Seems to be entering a peak period. Jorge Ben: TropicalMango : His regular label is Philips, a major in Brazil, but this one was picked up by Island, hoping it might piggyback on their success introducing reggae to the American market.

Hard to peg this, but veers toward salsa and misses. B [yt]. Jorge Ben: Samba Nova [], Mango : A second American release, this a compilation of more typical and more classic material, drawn from three or four albums.

I'm not specialist enough to know or care, but this is agreeably upbeat most of the way through. Roy Brown: Hard Times [], Bluesway : His single, "Good Rockin' Tonight," is remembered as one of the first great rock and roll songs, but his King compilationout of print on Rhino flounders, and his Complete Imperial Recordings isn't much better.

This seems to be his first proper album, recorded a decade after he "retired," and released half a decade later. The big blues riffs and soul horns really lift him up, and his voice does the rest. Shirley Brown: Woman to WomanTruth : Soul singer, usual church upbringing, first album, title song her first and only hit single, voice drew comparisons to Aretha Franklin.

Recorded two more albums for Stax, then resurfaced on Malaco in So he goes a bit more country, but just a bit. Granted, the practice persists in country and pop, but even there the stars usually claim a piece of the action. Like Elvis, Cocker got by on voice and arrangement, but didn't get nearly as far. Johnny Copeland: Fuel Presents an Introduction to Johnny Copeland [], Fuel : Blues guitarist-singer, born in Louisiana, moved to Houston, started recording singles in Johnny Copeland: Copeland SpecialRounder : First proper album, has all the chops you need for flashy blues.

Also picked up a lot of horns, including three legendary avant-saxophonists George Adams, Arthur Blythe, and Byard Lancasternot that you'd recognize them in the mix.

Their jangle is sharpened, but not the songs. Miles Davis: Water Babies [], Columbia : After his second great quintet folded inDavis recruited young musicians and invented what came to be called fusion: a style that arguably ruined jazz in the s, although his own records were often glorious exceptions.

When Davis went on hiatus inhis record company dredged up this transitional filler, with one side of classic quintet Wayne Shorter, Herbie Hancock, Ron Carter, Tony Williamsand one one side of his next step, with Hancock and Chick Corea on electric piano, and Dave Holland on bass. Miles Davis: Circle in the Round [], Columbia, 2CD : More hiatus product: the first side three cuts from, and all great bands ; fromthe title piece, with Joe Beck sitting in on guitar; the quintet plus George Benson; and finally, froma much expanded band Shorter and Bennie Maupin on reeds, three famous keyboard wizards, electric bass, sitar, two drummers, plus Airto Moreira on percussion vamping on David Crosby's "Guinnevere" for Jazz-funk, recorded with various lineups, but mostly Bill Evans tenor saxguitar, electric bass, drums, percussion.

Miles Davis: Star People [], Columbia : Teo Macero's last production, pieced together from five studio and live dates over seven months. With Bill Evans on sax, Mike Stern and in John Scofield on guitar, Marcus Miller on bass except for the last-recorded trackAl Foster drums, and Mino Cinelu perussion -- a fast, funky groove album elevated by the trumpet not that it lasts. Kimya Dawson: Hidden VagendaK : Antifolk singer-songwriter, started as the more mature half of the Moldy Peaches, went on to the more successful solo career, although both of those comparisons are strictly relative.

There's a nursery rhyme simplicity to these tunes, a playfulness that rarely comes around. Gilberto Gil: RefavelaPhilips : Opens with the very slippery title tune, and matches it later on, but not so reliably. Hakim: TalakikMondo Melodia : Egyptian shaabi singer, nicknamed the Lion of Egypt, albums since only 2 since How's Your Girl? Lots of guests maybe too manylots of skits better than average.

He writes music, she does the lyrics, he does almost all of the singing -- she quavers punk, while his deadpan voice is clear as a bell, and no more engaging. First album. I missed one later on, but like them enough to go back to the beginning.

Enough guitar drone to separate them from the folkies. Too much sarcasm for country although they try in "Water Into Wine". Nowadays, of course it is. Settling into a groove, with fewer rough edges. The Handsome Family: Down in the Valley [], Independent : Irish-only release, picks songs from the first three albums, slighting the first 2 tracks, vs. Debut is more interesting in its own right, not least because it has a rock edge the later albums lack, but the later selection kicks out lots of memorable lines.

Not sure if they really picked the best songs, or the extra plays paid off. Note that their Live at Schuba's Tavern covers the same era songs, if anything more entertainingly.

Rennie may avoid singing, but she doesn't shy away from the microphone between songs. The Handsome Family: TwilightCarrot Top : Bland voice and simple melodies, doesn't seem like much, but I often enough find myself hanging on the words, grim as they may be. Sound's a little weak.

