweet and sour candy to be coated in the sort of jaw-clenching acidic taste that induces migraines. The Jesus and Mary Chain’s Psychocandy is a fruition of the formula’s intended effect: Here, sunny harmonies and melodies are ruthlessly brutalized by feedback storms and bleak lyrical content, resulting in an addictive amalgam between the two acquired tastes. But far from being an ironic perversion of the timeless pop naïveté of "Just Like Honey" or "Tastes Of Cindy," Psychocandy utilizes the disparate musical qualities to great effect; the listener alternately braces his or herself against the electrical maelstorm, only to continue listening for the glimmers of pop ecstasy shining beneath the murk.


This edition restores the original album artwork and includes an illustrated booklet and note from Tony Banks. The 2 disc hardback Deluxe CD/DVD edition includes a DVD with a 5/1 SURROUND SOUND MIX and a 96 kHz / 24-bit Stereo Mix of the album, along with the rare promotional video of 'This is Love'.

Forging a sound sometimes referred to as ‘Cosmic Americana’, Grant Farm’s arsenal of sounds keeps the listener constantly surprised and awed by their seemingly endless ideas and boundless talent. If you haven’t joined the ‘farmily’ of admirers yet, Broke in Two would be a fine introduction.


He even reprises "Orgies Nocturne" which originally appeared on the excellent "Douar Nevez" from 1977, but sadly it seems a bit lost plucked out of context. In the end, even Morgan's contributions are not without their more whitewashed charms.

We had not realized that, as yet, we were only in the middle of the entertainment, with a hill still ahead, as the saying goes. The tables were cleared off to the beat of music, and three white hogs, muzzled, and wearing bells, were brought into the dining-room. The announcer informed us that one was a two-year-old, another three, and the third just turned six. I had an idea that some rope-dancers had come in and that the hogs would perform tricks, just as they do for the crowd on the streets, but Trimalchio dispelled this illusion by asking, “Which one will you have served up immediately, for dinner?


And for fear the rabble comes running up into my monument, to crap, I’ll appoint one of my freedmen custodian of my tomb. I want you to carve ships under full sail on my monument, and me, in my robes of office, sitting on my tribunal, five gold rings on my fingers, pouring out coin from a sack for the people, for I gave a dinner and two dinars for each guest, as you know. Show a banquet-hall, too, if you can, and the people in it having a good time.

A -INFLUENCE OF THE SATYRICON UPON LITERATURE. The vagrant heroes of Petronius are the originals from whom directly, or indirectly, later authors drew that inspiration which resulted in the great mass of picaresque fiction; but, great as this is, it is not to this that the Satyricon owes its powerful influence upon the literature of the world.


The whole household cried out, as did also the guests, not that they bore such a coarse fellow any good will, as they would gladly have seen his neck broken, but because such an unlucky ending to the dinner might make it necessary for them to go into mourning over a total stranger. As for Trimalchio, he groaned heavily and bent over his arm as though it had been injured: doctors flocked around him, and Fortunata was among the very first, her hair was streaming and she held a cup in her hand and screamed out her grief and unhappiness. As for the boy who had fallen, he was crawling at our feet, imploring pardon.

Near the end, the title track recruits low keys and a soulful spirit, while “Thirst For The Limelight” is a swift and cautious power-pop gem. The album ends on “I Could Walk Away”, the quietest tune, where indie-folk ideas are present in the thoughtful, pensive exit.


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Jim Tompkins has compiled the following information for classes he has taught. He has kindly contributed them for general use. This information has been gathered from a variety of sources and, while it is free to use, copyright infringements may make it unsuitable for commercial purposes.


The one saving grace of lists, the thing they actually are useful for, is reminding us of the quality of things we may have either forgotten or else never known. And the parts of lists that do this most effectively are usually the dregs, the arse-ends, the bottoms and the afterthoughts.

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Also available is a scaled-down 1CD remastered & expanded edition. This expanded reissue has been newly remastered from the original master tapes and also includes nine bonus tracks, including the classic Early Morning, Brother Thrush and Taking Some Time On singles and four tracks recorded in August 1968. The lavishly illustrated booklet features previously unseen photographs and an essay by BJH specialists Keith & Monika Domone. Find out more & pre-order here.

Adam Schall von Bell (Tang Ruowang 湯若望 1591-1666, arrived in 1630) was later ordered to repair the instrument (o cravo) given by Ricci and to translate the Latin psalm-verse written on it. Schall von Bell also wrote a lesson for keyboard instruments in Chinese accompanied by a few psalm melodies. The historian Tan Qian 談遷, who visited Schall in 1654, saw an instrument (tianqin 天琴) with 45 strings and 45 keys. Since some Chinese sources describe an instrument with 72 strings, which were struck, it is clear that several keyboard strings instruments had been brought, mostly harpsichords.


Katharsis, World Without End (Southern Lord): A chaotic, bleary, cacophonous riot of an album, purely evil and brilliant. A swirling fog of distortion and catacomb-grade reverb, the vocals and guitars hiss wickedly, the drums thud and snap like a distant murder — and this makes Hellhammer sound polished. And yet there's a sophisticated intelligence to the composition, as songs shudder towards the ten-minute mark with malicious intent. Genuinely disturbing and thrilling, a black mass by and for the deranged.

This narrative of Ricci's work in China is apparently based largely on Fonti Ricciani; unfortunately, there are no footnotes, so it is difficult to evaluate its reliability. See, for example, its commentary on music on pp. 169 – 173, in particular regarding the lyrics and music for the Eight Songs.


A consistently strong listen, some of the best tracks reside later in the disc, such as the ultra memorable “Ride The Clouds”, which rivals the best work by Iron Maiden or Dio, and the dramatic “St. Petersburg”, where a light and airy backdrop runs alongside a kinetic rhythm section. The album ends on the biting and turbulent “Forgive Me Father”, where guitar solos and dynamic interplay between the long running outfit reinforce just how much talent is present.

While Buddy’s been plenty busy in the last decade doing session work and touring, Julie has been plagued with health problems. It’s only fitting, then, that Julie takes the lead on more than half of the album, and actually penned the entire record.


Though all 3 members here are between 11 and 16 years old, you wouldn’t know it from the impressive sounds present, and the lo-fi, jangly rock of “Dotted Lines” let’s us know right away that these kids are the real deal. From there, “Goodbye” brings strummed acoustic guitars and Asa Berezay’s sweet and pretty vocals to a more indie-folk tune, though it isn’t long until things get loud and hypnotic with the roaring “Unknown”.

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An album that grabs you by the throat and doesn’t ease up, The Derelicts were punk before mainstream watered it down, and they remain true to their roots with this visceral, raw display of power and melody. As far as comebacks go, it just didn’t get much better than this.


We were engaged some time on the banks preparing to foot the river. Some raised their wagon beds, some raised their loading merely while others carried their provisions across upon their backs. These preparations were necessary to prevent the provisions from becoming wet and spoiled. Tommy Davis officiated as wade master general and was completely water soaked by the time his transportation was completed. Walton's mess lost part of their coffee in carrying it across. Along the margin of the stream I found an abundance of an suculent root much resembling the sweet potato. During my watch I cooked turtle soup but scorched it so much that is was not very good. On the eastern bank of the stream was a newly made grave with a cross at the head.

