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Top Music Albums of Mick Karn Bill Nelson Producer:. Getting The On A Blue Wing. Nudity Demonstrations Heartbreakland Demonstrations Details Demonstrations Multi Instruments Bill Nelson. Deeply Dazzled Tomorrow Yesterday Dreamster 2. It's Scootercar Sex Kitten! David Cook Bill Nelson Producer:. My Secret Studio. Multi Instruments, Vocals Bill Nelson.

Buddha Head My Secret Studio. Sacrament Bill Nelson. Falling Blossoms Bill Nelson. The Difficulty of Being Bill Nelson. Zanoni Bill Nelson. The Chinese Nightingale Bill Nelson. Tantra Bill Nelson. Rural Shires Bill Nelson. Perfidio Incanto Bill Nelson. The Lost Years Bill Nelson. The Charm of Transit Bill Nelson. Wysteria Bill Nelson. Moreover, the label brought in one of the most in-demand pop producers of the day, Steve Levine, who had previously worked with Culture Club and China Crisis among others.

But the album is still very much Herion's, his powerful voice surging up as from some unknown depths of world weary despair, gliding effortlessly over the thick slab of eighties beats, and ascending to its own lonely orbit.

Among its many highlights, the album included "Kiss of No Return," a pre-album single released by Imperial Recordings and distributed by Island in Arranged by Thomas Dolby the drum program has a distinct resemblance to some of the beats heard on " Europa and the Pirate Twins " , and produced by Mike Howlett who also lent his talents to Martha Ladly's sublime solo debut , the song somehow manages to transcend its faux Parisian instrumentation accordians and violins , and become something almost otherworldly, a loving lament to a more elegant age.

Three further singles were released from the album: "Dreamtime" and "Love Chains" are cast very much in the ABC - Heaven 17 mould, replete with gated snare drums, funky guitars, and towering backing vocals, while the dreamy chord progressions and slap bass of "Love Chains" are strikingly reminiscent of Levine's work with China Crisis.

Gathered as the first three tracks on side one, these singles make a muscular statement of purpose, but in some ways it's the album tracks on the second side, full of European longueur and jazzy interludes, that more fully capture the essence of Herion's sound. Amid the welter of electro crooners, however, Beauty Life seems to have gone unnoticed, its failure to dent the charts not helped by a feud with Levine that resulted in his name being removed from the album's credits.

In the aftermath of its failure, Herion slipped into a prolonged period of depression. He took his own life on October 1, A retrospective anthology of his best work, including both his solo recordings and contributions to The Civilians and The Fallout Club, is long overdue. Bruce Gilbert was always an odd fish, even in Wire, the oddest punk band of them all. Already 30 when they formed, he seemed more like a college professor than a band member.

When he later began to release music under his own name it was apparent that he was more at home in electroacoustic and noise music territory than in anything resembling pop.

Gilbert released a flood of material, starting in Together with co-conspirator Graham Lewis, he recorded four albums as Dome, their lo-fi music sounding like tape scrapings from Wire sessions, odd vocal exercises, frustration devices, aversion therapies.

A 12" as Cupol combined an almost pop rant on one side with an extended ethnic forgery noise field on the other. After seven releases in two years Gilbert showed no signs of slacking. The random noises that formed gallery installation MZUI stormed the charts not!

That same year he was in the band P'o, featured on this blog last June. The two albums Gilbert released on Mute following this unorthodox period of music-making are likely more palatable.

This is currently available on Austrian label Editions Mego , remastered and with new artwork. This piece is one of the absolute highlights of the Gilbert canon.

Conceived by Angela Conway, whose own musical career we have profiled , the dance "The Shivering Man" provided the title for the follow-up album. Released on vinyl by Mute in April , the record is full of insistent pulses and fragmented instruments. One can hear guitar, bass, drums and vocals but their spectra are not used in conventional ways, nor in conventional structures.

The album begins with "Angelfood", which goes through several distinct musical stages, as though replicating Gilbert's oeuvre in toto. It is one of his best pieces. Following this, the title track sounds like cartoon characters slowly getting dragged under the earth to be buried alive. Then, unexpectedly, the machinic enters this organic realm. Finally, "Epitaph For Henran Brenlar" evolves out of a dark shambles into something resembling a pop song.

Graham Lewis appears half-way through and sounds great. As that is also out of print, we are bringing you the record in full, restored to its original running order. Hood is also the dancer in the brilliant A. Labels: A. The electronic scene of the late seventies and early eighties was led by a new kind of man. Sure there were some notable synth bands, The Human League, OMD, Depeche Mode, but the quiet man, labouring alone with his battery of monophonic synths and drum machines, was somehow closer to the alienated spirit of the age.

Thomas Leer looked set to join the upper echelons of electro auteurs following the success of his debut single, "Private Plane. But the NME named it single of the week, and soon Cherry Red, the much respected indie label, offered him a deal.

It was a brave experiment, especially given the primitive nature of the drum machines with which he was trying to approximate funk grooves, but they failed to translate into serious sales. As wound down, Thomas Leer seemed to have lost his way. Then, suddenly, he reappeared two years later, having reinvented himself as a computer-savvy, sampler-wielding sophisticate, more Trevor Horn than Richard H.