The Handsome Family: Singing BonesCarrot Top : Revisits an old folk song, "Dry Bones," best known from Bascom Lamar Lunsford, binding the murder songs, the more pervasive air of death, even to the end of the world -- twice, once in fire, again in ice. Ted Hawkins: Watch Your StepRounder : Bluesman, born in Mississippi, drifted around the country, in and out of jails and asylums, wound up busking in Los Angeles.

First album, not clear when he recorded it. The liner notes speak of a DJ "Johnny Jr. Between records, he spent 18 months on a child molestation charge, which he subsequently denied. Title song is sad enough it belongs in Nashville. Or maybe it came from there? It's one of two non-originals, the other "Gypsy Woman. Henry Cow: LegendVirgin : Experimental British group, thought of themselves as rock but without vocals came closer to jazz.

Fred Frith guitarTim Hodgkinson keyboardsGeoff Leigh reedsJohn Greaves bassand Chris Cutler drumswith most credited with additional instruments -- also voice toward the end. Hill: The Brand New Z. This starts with a 3-act "Blues at the Opera," where the connected by spoken word that's hard to follow.

The second half songs are perfectly solid. Early albums seem to have an edge, but he's pretty consistent. Nice packaging on this series I bought quite a few of them when they were new. The only salvageable cuts go in different directions: "Tell It Like It Is" lets his voice shine, while "Let's Have a Party" is a pure funk rhythm track.

Everywhere else: strings. Hill: Z. Hill was one of the most important, releasing six albums up to his death in age 48, a heart attack from a blood clot that could be traced back to a car crash. This was his debut, sounding like he was finally in his comfort zone. Hill: Down HomeMalaco : Second album here, even more comfortable but he picks up better songs, and knocks most right all out of the park. No reason to prefer this over Greatest Hitswhich recycles the top three.

He's never been bluesier, but isn't soul his calling card? Four songs made it to Greatest Hitsbut they're not the ones I recall instantly. Hill: BluesmasterMalaco : Fifth Malaco album, last before his death.

Two more Greatest Hitsbut the delights don't stop there. Hill: In Memoriam [], Malaco : Hill was banged up in a car crash in February Two months later, he died of a heart attack, caused by a blood clot formed after the accident. He was Malaco threw this first draft of history together, ten songs, pulling songs from his middle three albums and adding a couple non-album singles, then a year later came out with a slightly better-programmed Greatest Hitsonly repeating "Down Home Blues" and "Someone Else Is Steppin' In.

Alberta Hunter: The Glory of Alberta HunterColumbia : Blues singer, born in Memphis, recorded extensively in the s, retired in the s, had a second career in nursing, started singing again after she was put out to pasture.

This is the first of two albums they recorded in the s front cover notes "Featuring Eugene Pitt". There are few things I love more than doo-wop, so it's nice to see it carry on, but this didn't sweep me away. The ballads are fine, but the uptempo pieces jump out. Eponymous debut was a landmark, second album a letdown relatively speakingthen I missed this one aside from the songs picked up on the American Originals CD, packed in my traveling case and played recently.

This starts with three remade pre-Motown singles, which tend to be omitted in later Motown comps, probably because they have several more years of hits to work with.

I'd like to say this one is the right-sized, but it might be a bit long. Rather slight, with just six songs and an instrumental running First album, after a mixtape. Liquid beats, "Buck 65's Knee. Milo: Who Told You to Think??!!?!?!?! Hard to write about him, but dozens of rhymes catch my ear, which is all it takes for the ditzy beats to work.

My Bloody Valentine: Isn't AnythingRelativity : Band from Dublin, reportedly more or less invented "shoegaze," a style where a band plays monotonous guitar riffs while staring passively at their shoes. This was their first studio album per Wikipedia, after two "mini albums" and a live one, on little-known labels. Not totally tuneless, nor totally uninteresting as noise, but no regrets at cutting them short. Fucking useless. They regrouped to tour inand eventually hacked up this third album.

Title stylized m v b. Starts with "The Harlem Medley," and returns to Ellington for the closer. Understated country-ish. Aaron Neville: Make Me Strong [], Charly : First repackaging of the Sansu singles, 14 songs, nothing cringeworthy, hits often enough to show off his voice and Toussaint's songcraft.

Long out of print. Released in the CD era, it retreats from 14 cuts to 12, repeating 7 obvious ones, adding 5 pretty good others. Aaron Neville: Bring It on Home. The Soul ClassicsBurgundy : Annoyed at first that Discogs doesn't have any credits, but the closest thing to an obscurity here is "Ain't No Sunshine" Bill Withersand that was close to inevitable. New Order: RepublicQwest : New wave guitar band, produced some of the heaviest disco music of the s, and eventually got popular. Sixth studio album, the only one I missed, perhaps suspecting their run was coming to a close.