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Sprint and Nextel customers can download the special ringtones, and Chingy videos are available to Sprint TV customers. You can also download Hoodstar via Sprint's music store.


The rest of the listen is just as diverse, and offers the subdued and vocally expressive “Permanent Vacation”, as well as the louder, multifaceted rock and strong riffs of “Decipher”. The dreamy, spacey yet still very organic “Other Side” ends the affair with synth fueled balladry in an example of inventive musicianship.

The product of a recording session in New York City in 1970, “Where Fortune Smiles” is one of the milestone albums to be recorded at a time when the divisions between the worlds of jazz and rock were less defined and albums such as Bitches Brew by Miles Davis and the work of Tony Williams’ Lifetime pointed a new direction in music. Our edition has been newly re-mastered from the original Dawn master tapes and features an illustrated booklet which restores the original album artwork and insert and an essay by aficionado Sid Smith.


At 17 tracks there’s much to absorb here, but it’s all so well delivered and immediately memorable that Platt and company never out welcome their stay. Deeper cuts like the lush and bright singing of “Golden Child”, and the emotive “18 Wheels” help keep our attention with no problems, while “Irene” brings us into ballad territory with a rustic southern quality that’s impossible not to adore. One of the the best tracks, “The Road”, resides near the end, and brings a sparse folk moment with timeless beauty.

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THE BREEDERS: Title TK (4AD/Elektra)Skeletal, fragmented, stumblebum, Kim and Kelley retain their knackfor righting themselves with a tuneburst just when you thought they'dnever do the limbo again, and they've been away so long they stillthink alt is a sloppy lifestyle rather than an embattledethos. Through the imagistic baffle of their lyrics, they leave theimpression that they subsist off their modest royalties, scattered gigfees, and compromised advances -mostly on beer.

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And "Kick, Push" is just the first single — the rest of the tracks on Lupe's Food & Liquor are equally inventive. Not one to shy away from any topic, he rhymes about everything from domestic abuse and genocide (the excellent, Kingston-influenced "Hurts Me Soul") to zombie gangstas ("The Cool"). Food & Liquor debuted at No. 8 on the Billboard Top 200, thanks to early critical buzz (the album leaked on the Internet months before its release) and to the star power of Lupe's producers (Jay-Z, Kanye West, fellow skateboard aficionado Pharrell Williams).


The second half excels with the rhythmic atmosphere of “Nester”, the howling, bluesy guitars of “Love And Pain”, where crashing percussion and solos invade the tune, and the soft, folky keys of “Tumbleweed”, as spirited guitar licks really complement the affair. The album ends on the organ fun of “Broke in Two”, where melodic vocals and a hazy setting span 10 minutes of dynamic interplay between the 4 artists, who all bring their respective talents to the exit.

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The back half of the album is even better, with the soulful, country influenced “Easy Is Hard”, the frisky, summery setting of “Rising Sun”, and the minimalistic “Long Leaf Pine”, where a pair of backing vocals add greatly to the gentle elegance. The title track ends the listen just as it started, with Sauser-Monnig’s intimate vocals and inviting guitar work reeling us into her radiant beauty.


That the work was originally divided into books, we had long known from ancient glossaries, and we learn, from the title of the Traguriensian manuscript, that the fragments therein contained are excerpts from the fifteenth and sixteenth books. An interpolation of Fulgentius (Paris 7975) attributes to Book Fourteen the scene related in Chapter 20 of the work as we have it, and the glossary of St. Benedict Floriacensis cites the passage ‘sed video te totum in illa haerere, quae Troiae halosin ostendit (Chapter 89), as from Book Fifteen. As there is no reason to suppose that the chapters intervening between the end of the Cena (Chapter 79) and Chapter 89 are out of place, it follows that this passage may have belonged to Book Sixteen, or even Seventeen, but that it could not have belonged to Book Fifteen. From the interpolation of Fulgentius we may hazard the opinion that the beginning of the fragments, as we possess them (Chapters 1 to 26), form part of Book Fourteen. The Dinner of Trimalchio probably formed a complete book, fifteen, and the continuation of the adventures of Encolpius down to his meeting with Eumolpus (end of Chapter 140) Book Sixteen. The discomfiture of Eumolpus should have closed this book but not the entire work, as the exit of the two principal characters is not fixed at the time our fragments come to an end. The original work, then, would probably have exceeded Tom Jones in length.

Trimalchio retired to the close-stool, after this course, and we, having freedom of action with the tyrant away, began to draw the other guests out. After calling for a bowl of wine, Dama spoke up, “A day’s nothing at all: it’s night before you can turn around, so you can’t do better than to go right to the dining-room from your bed.


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His body of work is as innovative as it is eclectic. Genesis’ avant-garde style made them one of progressive rock’s founding fathers in the 1970s, creating an experimental style of rock music (http://zbsmarket.ru/free/?key=188) never before seen. They went on to produce music with a greater pop sensibility in the 1980s that saw them become one of the biggest selling bands of the decade, and play stadiums throughout the world.


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The most acclaimed electronic album of the late 1990s is an homage to childhood, Saturday morning cartoons, and Canadian documentaries. It's a beautiful work that manages to take the grandiose concepts of progressive and psychedelic rock and channel them through hip hop beats and samples. Ironically, today, it's the beats that sound dated, not the prog rock concepts.

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The second half of the album offers the strong beat and pedal steel of “Your Dead Grandfather”, the piano balladry of “Barely Living Room”, and the album highlight, “Mandy From Mohawk (Wherever You May Be)”, where elegant yet playful indie-rock resides. The album ends on “Two Babies In Michigan”, a synth fueled exit where Johnson strategically uses reverb and nostalgia.


The peasant had not yet laid his meddling hands upon the seams, but was scornfully offering the thing for sale, as though it had been the leavings of some beggar. When Ascyltos had assured himself that the hoard was intact, and had taken note of the social status of the seller, he led me a little aside from the crowd and said, “Do you know, ‘brother,’ that the treasure about which I was so worked up has come back to us? That is the little tunic, and it seems that the gold pieces are still untouched.

These youngsters are taking the time honored tradition of bluegrass and injecting with some much embraced youthfulness while still retaining all the tenets of the genre that have made it so timeless. For fans of roots rock, Americana and folk, there’s also plenty to enjoy here, although most of us will find every tune here to be exceptional.


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Cherry Red Records and their label Esoteric Recordings are delighted to announce that they have acquired the solo catalogue by synthesizer pioneer Tim Blake. Tim is of course known for his work with Gong on the classic albums Flying Teapot, Angel’s Egg and You, and for his collaborations with Hawkwind on the albums Live Seventy Nine and Levitation and his work with the band in the new millennium.

Given that the style that Gang Of Four pioneered is currently being plundered heavily by the whole Rapture/DFA/Radio 4 scene, I was rather shocked to see this album not finish in the Top 10, let alone the Top 100. Then I did my research: this album has been out of print in the United States for years now (it was reissued in the UK in 2001, however). Surely if it were more accessible to the majority of the Stylus voting base, it would have finished much higher than it did.