Major label Arista was so taken with Leer's new worldly traveller image that they bank-rolled a series of glossy twelve inch singles to be released on a reactivated version of the Oblique label, which had last seen service for "Private Plane. The future must have seemed bright indeed for the former Thomas Wishart, but Arista appears to have lost confidence in Leer by the time these singles were compiled into an album. The Scale Of Ten was slipped into record stores without much fanfare in , and then, just as quickly, disappeared.

Collected here are the singles that Leer released between his major releases from these two periods, Contradictions and The Scale of Ten. They not only offer a glimpse of his musical development in these, his missing years, but represent some of his most signficant achievements as a solo artist.

But the three singles from the reactivated Oblique label are no less striking, full of inventive arrangements, strong melodies and exquisite productions.

The extended versions are especially notable, forgoing the more obvious tricks of the remix trade in favour of intriguing dub experiments and rhythmic work outs. As a bonus, we are including "Who's Fooling Who," a song released only as a flexi-disc that acccompanied a Dutch music magazine in Though not as polished as the other songs here, it offers something of a missing link between his Cherry Red and Arista incarnations.

After many years out of the music biz, Leer is back now, and recording again. Check out his web site here. Labels: Robert Rental , Thomas Leer. The great thing about art school is not that it produces great artists. The great thing about art school is that it produces so many wonderful bands. Being in an environment of intense study, exposed to the entire scope of twentieth-century thought, expands the horizons of the participants.

Support for quirky works of strong subjectivity, from an institution no less, validates the individual. No longer circumscribed by petit bourgeois concerns, art students then believe they have the freedom to do anything. And what that often meant, in the heady years of the late seventies, was getting together with a bunch of friends and trying out a few tunes.

So it was at the Ontario College of Art in Toronto, now a landmark building of great vivacity, then a dour series of brick barracks. Guitarist David Millar asked his friend Mark Gane, sometimes to be found splicing tape in the college Sound Lab, to start a band. Gane grabbed high-school friend Martha Johnson, then a student at York University in the north of the city.

Once in the band Oh! Those Pants, she settled into keyboards and vocals -- because no-one else dared sing. She in turn pulled in her friend Carl Finkle as bassist as Mark's brother Tim Gane filled out the band on drums.

Rehearsals took place in an unheated stable. Named as a joke from a list of equally impossible monikers, they made an anti-punk statement by going for the softest label possible. Their debut was at the college Halloween party This line-up expanded by two more bodies, likely because the parties were more fun that way. Martha Ladly, another friend from high school, joined on keyboards and additional vocals.

Which Martha? Ah, a political question and a potential time-bomb perhaps. Andy Haas, saxophonist extraordinaire, completed the line-up. At the time several live bands in the area had permanent sax players, a by-product of the strong Ontario jazz-blues scene. Chicago hipsters would regularly sally on up to Toronto, stopping at London, Guelph or Kitchener-Waterloo on the way. But not many sax-fueled bands made it to record; Andy's exploratory jazz leanings gave the band a distinct sound.

I'll deffinatley check out your new blog too i'll be checing my emails now every hour hahaha -ryuchi. Thanks a lot, I was specifically after the track 'Another Happy Thought' but sadly it skips throughout. Thanks for doing it though. JIRO, I sent you an email with a link to the song you wanted.

Hope it is better. Thanks you for taking the time to post this Bill Nelson back catalogue. Some of the albums I never knew existed! Great stuff! Hope you are well, I suffer same condition. Good luck. Brilliant stuff. Sorry I never got around to posting this last part when I posted up Chance Encounters. You can grab Ecclesia Gnostica here. Many thanks, just got a copy of Sounding at last!

CD was stolen long ago and Insurance Co could not replace. Thanks for your posts they are really good, can you tell me if the the " two fold aspects" upload is a mixed compilation s all the tracks stop abruptly then go into the next track whereas if you source the tracks individually they are longer?

View credits, reviews, tracks and shop for the CD release of The Summer Of God's Piano on Discogs/5(5).

Note that the man moves across the line of progression from the inside of the circle to the outside. The woman stays on his right side. May begin in other positions and orientations, so first step may vary. The essence is to move from some other position in two steps to semi-closed position, trail feet free. In Coronado Sunset by Oren, there is cross hover three times to semi;;; thru chasse to semi; again; to a maneuver, side, close;. May begin and end in other positions. May be danced side or back—eg.

But a dancer may certainly choose the line or picture he would like to present. May begin with the trail foot in which case the turn would be LF and the ending position line and wall. It is really the body turn that creates the locking action. We turn the body and so drag the free foot up behind the supporting foot and then take weight.

May be danced in any position. If you are in open position, both will dance fwd, sd, cl; bk, sd, cl;. You might begin in closed position facing reverse and wall, in which case, the cue might be Back To An Open Finish.

The man would turn LF too, and you would end in contra banjo facing line and center. The W does the "natural opposite" back R turning, side L, and close R. This is a normal measure 1 of a left turning box. The W steps forward L beginning to turn RF. The second step is a small side L for the man and a forward R, walking in a circle, for her.

Meredith tells me that this feels more like an underarm turn than a lace. In measure 3, the M does modify his steps a little. Normally, he would step forward, side, close. Here, he steps thru L so he isn't stepping into the W but a little past her.