Indeed, it was eight years before their seventh appeared. Still, this has a slightly lighter texture, as if the grooves are coming more naturally. Four covers, two b-sides to Nevermind singles, four back for the Incesticide compilation counting the different take of "Aneurism". I thought they were ridiculously overrated, but liked the trash they collected in Incesticideand this is of a piece with that. That racism seems like he foundation of the American experience, with Vietnam -- both the war and the exile and resettlement built on it.

Shows their good taste, not the same thing as genius. More songs about buildings and food, not to mention "Wacky Tobacky. Orchestra Makassy: AgwayaVirgin : East African group, formed in Kampala in with Zairean and Ugandan musicians, moved to Tanzania to flee Idi Amin, and later to Kenya, disbanding inleaving this one album.

Soukous influence, gently sweetened. Ray Parker Jr. Light touch, funky bass, leads with a hit, trails off toward the end. Parliament: Gloryhallastoopid Or Pin the Tale on the FunkyCasablanca : Suspecting a decline, or maybe just a feeling that their extended funk jams were becoming too mechanical, the only one of George Clinton's marquee group's nine I didn't buy.

Should have skipped Trombipulation instead, but no real surprise here, other than that you can still grin your way through a whole heep of stoopid. Parliament: Greatest Hits: P. Funk, Uncut Funk, the Bomb [], Casablanca : First-generation best-of, ten songs from a group that lost nothing when their 2-CD Tear the Roof Off came out in and still had me complaining about omissions.

Title songs from their first two Casablancas, only three songs from their two peak efforts, four more of their later vamp pieces.

With their many spinoffs, they defined the s for me. Not exactly my choice cuts, but a solid grounding for those of you who missed them. Parliament: The Best of Parliament [20th Century Masters: The Millennium Collection] [], Mercury : Budget series, limited to 11 cuts, but picking long-ish ones adds up to Funkenstein," "Agony of Defeet," and "Testify" the album remake of Clinton's doo-wop hitwhile discarding chronological order.

I'd rate it a very slight improvement, but "Do That Stuff" is not one I would have sacrificed. Sketchy, lo-fi, but something here. Party of One: Caught the Blast [], Fat Cat : Second album, new bassist Terrica Kleinknecht sings some, adding an important new dimension to Eric Fifteen's deadpan "oral propaganda. New band, quartet this time, with bassist Joe Holland returning from the first album. No idea what the dates signify. Reissued in as the first 5 of 23 songs on Westing by Muskeet and Sextant.

Malkmus is such an odd vocalist that good Pavement albums seem like uncanny miracles. Took me three plays to concede that this is another of them. This seems a little premature, as his only number one hit didn't come LPbut this reduces five albums, adding two non-album singles one a duet with Jody Miller. It's pretty good, but not the only song here George Jones sang better.

Johnny Paycheck: 16 Biggest Hits [], Epic : Doesn't quite go to the end of his Epic period, but a good, solid selection of his s singles, slanted toward his "outlaw" years, since that's where the better songs lie. Johnny Paycheck: Mr. Pearl Jam: TenEpic : In the early s I found myself turning to jazz, to old blues and country, to anything but rock and rap, which fell under the spell of grunge and gangsta. The former was dominated by a rash of Seattle bands, of which this one was ostensibly number two after Nirvana and, maybe, Soundgarden.

I still don't get the grunge concept here, or much of anything else. This is a bit better, or at least less monotonous.

This was the fourth, long on ballads and schmaltz. Teddy Pendergrass: Greatest Hits [], Philadelphia International : Nine cuts from the five platinum albums, for my money superseded by the song Greatest Hits on The Right Stuff 8 repeats.

I tend to favor his upbeat songs, but they he slips in some sheer seduction like "Close the Door. Lots of good material, but I find fatigue setting in. Fine singer, not much else to recommend. Esther Phillips: Conessin' the Blues [], Atlantic : Good selection of blues material from the late s, first side with big bands stocked with jazz musicians like Sonny Criss, Teddy Edwards, and Herb Ellis. Second side small groups, but in all cases her voice is gripping.

Third Kudu album. Pee Wee Ellis arranged the horns, and Bob James the strings. This picks 33 songs from 7 albums -- by reputation uneven ones, but she's such a consistently powerful singer they flow like one, and the bands are well stocked with jazz talent.