So humiliated were our enemies by the guffaws of the mob, that in gloomy ill-humor they beat a retreat to plot revenge. As they perceived that we had prepossessed the mind of Lycurgus in our favor, they decided to await his return, at his estate, in order that they might wean him away from his misapprehension. As the solemnities did not draw to a close until late at night, we could not reach Lycurgus’ country place, so he conducted us to a villa of his, situated near the halfway point of the journey, and, leaving us to sleep there until the next day, he set off for his estate for the purpose of transacting some business. Upon his arrival, he found Lycas and Tryphaena awaiting him, and they stated their case so diplomatically that they prevailed upon him to deliver us into their hands. Lycurgus, cruel by nature and incapable of keeping his word, was by this time striving to hit upon the best method of betraying us, and to that end, he persuaded Lycas to go for help, while he himself returned to the villa and had us put under guard. To the villa he came, and greeted us with a scowl as black as any Lycas himself had ever achieved, clenching his fists again and again, he charged us with having lied about Lycas, and, turning Ascyltos out, he gave orders that we were to be kept confined to the room in which we had retired to rest. Nor would he hear a word in our defense, from Ascyltos, but, taking the latter with him, he returned to his estate, reiterating his orders relative to our confinement, which was to last until his return. On the way back, Ascyltos vainly essayed to break down Lycurgus’ determination, but neither prayers nor caresses, nor even tears could move him. Thereupon my “brother” conceived the design of freeing us from our chains, and, antagonized by the stubbornness of Lycurgus, he positively refused to sleep with him, and through this he was in a better position to carry out the plan which he had thought out. When the entire household was buried in its first sleep, Ascyltos loaded our little packs upon his back and slipped out through a breach in the wall, which he had previously noted, arriving at the villa with the dawn.

Yes, even if you had a golden beard. I’ll bring the wrath of Minerva down on you and on the fellow that first made a come-here out of you. No, I never learned geometry or criticism or other foolishness like that, but I know my capital letters and I can divide any figure by a hundred, be it in asses, pounds or sesterces. Let’s have a show-down, you and I will make a little bet, here’s my coin; you’ll soon find out that your father’s money was wasted on your education, even if you do know a little rhetoric. How’s this -what part of us am I? I come far, I come wide, now guess me!


Rufus Sage, September 9, 1841 - "Early in the forenoon we came to the Kansas, and were employed till nearly night in effecting a ford. This proved rather difficult, as the water was deep and the bottom sandy - the course, bearing directly across, till near midway of the river, follows the current for six or eight hundred yards, and then turns abroptly to the opposite shore.

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Finally, we have WHAT WE ASK IS WHERE WE BEGIN the latest eagerly awaited album by Prog Award nominees, SANGUINE HUM. Following hot on the heels of 2021’s highly acclaimed double album Now We Have Light, Sanguine Hum return to cast an intriguing light on the early years of their career.

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The Mountain Goats, Get Lonely (4AD): To be fair, anything following last year's career-defining The Sunset Tree was bound to be a letdown. John Darnielle continues his exploration of claustrophobia and paranoia, releasing a field guide to solitude that is too diffuse and lacking in narrative to stick. After writing brilliant song cycles about abusive stepfathers, meth dealers and co-dependent drunkards, a break-up album is far too mundane.

It was the year of deep thoughts and the year of partying (and, sometimes, deep thoughts about partying). There's room for both viewpoints now in hip-hop's increasingly diverse underground, which is good news indeed. Critical darlings Spank Rock might have merely made Too $hort safe for all the eggheads who thought they were too $mart for him the first time around, but even so, was there an album more fun in 2006 than the high-concept/low-art Yoyoyoyoyo?


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You’ve got more coin than we have, have you? Then eat two breakfasts and two dinners a day. I’d rather have my reputation than riches, for my part, and before I make an end of this -who ever dunned me twice? In all the forty years I was in service, no one could tell whether I was free or a slave. I was only a long-haired boy when I came to this colony and the town house was not built then. I did my best to please my master and he was a digniferous and majestical gentleman whose nail-parings were worth more than your whole carcass. I had enemies in his house, too, who would have been glad to trip me up, but I swam the flood, thanks to his kindness.


The last 3 tunes are just as enchanting, with the lengthy, nearly prog-rockish “Minor Mendings” that pokes and prods with moody and tense variations of blues and post-rock, and the punchy alt-rock of “Where You Belong”, where post-punk ideas reside and are executed flawlessly. The quick listen ends on “Twinkle, Twinkle Bete Noire” as power and melody unfold with much sophistication.

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From its humble origins as a street-corner hustle, the mixtape has become an even more vital part of the hip-hop artist's arsenal. Filled with rare tracks, remixes and exclusives, mixtapes don't just build anticipation for an upcoming album anymore — they deserve consideration on their own merits. And no one puts them together like Cleveland's Commissioner, Mick Boogie, who oversaw some of 2006's best and brightest mixtapes. Although he did yeoman's work all year and teamed up with titans such as Jay-Z and Eminem, the best of Boogie came on some of his lower-profile projects.


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We can take care of your urgent order in less than 5 hours. NOFX's Fat Mike, it's natural for Greg Graffin, Brett Gurewitz, and company to point their measured seethe and trademark erudition against shady politics and policies of preemptive security. Dukes of Dixieland - New Orleans - The DUKES of Dixieland blow traditional jazz and Dixieland into the 21st Century, weaving strands of pop, gospel, and country with authentic New Orleans sounds. Search 1000s of houses, apartments & properties for sale and to rent from all leading estate agents. In the Enter Domain section, enter the domain name. The album features guest performances from Steve Hillage, Bill Nelson, Daevid Allen, Jon Field, Kavus Torabi, Fabio Golfetti and Theo Travis and is a shining example of understated musicianship. Same with DVD's, just enter the name of the movie or an actor! This is crucial for stabilizing your. The music, too, was better than usual, and we danced eight sets going down, besides the round dances. Discover all Sage Francis's music connections, watch videos, listen to music, discuss and download. Sounds of the Universe is the record shop in Soho, London, associated with Soul Jazz Records. In religious use: the benevolence and affection of God towards an individual or towards creation; (also) the affectionate devotion due to God from an individual; regard and consideration of one human being towards another prompted by a sense of a common relationship to God. Professional academic writers. MUSIC LYRICS MISC CONTACT PRESS ARCHIVE TRILLION. Lohan reveals 'urban pop' LP plans; lucky Potter fans can read 'Deathly Hallows.

Lair of the Minotaur, The Ultimate Destroyer (Southern Lord): If you open your album with "Juggernaut of Metal" and close with "The Hydra Coils Upon This Wicked Mountain," you'd better bring it like a goddamn apocalypse in between. Indeed, Lair of the Minotaur stomps its collective iron hooves up and down the craggy slopes of Mount Olympus, pulping skulls and grinding various mythological figures to powder with its thrashy, ancient war metal meets filthy black metal overload.


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Rufus Sage, September 7, 1841 - "To the Wakarousha, a considerable tributary of the Kansas. The remainder of the day was occupied in crossing the creek - a task by no means easy - its banks being so precipitous we were compelled to lower our wagons by means of ropes.


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As dynamic and breathtaking as this record is, it does have one significant trait working against its inclusion on any sort of “best albums” list: It is a “live album,” and that certainly disqualifies it from some writers’ lists right off the bat. Live albums are usually looked at as anywhere from a contractual obligation filler to a thinly veiled cash-in attempt, and usually are not thought of as great records in their own right.