The last measure is normal. She does the natural opposite. You might notice that the end result of all this is exactly the same as a standard left turning box, so you can do the lacing or not, as you like. Or from Sanders' Tammy , do diamond turns to sidecar;;;; cross hover to banjo; cross hover to sidecar; cross hover to semi; cross pivot to sidecar; drag hesitation;. The Easterdays did something unusual in their Three Times A Lady : diamond turn 3, which puts you in bjo, diag wall, trail foot free;;; then check back on trail foot for a full measure; twirl vine 3 down line; maneuver;.

Actually, the third step includes strong right-side lead such that the man's upper body will almost be facing COH contra banjo. In the Caseys' Catch a Moonbeam , there is an open natural; back hover to semi facing line and center; rising lock; double reverse spin; and change of direction;.

In semi-closed position, step forward R woman bk L turning right face with left side lead. On the third count, continue to turn body to a contra position and step through to contra banjo, diagonal reverse and wall. In closed position facing LOD, step forward R beginning RF turn woman back L , fwd L with strong left-side stretch and left-side lead, fwd R outside partner to tight contra banjo and thighs tightly crossed; The strong left-side lead makes the turn sharper, like a hairpin turn in a mountain road.

I have also heard the interpretation that a Curved Feather can be relatively gentle or sharply turned like a Hairpin, so the name Hairpin should be reserved for figures that are syncopated reflecting its syncopated waltz roots?

So a Hairpin might be quicker, as well as being a sharper turn. Notice that this is not a foxtrot Reverse Turn. The more gradual rise used in waltz and the more pronounced side step do not lead a heel turn for the woman, and the amount of turn is usually less.

However, in American-style waltz, the third step of each measure is a passing step, rather than a closing step, and the figure is more foxtrot-like. One of the problems that arises in doing these turns on the cardinal directions RLOD; LOD is that we tend to separate a little from our partner in order to fit in that cross-in-front step. We stick our butts out and then hunch over our partner to compensate.

Maybe worse than that, we don't quite achieve a full turn, we end the figure facing wall instead of line, and we can't then do the open telemark or double reverse spin that comes next.

We can keep our hips together more easily and our top lines apart, and we can get all the way around, if we dance this figure on the diagonal. Do the first turn to face reverse and center woman line and wall with strong right side lead man's right shoulder back. Keep your left side in to your partner. In this strong contra-body position, the crossing step occurs easily and in a more flowing manner. If you have turned to face dead reverse, then the left foot crosses in front of the right with more of a clunk.

Now do the second turn to face diagonal line and wall with the man's left shoulder leading and the woman's right shoulder strongly back. Again, keep your left side to your partner. Her crossing step will flow easily. You can dance any number of full Viennese Turns and never fall behind if the man throws his right shoulder down the line, and then his left, right, left … Focus on progressing down line with both your step and your shoulder, and the turns will happen.

Notice that this is simply a preparatory step and then a quick or syncopated viennese turn. There is a general rule associated with slip movements that says, if there is no or only a little LF rotation of the couple , then the woman steps L outside the man's R. The man will use his frame to control this. This will allow him to turn LF during the third step and end in closed position.

If she had slipped outside his feet, the turn would have put them in banjo. The man turns left to lead the pickup, but often he really doesn't pivot much. The "pivot" in this lilt pivot is really the woman's as she turns to face him.

Keep the shoulders level throughout. The preferred cue is Spin Overturn. Sometimes dancers feel that they can't get far enough around when they are asked to overturn a spin turn. The secret is in the second step. First, ladies, keep a strong left head. This will add to your turning momentum. If you pull in to your man, maybe to gaze into his eyes, you can stop the rotation dead.

Second, milk that second beat. Don't be in a hurry to put your lead foot down for the third step. Ride the spin second step until you are where you need to be, and only then recover onto the lead feet third step. Don't even think about that third step, and certainly don't plan a leaping or lunging side step at the end, thinking that this might take you farther around. The woman drives our first step as she steps forward on her right. The man drives our second step as he steps forward on his right.

Just here, think of your frame as a rectangle, instead of an oval, and ladies, put your head in your back left corner over your left shoulder.

Then ride the momentum around. Let the free lead leg just hover behind the weighted leg as you spin. After a full beat and even a stretched beat, the man will judge that you have rotated enough, he will step back L and lead the lady forward. Only when he does take weight will the lady finally place her R foot into proper position and settle her weight onto that foot. The power of the forward driving step, the willingness to use more than one beat of music beat 2 in which to milk that spin, and the surprising power of having heads left all add to get you every bit as far around as you ever would want to go.

Now, the trail feet are free. On beat 2, she steps fwd L turning RF and unwinding him. He changes weight as she does so. On the last beat, he steps side and back L, and she steps between his feet R.

End in closed position facing diagonal wall, wall, or even diagonal reverse and wall. One of the problems inherent in this "double twist turn" lies in the long side step L that overturns the first twist turn and prepares you to do the second twist turn. It can become an abrupt leap that disturbs the smooth flow of the waltz. Again, a twist turn for the man involves two weight changes. He hooks his right behind his left.

She unwinds him. He takes weight on his right on beat 2, and then steps side L on beat 3. You can smooth out a double twist by taking four weight changes and by making the third step a progressing pivoting step. On beat 2 step forward R and pivot in a maneuver action, and then step small side L to set up for the second twist turn.

Note that, as in the closed change, this figure serves to free up the trail foot—you are "changing" from one free foot to the other. We are so used to dancing the impetus to face line that the impetus in Waltz Tramonte can be a real "gotcha. This figure can be softened made easier by taking up to two measures. The extra time allows you to extend the right lunge during one of the additional beats and to display the roll and create a high line during another.

This is a figure where shoulder lead really contributes to comfort and ease of execution. Men, keep your right shoulder back. Women, your left shoulder is forward. Your hips are oriented toward DLW and partner. You are not oriented square to the line of dance but are angled, "slicing" your way down line. The advantage of this angled body orientation is that the locking steps occur easily. The free foot is lined up with the supporting foot, so when you bring it up it naturally runs into that supporting foot and locks.

If you dance this figure more side-by-side, man facing RLOD and woman facing LOD, then your free foot is to the side of your supporting foot. To lock it, you must move it laterally, swing it around the supporting foot and hook it.

It is an awkward effort. In a sliced position, the lock is a smooth result of the step itself. Notice that the man is doing a Forward Waltz down line, and the woman is doing a roll-three under joined lead hands, also down line. Some awkwardness to watch out for is veering away from your partner. Especially during the "roll" the woman can lose track of direction and veer toward the wall or even into her man.

It is also helpful if the man will keep his lead hand open so than the woman's fingers can turn in his palm. If he grips her hand, it can hurt. Begin in closed position facing line and center. Sometimes the wheel is done with all fwd steps and therefor more progression and perhaps less rise and fall. This figure is specifically cued "lace across" when the man moves from the inside of the circle to the outside and when the woman passes under lead hands.

Often, we will be asked to "lace back," and the man will move back to the inside of the circle and the woman will pass under trail hands. The beginning orientation can vary. This is a progressive figure with each step being taken along a diagonal.

May begin in banjo with the trail feet free. The woman may brush her free foot to the supporting foot at the end of the second step.

The figure may end in semi-closed position if so cued. In this case, the woman will turn strongly at the end of the second step and her last step will be forward. In Rose Of Tralee by the Glenns, there is diamond turn to sidecar;;;; cross hover to banjo; maneuver side close; spin turn; box finish;.

May also be done from semi-closed, line. We would step thru with the trail foot turning LF, forward L continuing to turn woman back R , and then back on the trail foot again to a tight V semi position;. One of the pitfalls in this figure is making the second step a side step.

You are progressing with the thru step, and somehow you want to keep going. Close, face, and step side on the third step. The closing step allows for a cleaner rise and fall. Stay flat - does not have the strong rise of the normal whisk. The ending position feels like a hinge for the woman. Note that the man has only one step, and the woman has three.

There is just a little LF rotation here, so in semi, the man begins facing line and wall. At the end, he might be facing LOD or even line and center.

Notice that the wing involves only one step for the man and so doesn't progress much. The progressive wing involves three steps for man and woman.

So, at the start of the measure, he is on his left facing wall, and he simply turns his upper body sharply to the left and spins on his left for two measures. The man may paddle around with his R to aid the turn. For the second develope, he crosses L behind R with a little right side stretch and LF upper body rotation. This turns her to banjo as she crosses R behind L and swivels LF to develope with her left toward reverse and wall.

There are three features of the sequence, given at right, that are unusual. First, there is the overturned outside spin to get you in position facing line and center. Second, a typical develope begins with a step outside partner.

You might be in banjo, you step forward R, she steps back L, and she developes; or you are in sidecar, you step forward L, and she steps back R and developes.

In Sam's Song , we are in closed position, and we have to arrange a little swivel, first right, then left, so she can develope outside of you. Third, she is doing her develope with the outside foot. Usually, she uses the inside leg, closer to the couple's center of gravity and so maybe more easily on balance. More than the question of balance, and especially if you have good contra body position, a develope with the inside leg might have a bit of the feel of a leg crawl, as she raises her thigh against your supporting leg, just before she extends the knee.

A develope with the inside leg simply has a different feel, which makes the double develope feel different. In contra banjo, facing reverse and wall, turn upper body RF leading woman outside man and maybe sneaking a very brief look in her direction, and take a small step back with lead foot.

The toe of the left foot might be at the instep of the right and toed in. He needs to shift left back into good dance position. He rises into a hovering action, and she does a toe spin on her right and changes weight to left at end of beat. This spin is up and hovering. Let it extend into beat 3, and at the end of beat 3, he steps side and back lowering, continuing to turn, and she steps forward between his feet with a toe exit to closed position.

The total turn could be as much as one full turn. Or here is an exercise from one of our teachers: in semi line, trail feet free, step forward and hover to banjo diagonal wall; outside spin full turn; box finish to diagonal center, closed telemark to diagonal wall; outside spin to diagonal reverse and wall; box finish to diagonal wall;.

This is one of those figures where the woman takes a step and then simply spins in place, as the man steps around her. Since the woman is fixed at the center of a circle, the man must step exactly on the circumference of that circle.

His steps must curve. Otherwise the woman will be pulled over, this way and that. It's especially tough in Smooth, because you are in contact and have less chance for adjustment.

In Latin, there is space between your bodies, so you can adjust with the arms if the feet go astray. The curve of that trail leg should suggest the leg of a Queen Anne chair. May begin with either foot and may be danced in any number of steps, to be specified in the cue. In this first measure, the woman has done an open telemark to LOD, but the man has held back and not taken that third step. I believe that this represents the first description of the Telespin that we have had in round dancing.