While we were speaking, a handsome boy, crowned with vine leaves and ivy, passed grapes around, in a little basket, and impersonated Bacchus-happy, Bacchus-drunk, and Bacchus-dreaming, reciting, in the meantime, his master’s verses, in a shrill voice. Trimalchio turned to him and said, “Dionisus, be thou Liber,” whereupon the boy immediately snatched the cap from the boar’s head, and put it upon his own.


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You’re probably more familiar with Blind Lemon Pledge, aka James Byfield, who has made 7 albums of his esteemed bluesy, Americana ways. Here, Byfield has a handful of his tunes redone by a jazz quartet, with much attention to rhythm, melodies and recruiting plenty of solos along the way.


As far as I was concerned, the lamps already seemed to burn double and the whole dining-room was going round, when “See here, Plocamus,” Trimalchio spoke up, “haven’t you anything to tell us? You haven’t entertained us at all, have you? And you used to be fine company, always ready to oblige with a recitation or a song.

It also includes an additional 80 minute DVD (NTSC – Region Free) featuring six promotional videos, the complete BBC Old Grey Whistle Test concert recorded in November 1976 and broadcast in March 1977 & a special Andrew Gold feature from the show first broadcast in 1978 – all of which are previously unreleased. The set also includes a lavishly illustrated booklet and a poster.


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But I guess I do get that idea from my old church which believed our soul lived in heaven before it was sent down here to become our consciousness. Life/salvation is the task of reminding the soul/self what it really is.

Ignore everything on disk 2(what was he thinking). This guy is the sole reason I started playing guitar.


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James A. Pritchard, April 22, 1849 - "Independence is a handsome flourishing town with a high situation. The Emegrants were encamped in every direction for miles around the place awaiting the time to come for their departure.

Jesse Applegate, 1843 - "We came up on the south side of the Caw [Kansas] River and camped below and near an Indian town of the Caw tribe. There were huts and cabins ranging along the river on either side of a street. It was said those Indians grew corn, beans, and pumpkins. I admired several of the Indian men I saw there. They were more than six feet tall, straight, and moved with a proud step; wore blankets drawn around their shoulders, and leggins. Their hair was shorn to the scalp, except something like a rooster�s comb on top of the head, colored red. I noticed that the Indians did not swim like white men, but with an overhanded stroke, `dog-fashion,' they said. These Indians were friendly and accommodating.


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Elizabeth Keegan, 1852 - "But I must first tell you something of the route. The first part of it is beautiful and the scenery surpassing anything of the kind I have ever seen large rolling praries stretching as far as your eye can carry you covered with verdue. The grass so green and flowers of every description from violets to geraniums of the richest hue. Then leaving this beautiful scenery behind, you descend into the woodland which is composed mostly of Oak and interspersed with creeks, some of them very large there was one we crossed called the Big Vermillion whose banks were so steep that our wagons had to be let down by means of ropes. I rode through by horseback and I had a fine opportunity to see and examine everything of note on the way.

The back half of the album, thankfully, is more of the same, as “Sunrise” yields a tender, longing moment and “When I Found You” glows with a romantic spirit. Near the end, “February Bride” is a calm track of sublime beauty and strategic mandolin, and “Stay Home” exits the listen with some charming indie-pop influences.


We were asked to accept these articles as souvenirs. When my glance returned to the table, I noticed that a dish containing cakes had been placed upon it, and in the middle an image of Priapus, made by the baker, and he held apples of all varieties and bunches of grapes against his breast, in the conventional manner. We applied ourselves wholeheartedly to this dessert and our joviality was suddenly revived by a fresh diversion, for, at the slightest pressure, all the cakes and fruits would squirt a saffron sauce upon us, and even spurted unpleasantly into our faces.

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The back half of the listen gifts us the full, lush “Passing Of The Season”, which tips its hat to ‘60s rock, and the vocally expressive “Home Song”, which somehow manages to mesh retro-folk with today’s indie-rock. The record ends on “Everything So Far”, a brief flash of alt-pop with a smattering of all the varied influences that make Everything So Far so grand.


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Sarah Bird Sprenger, May, 1852 - "At Savannah we had to cross the river by way of one small ferry boat, which was pulled across by a hand-operated pulley. Father had dreamt three nights in succession that the family would attempt to cross in that boat and that the oxen being rather wild, would run to one side, causing the boat to sink. In his dream he was told that none of his family would drown. Though Father didn't believe in such things, after dreaming the same dream three nights in a row, he tried to get the boatman to take the family over alone and make another trip for the oxen. But the boatman refused, as so many other people were waiting to be ferried over; so we had to go with our wagon. When we reached the middle of the river, the oxen ran to one side and the boat began to fill with water, until just a tiny bit of the wagon cover was above the water. The oxen swam off; the boatman held my baby brother above the water, Father held Mother up on a wheel of the wagon while my sister Abbie and brother Jacob kept Nicholas and me from drowning by holding on to us and to the wagon. My oldest sister held to the wagon on a wheel. My brothers Isaac and Charles, one on each side of the river were crazy to come to us, but that was impossible as the river was too full of sand and eddies to swim in. There was not even a skiff to come to our rescue, and my brothers had to run a mile to get a boat. Archie Rusk, a friend of ours who was going with us to Oregon, jumped off the boat to try to get help, though I pleaded with him not to. He was drowned.

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As for myself, I was tipsy and had been badly frightened by a dog that was only a painting, and when I tried to haul the swimmer out, I was dragged into the pool myself. The porter finally came to our rescue, quieted the dog by his appearance, and pulled us, shivering, to dry land. Giton had ransomed himself by a very cunning scheme, for what we had saved for him, from dinner, he threw to the barking brute, which then calmed its fury and became engrossed with the food.

In his preface, dedicated to the Army of the Rhine, he states that he found the fragment in a manuscript of the work of St. Gennadius on the Duties of Priests, probably of the XI Century. A close examination revealed the fact that it was a palimpsest which, after treatment, permitted the restoration of this fragment.


Beneath, on what seemed to be another tray, we caught sight of stuffed capons and sows’ bellies, and in the middle, a hare equipped with wings to resemble Pegasus. At the corners of the tray we also noted four figures of Marsyas and from their bladders spouted a highly spiced sauce upon fish which were swimming about as if in a tide-race.

The qin box is five chi long, one chi deep, nine cun high. A middle board divides it. On it are arranged 45 iron strings, at a slant fastened to posts at left and right.


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Genesis’ avantgarde style made them one of progressive rock’s founding fathers in the 1970s, creating an experimental style of rock music never before seen. They went on to produce music with a greater pop sensibility in the 1980s that saw them become one of the biggest selling bands of the decade, and play stadiums throughout the world. Tony Banks’ solo work has continued in the same vein. His rock albums have included collaborations with some of the world’s most respected musicians including singers Toyah Wilcox, Fish and Nick Kershaw, bassist Pino Pallodino, and drummers Steve Gadd and Vinnie Colaiuta, as well as long time Genesis collaborators Daryl Stuermer and Chester Thompson. He has composed original scores for four films The Shout (1978), The Wicked Lady (1983), Starship (1985) and Quicksilver (1986) and most recently his orchestral albums, Seven: A Suite for Orchestra and Six Pieces for Orchestra, that were performed by the London Philharmonic Orchestra and City of Prague Philharmonic Orchestra respectively.

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William G. Johnston, March, 1849 - ". noise and confusion reigned supreme. Traders, trappers and emigrants filled the streets and stores. All were in a hurry, jostling one another, and impatient to get through with their business.