More commonly, we now dance a Telespin to Semi or a Telespin to Banjo see below. So again, start in closed position facing line and center. He finally takes weight on his L and spins LF drawing R to L woman fwd R to a toe spin , close R lowering woman closes L at end of toe spin , hold ending in closed position reverse and center;. One attractive thing you can do in the telespin figures is to keep your shoulders turning, once you have initiated the turn.

Don't execute the appropriate turn in the first measure, pause, and then whip into the second measure spin. Maintain smooth upper-body rotation over the whole two measures. In this first measure, the woman has done an open telemark, but the man has held back and not taken that third step. Start in closed position facing line and center. We are in CP, spinning together.

The second measure feels like an open telemark for both of us, but the lady does a toe spin rather than a heel turn, and I like to think of the action at the end of the first measure as a "picking up.

What's more, I have many times seen the turn to pickup position happen on the lady's fourth step and have comfortably danced it that way , and then her fifth step is not forward but back, just as in a standard telemark. Start in closed position DLC. He takes weight on his L and spins LF woman fwd R to a toe spin , side R turning woman closes L at end of toe spin , back L woman fwd R to closed position facing reverse and center;.

This is essentially a Telespin with a woman's ronde in the second measure. One important difference is that the man takes full weight on his third step and uses only upper body rotation to lead the woman to step, kick, and spin. Of course, the second measure is the tricky part. The count is , but we are only taking two weight changes, and we take them at different times.

The man only spins on count 1 and steps late on 2 and 3. The woman steps on 1 and 3. May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, fwd R,. Now the second measure.

You're in closed position facing reverse with your lead feet free. The man steps back on his left woman forward right , turning his body and tilting his upper body or swaying a little to the right to put the woman into banjo position facing reverse and wall or maybe even wall.

The fifth step is back right woman forward left to closed position facing line and wall. The last step is side and a little forward on the left foot with left side leading woman side and back right to end in banjo facing line and wall. Your trail feet are free. In the second measure, step back L with right side stretch into contra banjo woman forward R outside partner.

Step back R turning LF to closed position wall. Finally, step side and forward L woman side R with left side leading to banjo position facing diagonal line and wall. Be careful not to overdo -- do not kink or crunch the opposite side of your body in your effort to tilt. Only gently lift the "stretching" side. Lamberty does this a little differently. Rather than doing a standard open telemark, opening out at the end of step two and both stepping side and forward to semi-closed, he asks us to step back L on the third step woman fwd R and only then lead with the left side blending to a tight semi and promenade sway.

This change gives us a much tighter connection and better lead into the sway. The man's motion is a little like "bowling the foot down the alley.

Look at your partner lovingly. This is a good place to think again about maintaining your whole frame. This "bowling" is rotation of the frame to the left. The man's right hip and right shoulder go forward.

His left hip, left shoulder, and even the left arm and hand go back. Don't move any one part of the body by itself, but keep the parts of the frame toned and rotate the whole frame as a unit. This action gives the woman the space to dance her figure and prevents him from pushing on her with his left hand in an interfering way. Different choreography calls for more or less rotation in a double reverse, and the step that controls the amount of rotation is the man's second step. Again, you begin facing diagonal line and center.

Imagine a straight line drawn from your position on the floor out toward line and center. Your first step should be forward on that line. The man must never take his second step straight down line or she will not do a heel turn, and you will end up with some kind of open reverse turn, the woman choked in the man's armpit.

We see that waltz does not have to be ; ;. The timing at left shows weight changes — four for the man and 14 for the woman. You can think of this figure as the start of a reverse turn, check it, and then slip back close to where you began. Sometimes the cue will be checked double reverse and slip. This is the start of a double reverse spin, check it, and slip back to where you started. Crazy Dream -- Los Lonely Boys.

Ethereal Relativity -- The Blues Party! Europa -- Santana. Everything Is Broken -- Bob Dylan. Fadeaway -- BoDeans. Folsom Prison Blues -- Johnny Cash.

Fortunate Son -- Creedence Clearwater Revival. Funk 49 -- Joe Walsh. Give It Back -- Johnny Winter. Good Work -- Bodeans. Gotta Serve Somebody -- Bob Dylan. Heaven -- Los Lonely Boys. Search forums. Log in. For a better experience, please enable JavaScript in your browser before proceeding.

Thread starter Scarecrow Start date Oct 28, Scarecrow New Member. Ive spent the last month searching around the net for a good list of "Modern" or "Pop" music that has the right tempo and beat for ballroom dancing. Ive found a site with an extensive list of music for the jive, but im still looking for more.

Specifically for dances like the Pasa Doble and the waltz. The reason i ask is that im a highschool student whos learning how to dance with a couple of girls from my school.

We practice on the school oval nearly every day, we like the music that is made specifically for ballroom dancing, but wed also like to be able to dance to mainstream music.

It's Wonderful New Member. I don't know of any lists, though I'm sure they're out there, but have you looked through the DF music? You can browse by dance, I believe, and I'm sure you'd see some pop music in the lists. Hmmm tangotime ive looked at that website not exactly what im looking for. When i say pop, i mean anything ranging from the 70's till today. Im from the generation Those born around the thats just discovering classics like "Pretty Woman", "Brown Eyed Girl" and some of the big band musics Just a shame that his presence is limited to only two tracks, but this is already true for the whole album.

The solar "He Hates His Threads" is immediately loved thanks to the intervention of Lindley, who is not the last to arrive. From the bayou there also comes " Closin 'Time " there is still Lindley al bouzouki , while "Cakewalk" brings us cheerfully to the beautiful ballad, almost Tex-Mex style, " Smoky Places " that runs perfectly with its tones highly suggestive enough to rank among the best songs of the entire album.

They close the " No Self Control " piano, which is influenced by Randy Newman, and " Ya Ya ", the famous song by Lee Dorsey, almost an emblem for this musical genre not yet well known in Italy, but which can not fail to please. If after listening to this good Doug Legacy record you don't get an overwhelming urge to leave for New Orleans and Louisiana I go to the doctor for a ride.

Friend's Council. Written By — Tobias , Simon , Newell. Artwork By [Graffiti] — Raul H.

View credits, reviews, tracks and shop for the Vinyl release of All Night Man (Zydeco Blues From South Louisiana) on Discogs. Label: Krazy Kat - KK • Format: Vinyl LP • Country: UK • Genre: Folk, World, & Country • Style: Cajun, Zydeco.

It was the second single from that album, and it reached number 22 on the Billboard Hot chart that year. It was released in 7" and 12" single formats, the 7" single featuring the album version and the 12" featuring a slightly extended one. Nine years after its original release, "Dreams" introduced the band to a new generation of fans when it appeared in Mighty Morphin Power Rangers: The Movie and on its soundtrack album. It was performed during most tours featuring Hagar, including the most recent Hagar reunion tour.

The song was also used to close the Democratic National Convention, played after the acceptance speech of John Kerry. It was also used as the campaign's theme song at rallies across the country in During an interview with Hagar for Rolling Stone featuring questions from fans, Hagar said that "Dreams," along with "Right Now" were his favorite Van Halen songs, with "Dreams" being his most favorite if you pushed him. The song has also been redone by Hagar by his solo band, becoming a slower, more contemplative song, performed acoustically instead of the original album's faster paced rock arrangement.

Eddie Van Halen played guitar and keyboards on the studio version of this song. Everything you remember and loved about them is all there in the song. Great guitar riffs, the ever so strong rhythm section of brother Alex and Michael Anthony and a killer of a guitar solo from Eddie. Four, possibly five if you count the opener, are good rocking tunes.

The other four give lots of weight to the notion that this album was a sell out album for the band. This entry was posted on November 7, at pm and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2. You can leave a response , or trackback from your own site.

But this, and subsequent albums grew on me. Like Liked by 3 people. Like Liked by 2 people. Where did you see him that year? I saw it in Duluth with Krokus opening. Album opener "Good Enough" can be heard in the movie Spaceballs. The artwork features an Art Deco depiction of Atlas kneeling while holding a mirror-polished metallic sphere on his shoulders. The Van Halen logo is wrapped around the sphere. The back cover of the album depicts the Atlas character collapsed, with the sphere dropped and broken open, revealing the band inside.

Reviews for were initially mixed. Furthermore, Tim Holmes for Rolling Stone rated the album three out of five stars. He noted that "when it was announced that Van Halen had completed its talent search and the new voice was Sammy "I Can't Drive 55" Hagar, the response—even among hardened DLR detractors—tended more toward a bewildered "Huh?

He also said that "Eddie can still split the atom with his axe, and he knows it. It's a Van Halen world with or without David Lee Roth, and shoots off all the bombastic fireworks of a band at the peak of its powers. Erlewine noted that "Eddie Van Halen wanted respect to go along with his gargantuan fame, and Roth wasn't willing to play. From Wikipedia, the free encyclopedia. Van Halen.

Rolling Stone. Retrieved June 9, Los Angeles Times. Archived from the original on June 5, Retrieved August 8, If you told me Paul Gilbert Mr. Big slipped into the studio and wrote and recorded , I would completely believe you. In fact, Mr. Fun fact. Inside seems more Chickenfoot goofing around than Van Halen. Inside is also what happens when you are a platinum selling band with luminary talent who is just trying to wrap up their seventh album.

In fact, it is the only unreleased track from the Hagar years. Thinking more on this release On track 3, Sammy urges you to, "Get up and make it work". Love Walks In speaks of change. Dreams speaks of What is the meaning of album's title, ""?

is probably Van Halen's greatest album ever. Though some may contest this, I can't help but constantly deem this valid when listening to the older and sadly less than exceptional following albums. Great rock is just that, great. is great rock!/5().

Desesperada resistencia en el Bug. Pacto entre Letonia y Rusia. Rusia presiona a Finlandia. Propuesta de paz alemana. Llama a una conferencia internacional, y dice no desear la guerra con Inglaterra y Francia.

Fin de la Batalla de Changsha. Llega Himmler. Los obituarios tienen frases firmadas por sus madres, terminadas con " Negociaciones ruso-finlandesas. El Deutschland al abordaje. Condiciones de paz inglesas. Alza de precios en Inglaterra. Condiciones de paz alemanas. Plan de minado de Noruega. Tratado entre Lituania y Rusia.