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We’ll soon have a fine gladiator show to last for three days, no training-school pupils; most of them will be freedmen. Our Titus has a hot head and plenty of guts and it will go to a finish. I’m well acquainted with him, and he’ll not stand for any frame-ups. It will be cold steel in the best style, no running away, the shambles will be in the middle of the amphitheatre where all the crowd can see. And what’s more, he has the coin, for he came into thirty million when his father had the bad luck to die. He could blow in four hundred thousand and his fortune never feel it, but his name would live forever. He has some dwarfs already, and a woman to fight from a chariot. Then, there’s Glyco’s steward; he was caught screwing Glyco’s wife. You’ll see some battle between jealous husbands and favored lovers. Anyhow, that cheap screw of a Glyco condemned his steward to the beasts and only published his own shame.


This album was the roundhouse thrust that begat the Queen of Soul. Brimming with signature performances like the double-timed demand of “Respect” and the churning firehouse blues of “Dr. Feelgood,” it was the world’s first whiplashed notice of a budding superstar. Jerry Wexler guided Aretha through a steaming mix of covers and originals that ride the expert rhythms of the Muscle Shoals session men he assembled. Yet, in Aretha’s energetic determination, there’s a subtle lack of the knowing passion that she would bring to Lady Soul and Aretha Now.

Then all of a sudden two slaves came in, carrying on as if they had been fighting at the fountain, at least; each one had a water-jar hanging from a yoke around his neck. Trimalchio arbitrated their difference, but neither would abide by his decision, and each one smashed the other’s jar with a club. Perturbed at the insolence of these drunken ruffians, we watched both of them narrowly, while they were fighting, and then, what should come pouring out of the broken jars but oysters and scallops, which a slave picked up and passed around in a dish. The resourceful cook would not permit himself to be outdone by such refinements, but served us with snails on a silver gridiron, and sang continually in a tremulous and very discordant voice. I am ashamed to have to relate what followed, for, contrary to all convention, some long-haired boys brought in unguents in a silver basin and anointed the feet of the reclining guests; but before doing this, however, they bound our thighs and ankles with garlands of flowers. They then perfumed the wine-mixing vessel with the same unguent and poured some of the melted liquid into the lamps.


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That was only an appetizer for me, just as if nothing at all had happened. I built other and bigger ships, better found, too, so no one could say I wasn’t game. A big ship’s a big venture, you know. I loaded them up with wine again, bacon, beans, Capuan perfumes, and slaves: Fortunata did the right thing in this affair, too, for she sold every piece of jewelry and all her clothes into the bargain, and put a hundred gold pieces in my hand. They were the nest-egg of my fortune. A thing’s soon done when the gods will it; I cleared ten million sesterces by that voyage, all velvet, and bought in all the estates that had belonged to my patron, right away. I built myself a house and bought cattle to resell, and whatever I touched grew just like a honeycomb. I chucked the game when I got to have an income greater than all the revenues of my own country, retired from business, and commenced to back freedmen. I never liked business anyhow, as far as that goes, and was just about ready to quit when an astrologer, a Greek fellow he was, and his name was Serapa, happened to light in our colony, and he slipped me some information and advised me to quit. He was hep to all the secrets of the gods: told me things about myself that I’d forgotten, and explained everything to me from needle and thread up; knew me inside out, he did, and only stopped short of telling me what I’d had for dinner the day before.


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In the Yo La Tengo world (which, I assure you, is far more beautiful than our own), I Can Hear the Heart Beating as One reigns as the supreme, irrefutable leader. Its subjects are many, and all would make excellent rulers in separate universes, but none could be #1 when their leader so perfectly encapsulates their most appealing traits. The thing is, there’s no agreement on #2; Fakebook has his strengths and weaknesses, Painful hers, …And Then Nothing and Electr-O-Pura theirs as well. The debate has existed since the beginning of time, and for this reason, Yo La Tengo World must forever remain under single-party rule.

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Somewhat like a modern day version of Fleetwood Mac, the chemistry between the pair is undeniable, and their country, folk and Americana influences come through with a memorable, lasting appeal. This is a duo to keep an eye on and to expect more exceptional art from.


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But do not think that I was actuated by any desire for revenge when I came here: I am more moved by your age than I am by my own injury, for it is my belief that youthful imprudence led you into committing a sacrilegious crime. That very night, I tossed so violently in the throes of a dangerous chill that I was afraid I had contracted a tertian ague, and in my dreams I prayed for a medicine. I was ordered to seek you out, and to arrest the progress of the disease by means of an expedient to be suggested by your wonderful penetration! The cure does not matter so much, however, for a deeper grief gnaws at my vitals and drags me down, almost to the very doors of death itself. I am afraid that, with the careless impulsiveness of youth, you may divulge, to the common herd, what you witnessed in the shrine of Priapus, and reveal the rites of the gods to the rabble.


I’ve had to kill three of his linnets already. I told him that a weasel had gotten them, but he’s found another hobby, now he paints all the time. He’s left the marks of his heels on his Greek already, and is doing pretty well with his Latin, although his master’s too easy with him; won’t make him stick to one thing.

He had bees brought from Attica, so he could produce Attic honey at home, and, as a side issue, so he could improve the native bees by crossing with the Greek. He even wrote to India for mushroom seed one day, and he hasn’t a single mule that wasn’t sired by a wild ass. Do you see all those cushions? Not a single one but what is stuffed with either purple or scarlet wool! He hasn’t anything to worry about! Look out how you criticise those other fellow-freedmen-friends of his, they’re all well heeled. See the fellow reclining at the bottom of the end couch? He’s worth his 800,000 any day, and he rose from nothing. Only a short while ago he had to carry faggots on his own back.


These esteemed youngsters have already picked up several awards in their short existence as the Dover Quartet, and just in the last year have played over 100 concerts on North America. Composed by Dr. Eric Sessler, The Curtis Session has the quartet offering 4 movements here in 30 minutes, as they bring Sessler’s Dreams From Life Awake to life in an engaging, mesmerizing performance.

Another highlight of this limited-edition boxed set is the lavishly illustrated 68-page book with many previously unseen photographs and an essay of recollections by Bill Nelson. Additionally, the set includes a facsimile Record Store poster and postcards. This special deluxe limited edition boxed set of AXE VICTIM is a fitting celebration of a wonderful debut album and a tribute to the creative vision of Bill Nelson.


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Celtic Frost, Monotheist (Century Media): All the classical aspirations, esoteric mysticism and electronic twitchery the Frost flirted with in their long-ago youth finally come together, girded around brutal, beautiful thrashing metal. Magnificent from start to finish, Monotheist demands to be taken as a whole, like any other great work of art; one surrenders to the world and philosophy of the Frost once "play" is pushed. As the last strains of "Triptych: Winter" fade, the world you return to feels changed.


That this Du Pin had, while there, made the acquaintance of a certain Greek renegade, having, as a matter of fact, stayed in the house of this renegade. The Greek’s father, a man of some learning, had by some means come into possession of the MS, and Du Pin, in going through some of the books in the house, had come across it. He had experienced the utmost difficulty in deciphering the letters, and finally, driven by curiosity, had retained a copyist and had it copied out. That this Du Pin had this copy in his house at Frankfort, and that he had given Nodot to understand that if he (Nodot) came to Frankfort, he would be permitted to see this copy. Owing to the exigencies of military service, Nodot had been unable to go in person to Frankfort, and that he had therefore availed himself of the friendly interest and services of a certain merchant of Frankfort, who had volunteered to find an amanuensis, have a copy made, and send it to Nodot. This was done, and Nodot concludes his letter to Charpentier by requesting the latter to lay the result before the Academy and ask for their blessing and approval. These Nodotian Supplements were accepted as authentic by the Academics of Arles and Nimes, as well as by Charpentier. In a short time, however, the voices of scholarly skeptics began to be heard in the land, and accurate and unbiased criticism laid bare the fraud. The Latinity was attacked and exception taken to Silver Age prose in which was found a French police regulation which required newly arrived travellers to register their names in the book of a police officer of an Italian village of the first century. Although they are still retained in the text by some editors, this is done to give some measure of continuity to an otherwise interrupted narrative, but they can only serve to distort the author and obscure whatever view of him the reader might otherwise have reached.

Cash's producer and confidant, Rick Rubin, will let this album be the man's final testament. There's nothing here as chilling as "Hurt" or as funky as "Rowboat" from the earlier American projects. Instead the record is modest and ruminative, mostly tender songs of love and a Christian faith so deep it deserves another name.


The lore for this one has said so much in my stead. Overdosing before the album ever hit the shelves, Gram Parsons succeeded in pinning another footnote to the annals of seventies’ rock carnage with Grievous Angel’s posthumous release.

William G. Johnston, 1849 - "By means of a rope, one end of which was coiled around a tree, the wagons were let down the steep banks of the river, and placed in the boat. Two wagons and 12 mules were taken over at a time, the boat being propelled by poles. A Frenchman and his two sons, half-breed Kaws, own and work the ferry. Their charge is $4. for each wagon, 25¢ for a mule, and 10¢ each man. Double teams are required to haul the wagons up the northern bank, and through the deep sands extending 1/4 mile back from the river.


Since her critically acclaimed debut solo album was released in 2021, Rosalie Cunningham has taken to the road wherever possible. She toured the length and breadth of the country twice before the coronavirus pandemic forced things to a halt. After postponing a confirmed European and US tour Rosalie spent 2021 writing the best part of her much anticipated second album.

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The Walkmen, A Hundred Miles Off, (Record Collection): The album on which Hamilton Leithauser finally ruins his voice. A fine singer, Leithauser has always preferred a vein-popping scream in concert, and those howls have taken their toll and left the singer raspy. The band sounds more ragged than usual as they amble around shapeless songs that lack any surprise or (sucker)punch.


Howard Stansbury, June 1-9, 1852 - "Friday, June 1. In the course of the afternoon we passed the travelling train of Mr. Allen, consisting of about twenty-five ox-teams. They had been on the spot several days, detained by sickness. One of the party had died but the day before of cholera, and two more were then down with the same disease. In the morning early, we had met four men from the same camp, returning on foot, with their effects on their backs, frightened at the danger, and disgusted already with the trip. It was here that we saw first a train �corralled�. June 7. Met a Mr. Brulet, a French trader, from Fort Laramie, with a large train of wagons, laden with packs of buffalo robes, bound for St. Louis. He had been forty days on the road, and had met not less than four thousand wagons, averaging four persons to a wagon.

Sometimes noisey and experimental and other times direct and melodic, these 3 kids are onto something truly special here, with sharp songwriting prowess and a fluid delivery that far exceeds their age. If this is the future of indie-rock, well, we should all consider ourselves very lucky.


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The second half of the album is equally compelling and includes the pretty, lush “False Prophet”, the elegant yet playful “Little Bird”, and the bare beauty of “Lucky Stars”. The album exits on the key friendly and orchestral influenced “Don’t Ask Me How”, which is yet another display of Isabel’s sublime beauty.

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Nor did the uproar end in a dog fight, a candelabrum was upset upon the table, breaking the glasses and spattering some of the guests with hot oil. As Trimalchio did not wish to seem concerned at the loss, he kissed the boy and ordered him to climb upon his own back. The slave did not hesitate but, mounting his rocking-horse, he beat Trimalchio’s shoulders with his open palms, yelling with laughter, “Buck!


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We took our places, as requested, and began with a wonderful first course. We were all but submerged in Falernian wine.


The Stooges’ final album is also their most manic and unfettered (particularly as heard on Iggy’s all-needles-in-the-red CD master). The group had been slowly losing their inhibitions, progressing from the relatively mannered garage rock of the debut to the wild free jazz party of Fun House, to the purely unstoppable apocalypse of this one. It’s undeniably ugly, though in other hands these catchy melodies might have been pop songs – here, the songs are buried under amp-melting guitar fuzz and Iggy’s drug-spurred raving.

There, by the will of the gods, I fell in love with the wife of Terentius, the innkeeper; you knew Melissa of Tarentum, that pretty round-checked little wench. It was no carnal passion, so hear me, Hercules, it wasn’t; I was not in love with her physical charms. No, it was because she was such a good sport. I never asked her for a thing and had her deny me; if she had an as, I had half. I trusted her with everything I had and never was done out of anything. Her husband up and died on the place, one day, so I tried every way I could to get to her, for you know friends ought to show up when anyone’s in a pinch.


The back half rages, too, with the anthemic, fist pumping “Beneath The Boot”, the quick blast of rock’n’roll on “On The Street”, and the varied delivery of “Within The Gravitron”. The album exits on “Tumult Around The World”, a power-pop influenced finish that brings another avenue of energy to a brlstling listen.

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When he had to quit, finally, from sheer want of breath, “Did he ever have any training,” Habinnas exclaimed, “no, not he! I educated him by sending him among the grafters at the fair, so when it comes to taking off a barker or a mule driver, there’s not his equal, and the rogue’s clever, too, he’s a shoemaker, or a cook, or a baker a regular jack of all trades. But he has two faults, and if he didn’t have them, he’d be beyond all price: he snores and he’s been circumcised. And that’s the reason he never can keep his mouth shut and always has an eye open.


Near the end, “A Birthday In The Pawnshop (Morristown)” offers a playful folk tune that is full of universal appeal, and “Next Time Around” is an intimate and gorgeous look into her thoughtful song craft. The album ends on “Story Of My Life”, where accordions set the introspective mood as Hayes exists just as she started, with gripping, relatable storytelling and sublime allurement.

Wed May 26th Still in camp on Big Blue River with fifty wagons. Thu May 27th Crossed the Big Blue River and passed the forks of the road to Independence. In camp on a branch of Blue River.


Arguably it was Orbital, and this album in particular, that cemented the idea of a dance long-player as a cohesive artistic statement rather than just a succession of floor-packing singles and inferior Xeroxed filler. As such it’s something of a standard-bearer, incorporating bookend concepts, spacious beauty, multi-segmented ‘songs’ and, of course, some serious dancefloor momentum.

When Goethe had conceived Faust and Margarete, Mephistopheles and Wagner, they moved and had their being without any exercise of his will. But in the peculiar power which Petronius exercises, in its application to every scene, to every individual character, in everything, noble or mean, which he undertakes, I know of but one who is fully equal to the Roman, and that is Diderot.