Programa nuclear norteamericano. La Oficina de Guerra inglesa ordena incrementar sus reservas de Gas Mostaza de a 1. Fin de las esperanzas de paz. Despliegue del BEF. Las tropas del primer contingente de la British Expeditionary Force ocupan sus puestos asignados entre Maulde y Halluin, en la frontera franco-belga.

Gobierno General de Polonia. Hitler incumple su promesa de formar un estado polaco independiente. Prosigue la Guerra Sentada. Los franceses vuelan tres puentes en el Rin.

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En , el almirante estadounidense Hyman G. El 25 de julio, el general Nelson A. Las tropas de EE. Hitler sabe que debe vencernos en esta isla o perder la guerra Domingo, 16 de Junio de en Etiquetas: Junio El general propone al gobierno del Reino Unido que anexione el territorio de Francia para que lo administre y lo defienda como suyo hasta que los alemanes sean expulsados. Por su parte, Petain pregunta al gobierno del Reino Unido si en la actual coyuntura este le puede relevar del compromiso, adquirido por Francia en una conferencia del Comando Supremo Aliado, de no alcanzar una paz separada con Alemania.

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Dec 18,  · Osasco - São Paulo Ensaios 05/ 01 - Inconformada realidade 02 - Diário de guerra 03 - Desgraça de vida 04 - Terra da morte 05 - Boca fechada 06 - Restrição 07 - Vida inútil

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Add all ingredients to shopping list View your list. Blended with super foods like spinach and chia seeds, the Harvest Chai Smoothie makes a great breakfast or snack to Justin's Products with a Purpose Blog. It all started with a jar. With the help of a simple food processor and the highest quality ingredients available, Justin revolutionized the world of nut butter. Justin's products are driven by a When Momma arrived at Lava Falls she lowered her babies to ground and let them go but not Sid, who she was going to eat.

I'm too young to be eaten! Momma tries hard to eat Sid, but due to his earlier raising of the baby dinos, they stood up for him. Not happy, she swung her tail towards Sid and slung him to be tied up to a branch. Later when Sid tried to feed the dino babies with vegetables, which they don't like but Momma dinosaur tries to show Sid that it is in their nature to eat meat, but Sid wouldn't listen again and after a few attempts to win the argument, Momma dinosaur wins the argument after her babies eat the dead leg, giving Sid an eyebrow.

But, then hesitates as she hears Rudy , but Sid doesn't know what it is, since he doesn't know about Rudy. He and the other dino babies are taken to safety. Using a slotted spoon, transfer the pancetta to a large bowl. Melt the remaining butter in the same skillet over medium-high heat. Add the onions, carrots, celery, rosemary, and garlic. Saute until the onions are very tender, about 12 minutes. Gently stir in the chestnuts and parsley.

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Italian Lullabye When The Clock Strikes Midnight Let's Have A Party Be My Love This Is My Happiest Moment Looking For Love jazz version Mail Call Embraceable You I Got Rhythm But Not For Me Looking For Love jazz version Track Supplemental material demos with piano.

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From The Harvey Girls Image supplied by Piet van de Merwe. Rhino Records R2 And Mrs. Minuet In Boogie Just Imagine outtake Lucky In Love reprise outtake WSM If you know of another release, why don't you tell us about it , so we can add it to our database. All Rights Reserved.

Sep 19,  · Allyson is a decent singer, but when she belts out,"The Best Things In Life Are Free", you can't really appreciate the beauty of the song until Mel Torme sings it later in the movie. However, as she is singing, "Just Imagine", the camera moves in for a closeup of her face, and her expression conveys longing for love, and the grief the heart /5().

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Transpose 0. No transpositions available. Quick Details. Musicians Like You Also Purchased. Demons Buka, Peter Piano Solo. Add to wish list. Title: Nocturne in F Major, Op. Not the arrangement you were looking for? View All Arrangements. Felix Mendelssohn-Bartholdy The Hebrides. Overture In B Minor. Christoph Willibald Gluck extract: Paride ed Elena.

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Opera seria In 2 Acts. Performed by Vadim Chaimovich , provided by Musopen Frederick Chopin, as a man and musician, Volume 1. Novello and company, limited. Nocturne in C minor, Op. Authority control MusicBrainz work: ebddd-cbc8. Namespaces Article Talk. Views Read Edit View history.

Nocturne in F major, Op. 15, No. 1. Chopin's fourth nocturne, it was composed in in simple ternary form (A-B-A). The first section in F major is marked Andante cantabile while the second section in F minor is fast and dramatic (Con fuoco).

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The guitars actually get pretty fancy, playing a little solo, and the end is pretty fast and impressive. And there you have it: possibly the end of Blink as we know it. Overall, it's just a Greatest Hits. A bunch of singles thrown together to form a long pop-punk album.

Only difference is that it spans Blink 's career, from Cheshire Cat to Blink It includes Grilled Cheese Records, when the production was crappy, making the singing crappy. They have gotten much wealthier and have been able to afford a better record company and get better quality. This makes their music so much better. From Dammit to Down , this sums up some of the best of Blink's career. However, I do wanna get back on what I was saying at the start of the review.

While Mark and Travis were moving onto new bands, Tom remained silent for about seven months trying to organize his life, trying to figure out what he was going to do. Turns out, he is now part of a new band, Angels and Airwaves, and he says their goal is to be the greatest rock band to ever live.