Having already played SXSW and with festival appearances on the horizon, Barksdale tells stories in song that are wise beyond his years, and he plays guitar, mandolin, ukulele, piano and harmonica fluidly. Most importantly, though, he can write a tune you won’t forget anytime soon. We could very well be looking at the next Jonny Lang here, as there’s a wealth of talent present.

The sound of the clavichord projects upwards from the strings and sound board. Opening the clavichord cover to gain access to the keyboard also uncovers the strings and sound board. The sound is apparently unaffected by the table on which the clavichord usually rests; the lid helps direct the sound towards the player. As a result these lids apparently are never opened all the way. However, this then blocks the view of and lessens the sound for anyone facing the clavichord player. As a result, in performance the clavichord player usually sits facing away from (if not surrounded by) the listeners.

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A violin enthusiast from Dublin, Gregory Harrington now resides in New York City and has kept himself busy playing well received pop, rock and jazz covers all over the world. Without You, dedicated to his late father, brings us 11 renditions of tunes from some legendary songwriters- both past and present- and Harrington reinvents them all with his keen attention to ambiance.


The closer and title cut is a lovely lamenting lead guitar figure backed by Patrick Audouin's electric piano. It comes off like a measured and deliberate contribution by Mike Oldfield, and is perhaps the highlight.

At this instant, an old woman, the very same who had tricked me on that day when I was hunting for our lodging, came to the aid of Pannychis, as though she had dropped from the clouds. With loud cries, she rushed into the house, swearing that a gang of footpads was prowling about the neighborhood and the people invoked the help of “All honest men,” in vain, for the members of the night-watch were either asleep or intent upon some carouse, as they were nowhere to be found. Greatly terrified at this, the soldier rushed headlong from Quartilla’s house.


Of the fuller tracks, “Mirage” is exceptionally radiant, as acrobatic percussion contrasts against the restraint of the rest of the tune, and “Iwa (Spirit Going Back Home)” brings countless ideas to the table on a busy journey of cautious musicianship and timeless melody. The album exits on “A Thousand Yesterdays”, where soft keys build into a quick tempo of sublime beauty.

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Then, looking at Habinnas, “What say you, my dearest friend,” he entreated; “you’ll construct my monument in keeping with the plans I’ve given you, won’t you? I earnestly beg that you carve a little bitch at the feet of my statue, some wreaths and some jars of perfume, and all of the fights of Petraites. Then I’ll be able to live even after I’m dead, thanks to your kindness. See to it that it has a frontage of one hundred feet and a depth of two hundred.


John Hackett is highly regarded for his distinctive flute sound in the world of progressive music and as an accomplished soloist. Solo flautist, guitarist, singer and composer, John is best known for his work with his brother Steve Hackett, the former Genesis guitarist, and the ambient group Symbiosis. John collaborated with his brother Steve on the albums, Voyage of the Acolyte and Please Don’t Touch before leaving Sheffield University to work with Steve, who had just left Genesis. This led to further recordings and tours of the UK, USA and Europe with John playing flute, guitar and bass pedals.

But the remembrance of that injury recurred to my mind and, “Ascyltos,” I said, “I know we shall not be able to agree, so let us divide our little packs of common stock and try to defeat our poverty by our individual efforts. Both you and I know letters, but that I may not stand in the way of any undertaking of yours, I will take up some other profession.


This album blew the fuck out of anyone who heard it back in ‘99. The result, of course, was backlash against overstated hype. No one wants to hear about how (s)he must hear the BEST POP ALBUM OF OUR TIME, WHICH HAS FOREVER CHANGED THE FACE OF MUSIC, AND IF YOU DON’T LISTEN TO IT AND LOVE IT YOU’RE NOT MY FRIEND ANYMORE. We critics have learned the following lesson time and time again: if one loves something and desires that other people do the same, one must pretend only to like it a lot.

There was a scene in a slave market, the tablets hanging from the slaves’ necks, and Trimalchio himself, wearing his hair long, holding a caduceus in his hand, entering Rome, led by the hand of Minerva. Then again the painstaking artist had depicted him casting up accounts, and still again, being appointed steward; everything being explained by inscriptions. Where the walls gave way to the portico, Mercury was shown lifting him up by the chin, to a tribunal placed on high. Near by stood Fortune with her horn of plenty, and the three Fates, spinning golden flax.

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They had formed part of a company from St. Louis, had proceeded within sixty miles of Fort Kearney, but had quarrelled, and became disgusted with the trip and with each other, and had separated. These persons were on their return to St. Louis. They gave discouraging accounts of matters ahead. Wagons, they said, could be bought upon the route of emigration, for from ten to fifteen dollars apiece, and provisions for almost noting at all. June 9 - We crossed the Big Vermillion. We found the trees and stumps on its banks carved all over with the names of hundreds of emigrants who had preceeded us, the dates of their passage, the state of their health and spirits, together with an occasional message for their friends who were expected to follow. Just ahead of us was a wagon with a small party of emigrants.


Formerly of the band Kill It Kid, these Brits now reside in Nashville and have already made quite an impression opening up for Greta Van Fleet. If the thriving grit, slide guitar fun and mix of synth in their propulsive formula is any indication, it won’t be long until Ida Mae are selling out stadiums on their own.

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This page is focused specifically on the time of Matteo Ricci himself. There is a considerable volume of work on broader historical aspects of Christianity in China. Of particular note for keeping up to date on this are the Sino-Western Cultural Relations Journal edited by Prof.


Destroyer, Destroyer's Rubies (Merge): The premature and short-lived hype for Dan Bejar's best record (not counting his work with the New Pornographers) illustrates the abject fickleness of indiedom. Released in early 2006, it has largely faded from critical memory, in part because its sound — like an improvisational homage to Van Morrison's country-rock period — insinuates rather than pounds. Bejar's self-referential romanticism, beatnik surrealism, and yelping and cooing voice flourish within the bright stream of guitar, trumpet, vibes, and steady-as-starlight rhythms.

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For that reason, I will not deceive you as to the secrets of my profession. The teachers, who must gibber with lunatics, are by no means to blame for these exercises. Unless they spoke in accordance with the dictates of their young pupils, they would, as Cicero remarks, be left alone in the schools!


With your indulgence, I will speak out: you -teachers -are chiefly responsible for the decay of oratory. With your well modulated and empty tones you have so labored for rhetorical effect that the body of your speech has lost its vigor and died. Young men did not learn set speeches in the days when Sophocles and Euripides were searching for words in which to express themselves. In the days when Pindar and the nine lyric poets feared to attempt Homeric verse there was no private tutor to stifle budding genius. I need not cite the poets for evidence, for I do not find that either Plato or Demosthenes was given to this kind of exercise. A dignified and, if I may say it, a chaste, style, is neither elaborate nor loaded with ornament; it rises supreme by its own natural purity. This windy and high-sounding bombast, a recent immigrant to Athens, from Asia, touched with its breath the aspiring minds of youth, with the effect of some pestilential planet, and as soon as the tradition of the past was broken, eloquence halted and was stricken dumb. Since that, who has attained to the sublimity of Thucydides, who rivalled the fame of Hyperides? Not a single poem has glowed with a healthy color, but all of them, as though nourished on the same diet, lacked the strength to live to old age.

Kendall Scott’s distinctive & versatile keyboard presence has enhanced this considerably, whilst Randy Dembo, who originally joined Nektar in 2004, brings a uniting presence on 12-string and bass guitars, rounding out the instrumental arrangements. Ron Howden has been a continual driving force of the band, weathering all versions of Nektar since its conception in 1969.


AXE VICTIM was a fine debut and was championed by DJ John Peel (who had been an advocate of Bill Nelson’s work since the release of the rudimentary self-released album “Northern Dream” in 1971) as one of his favourite releases of 1974. Although Bill Nelson was still finding his creative feet, AXE VICTIM featured some fine material including the classic ‘Adventures in a Yorkshire Landscape’, along with other fine material such as ‘Night Creatures’, ‘Third Floor Heaven’ (which featured Babe Ruth vocalist Jenny Haan guesting), ‘Jets at Dawn’ and the superb ‘Darkness (L’Immoraliste)’.

Disc 2 offers us the strong rhythm and subtle organs of “Samba de Verao”, the beautiful balladry of the elegant “Dindi”, and the sophisticated interplay of horns and keys of “Corcovado. The listen exits on the muffled horns and bright piano of the playful “Aquarela do Brasil”, which exits the album much like it started, with grace and plenty of detail in the arrangement.


Virgil Pringle, May 5-6, 1846 - "Got under headway for Blue Mills. Went ahead with my wagons and commenced loading in my flour. The Blue Mills the best water mills I have seen in the state.

Celinda Hines, May 19, 1853 - ". as we were going down the bank the wagon tipped over none were much hurt. Some Californians were near & assisted us. The wagon was injured a little The contents of the provision chest were mostly emptyed into the stream.


Later in the album, “Lee Lee Dee (Alternate Version)” offers us one of the best tunes, where gorgeous interplay between the keys and horns yield a hard bop gem, while the punchy keys of “Fake Flowers” will certainly get your body moving with its New Orleans vibe. The record exits on “Notes From The Nook (Alternate Version)”, a more cautious version of the opening tune that’s just as glorious and memorable.

This anthology features all of Snowy White’s albums issued between 1983 – 1994 alongside 18 bonus tracks drawn from rare singles and session recordings from this era. The set includes an illustrated booklet with a new essay and exclusive interview with Snowy White. With many of his albums unavailable for some years Lucky Star is a welcome release and a fine tribute to one of Britain’s great musicians.


Thom Yorke, The Eraser (XL): Thom Yorke's seduction technique with Radiohead has always revolved around mystery — so it's no surprise that The Eraser, his solo debut, also explores misty vistas. Although built on a foundation of repetition and detailed sonic atmosphere, Eraser derives its power from Yorke's feathery falsetto.

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The back half of the listen also impresses with the wild “Good Love Bad”, where the vocals howl as the charged tempo tumbles and shakes, and “Sugar Baby” spits out the blues with much precision and timelessness where pretty female vocals highlight the affair. Near the end, “Opelousas Baby” recruits’ '‘70s influences into the soulful offering, and “You’ll Never Know” exits with nostalgic pop ideas into the thoughtful closer.

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The epochal nexus of 60s psychedelic jangle and proto-alt-country, Sweetheart might have been further up the list if more of the Parsons-led takes were included on the original release rather than forever remanded to remastered, repackaged, bonus-completist hell. More likely, however, you can chalk this omission up to alt-country's bad rap in a post-Dixie Chicks world, as the genre grandfathered by Parsons seems to be as dead and buried as so many of its lyrical concerns.


Do you ever hear music (http://zbsmarket.ru/free/?key=6133) so good that you’re actually embarrassed to say that you were previously unfamiliar with said greatness? That’s how I feel about this Asheville, North Carolina outfit who have been around for well over a decade now, and certainly know their way around a folk, country and Americana tune you won’t soon forget.

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After deliberately chasing away Maxinquaye’s fans with the calculatingly obtuse Nearly God project, Tricky’s second proper album, Pre-Millennium Tension, was a dark, noisy, awkward and mean spirited album. The naïve yearnings and confusion of the (in retrospect) obvious polish of his debut were replaced by threats, hate, chaos and spite in a mutated bedroom demo style.


Glenn Kotche, Mobile (Nonesuch): To identify Kotche as "Wilco's drummer" is to minimize his work as a composer. Released by Nonesuch, Mobile is more akin to the label's Nonesuch Explorer Series of the 1960s than its recent foray into pop and rock.

The problem with Miles and the rock/pop canon is two-fold; firstly there is simply too much to pick from – between 1949 and 1991 Miles cut countless albums, many of which are undoubted classics, and the lack of consensus about which era of his career is the greatest leads to spread-voting which dilutes his presence on these kind of lists. Secondly, and perhaps most pertinently, it’s jazz, and that requires the rock/pop fan to develop a completely different set of listening skills. Either way though, Kind Of Blue is a beautiful, masterly piece of work – explaining why is as pointless as arguing why not though.


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Near the end, “Any Other Way” might be the closest they get to balladry with a warm, bluesy spirit, and “Somewhere Down The Line” is rock’n’roll at its finest, and could very well be the best tune of 2021. The album ends on “Just Between You & Me”, a cautious exit of heartfelt singing that Bob Dylan fans will fawn over.

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The Zombies have always been unfairly looked at as a bit of a one-hit wonder in the United States (“Time Of The Season,” featured here, though they had other hits), and as such aren’t generally thought of as having a rich history of albums behind them. In fact, this really is the group’s only truly great long player, and when you have to compete with period groups like the Beatles and Stones, that one album suddenly gets overlooked by that many more people. Hell, the Zombies broke up before the album and song even became a hit.


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Deeper cuts like “Another Way” stay mysterious with moody, adventurous accordions, while “The Cure”, featuring Miraculah, is a soulful dance track with dense beats. Near the end, “Lessons” leads like a sci-fi thriller before moving with unpredictable versions of electro-pop, and “Response (Soohan Remix)” ends the affair with Eastern influenced sounds.

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An extremely sincere and soulful debut with strong, memorable songwriting, while the genres that Felden floats around are quite populated these days, his voice and skill put him right at the top of the long list. This is truly a record you won’t want to miss out on.


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Recorded in the Spring of 1974 at several studios in London, AXE VICTIM was released by EMI’s Harvest label in June 1974 to much critical praise and introduced Be Bop Deluxe to the record buying public. The album featured the band’s first line-up of BILL NELSON (vocals, lead guitar, acoustic guitar, piano), IAN PARKIN (rhythm & acoustic guitars, organ), ROB BRYAN (bass guitar, vocals) and NICHOLAS CHATTERTON-DEW (drums).

Mark E. Smith: Before he withered into a puckered, cantankerous lout, he positively lorded over the 80s–leering like the toothless prophets on shopping avenues, disturbing passers by with his garrulous atonal ranting. Picking any one Fall album from this era is an archaic gesture–is This Nation’s Saving Grace really any better than The Wonderful and Frightening World Of, or Grotesque (Or Hex Education Hour) for that matter?


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Smith hones his forked tongue into a sling capable of hurling insults, conspiracy theories, and threats with equal aplomb. As with any Fall record, he tends to overstuff the bombast and ideas into a sixty-minute confine, and can become unfocused and tongue-tied.

I resisted to the limit of my strength. He manipulated my member for a long time, but all in vain. Gummy streams poured down his sweating forehead, and there was so much chalk in the wrinkles of his cheeks that you might have mistaken his face for a roofless wall, from which the plaster was crumbling in a rain.