I'm not gonna say any more, just give you the info on mtv. Rank: for Jimmy Eat World Bleed American. Jimmy Eat World Futures. Alkaline Trio From Here to Infirmary. Sum 41 Chuck. Yellowcard Ocean Avenue. Cheshire Cat. Take Off Your Pants and J. Dude Ranch. Throes of Joy in the Jaws. Material Control. This comprehensive overview of their pre output explodes with sticky hooks and giddy melodies, never skimping on tire-skidding punk "Dammit," "Josie" or vulnerable topics "Stay Together for the Kids".

The lovestruck "All the Small Things" and meet-cute "The Rock Show" underscore that the group are jokers on the surface but hopeless romantics at heart. Sign In. Greatest Hits. What's My Age Again? All the Small Things. Adam's Song. Fighting the Gravity [Commentary]. Ghost on the Dance Floor. Up All Night. Snake Charmer. Heart's All Gone. Wishing Well. This Is Home. Love Is Dangerous. Fighting the Gravity. All The Small Things. Dancing with Myself.

Anthem, Pt. Make a Stage M. Man Overboard. Another Girl Another Planet. Don't Tell Me It's Over. I Miss You - Live in Minneapolis. Not Now [ ]. Josie [DVD]. Adam's Song [DVD]. Man Overboard [DVD]. First Date [DVD]. Feeling This [DVD]. Stay Together For The Kids.

What's My Name Again? The Country Song. I Miss You [Live from Minneapolis]. Not Now [Multimedia Track]. I Miss You [Live in Minneapolis].

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All The Small Things Mixed By – Tom Lord-Alge Producer – Jerry Finn: 2: Dammit (Live In L.A) 3: Family Reunion (Live In L.A) 4: I Wont Be Home For Christmas Producer – Mark Trombino: /5(3).

There was a problem loading comments right now. Showing 0 comments. Sort by: Newest Oldest. I've been listening to the Dead since They are stellar. One person found this helpful. Good Grateful Dead Album to own.

Artwork is also one of the best parts. Linda D. Top Contributor: Pets. This album is a must for all Dead Heads - but of course you already know that if you're reading this. After all, its really all about the music. And listening to Terrapin Station Pt. This has always been one of my favorite albums from Grateful Dead. I like the stories told my the musical lyrics. Add to Cart. Secure transaction. Your transaction is secure. We work hard to protect your security and privacy. Our payment security system encrypts your information during transmission.

Learn more. Ships from. Artistry House. Sold by. Buy used:. Used: Very Good Details. Sold by vinylbrickroad. Fulfilled by Amazon. Condition: Used: Very Good. The cover is Vg with ring wear and creases. All items ship from Amazon and are fully guaranteed. Have one to sell? Sell on Amazon. Image Unavailable Image not available for Color:. Terrapin Station. Grateful Dead Format: Vinyl.

Terrapin Station Remaster "Please retry". MP3 Music, July 27, "Please retry". Audio CD, March 7, "Please retry". Want more? Advanced embedding details, examples, and help! Publication date check for other copies Topics Live concert. Reviewer: Anonymous - favorite favorite favorite favorite favorite - August 10, Subject: Equinox Woah, never heard this one before.

Beauty of a jam! A perfect collection of outtakes as an alternate to the album still great after all this time. Reviewer: Johnnyopps8 - favorite favorite favorite favorite favorite - October 24, Subject: Terrapin Suite Really grateful stuff like this is up on the archive.

The full Terrapin Suite alone in gives all the reason anyone would ever need to listen to this recording. While some of today's bands have excellent full versions of part one of the Terrapin Station Suite, and I've found a single performer who does play the second part of the Suite with Hunters endorsement however it does not incorporate the first part of the work whatsoever leaving no single piece too include both parts of the suite in full by any performer the omission to include later parts in live performance's by the band is something that leaves me at a loss?

Was there ever a formal explanation of this from anyone in the band? Does anyone out there really know why the band didn't try to incorporate these segments into performance's? If anyone knows Other highlights include just about every other track. This is the kind of nugget that makes this archive such a valuable resource for us. I'm not shameless pitching for donations but support of the archive is what will keep it around for everyone to be able to access all this great stuff. Imagine having to seek out everything through the mailing lists and in lot like before the internet.

And here we have it all now at the touch of a fingertip instant gratification. Reviewer: Arno15 - favorite favorite favorite favorite - May 26, Subject: Equinox looking for that since 30 years. But here i found that now. Reviewer: Jimbo optonline. Equinox was on a previously released out take tape from many years ago and it was called At The Mercy of a Fool. I think What'll you Raise was on that tape too. Hunters Version of Terrapin goes on forever.

The vast sea changes that occurred album-to-album, studio-to-concert, and even concert-to-concert make most other musical entities, and even some scenes and genres, seem stagnant, unimaginative, and overcommitted to singular ethoses.

More casual fans, especially younger ones, tend to pick and choose albums and tracks that allow them to enjoy snapshots of the Dead while still staving off the aggressively uncool stench of the jam band scene.

We were still learning how to be a band. Estimated Prophet. Dancin' in the Streets. Samson and Delilah. Terrapin Station Medley. Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. Sell on Amazon Start a Selling Account.

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Label: Arista - SPARTY • Format: Vinyl LP, Album • Country: UK • Genre: Rock • Style: Folk Rock, Country Rock The Grateful Dead - Terrapin Station (, Vinyl) | Discogs Explore/5(41).