Like most of the label's output, these tracks have LP reissued many times, most completely in Bear Family's 3-CD box, The Sun Years, This cut sampler looked like as good a place as any to start. Sporting silver hair at 37, he's smooth and steady, picking good songs that hold up even to Billy Sherrill's strings and chorus. Charlie Rich: Pictures and PaintingsSire : Rich died in at 62leaving this final album, produced by Peter Guralnick, nicely playing up Rich's jazzy side.

Nice bounce to this. More is worked in than you would think from 24 minutes, even if you are familiar with earlier hardcore: the material is more complicated than Black Flag ever set out to be in their early days, or certainly than the Misfits did for Earth A. But if that gives you the impression you might know what to expect—I can say that those, at least, give you nothing of the kind. It would be clever if it were planned in some way.

In LP case, I often swing either way when it comes to voices, sometimes nearly ignoring them, but often clinging to them as much as anyone. It means that albums like these make me kind of wary, even as the idea of them attracts me. What is more unusual is for an explicit rock band to be specifically acting as the beat for a set of rappers.

ODB and Ludacris both talk about women whose sexual appetites are utterly irresistible to them, and their voices take up all the space Carney leaves, multiplying the speed of the rhythm significantly. Auerbach comes into the goreground for the outro, playing further with the still echoing lead he drops throughout the song.

Patrick pounds the song into place though, using a floor tom fill to ground the beat. The Keys have a little bit more dominance and control on the track, perhaps because they have a bass and a piano accompanying them, and Patrick is filling more of the rhythm out on his kit than on the previous tracks. RZA and Pharaohe Monch have strong rhymes, but ones that sound in delivery and rhythm like they may be the improvisations of skilled emcees—a bit halting, but usually halts are just the sound of quick minds making up brilliant lines to follow.

The outro is Auerbach just let go with the guitar meanderings, Raekwon expressing his appreciation. Jim Jones, then, gets the verses to rap over, Mos Def getting to give us a number of great variations in his chorus, and Auerbach left to actually perform one of the guitar tracks that actually fills out the entire song. Billy Danze comes in with a gravelly, aggressive delivery on the next verse think Busta Rhymes outside his motormouthed mode.

The outro to the song lets Nicole get another moment to really shine. Auerbach plays a sort of spooky, haunting lick. Nicole brings some major power to her performance here, too. Billy Danze brings a shock or aggression and power—again, Busta-style—using even over-dubbed vocals to give an emphasis to his lines. The two complement each other very well indeed, not quite using call and answer, so much as working alongside each other.

NOE throws a lot more energy at it than the beat or guitar expect, but the thudding, the tambourine rattle, and the descending guitar lick take us right into the chorus for another great vocal from Wray, as she brings the title of the song up and down in pitch with soul.

NOE calms his delivery a little on the second verse, and relaxes even more on the third. This is, in general, an odd sort of album. But taken, instead, as a constructed hip-hop album that uses a live, recorded band playing new beats designed for this explicit purpose—taking not only that, but specifically a blues-inflected band is actually the recipe for a very interesting sound.

In large part, the album itself is pure mystery. That cover tells you next to nothing, resembling, if anything, a lot of the weird, semi-amateur prog rock album covers of the s.

Why in the world is their jam? What is Blakroc? No mention is made of the Black Keys anywhere the emcees present are listed below each song in small print, however.

Inside, you have art that mimics the more informative variety of past cover art: a multi-panel set of equally sized black and white studio photos is topped by retro-styled credits and information. It really feels right. This was one of the nicest to look at by far, and felt exactly right for the album, even though it is a callback to album art that predates even the earliest rap by a fairly significant amount. And, to the right: it is something new to expose most people to, as it is far from a famed work of any kind, but deserves more attention than it gets at the very least.

In hip-hop music, a producer or DJ album is a curious thing if that producer is not also a rapper, or does not choose to release instrumental albums, which some, like Madlib, do. Of course, pairings develop and become synonymous with emcees, or are even considered a part of their name. Atmosphere was generally considered to be Slug, emcee, and Ant, producer, for a large chunk of their career.

Brother Ali had Ant as his producer on most of his earlier releases. Eric B. Of course, it can get muddier, when you have a separate DJ usually included as part of the group from your producer such as Public Enemy, with Terminator X as the former and The Bomb Squad as the latter.

Atmosphere toured with Mr. But the studio recordings were light of either, or even devoid. However, when they were out—as I saw them more than once—BK-One first dropped Set in Motion on CD, a 3-track set of constant cuts and blends with various guests and to-the-point packaging. As such, guests litter the album in various forms, and give the impression—at a glance, anyway—of a compilation, and a possibly messy one at that. They are treated as interludes, intros and outros, but also as independent tracks, each named for the musician in question.

The album opens with a quote from Tiririca:. But the beat is not exclusively rock-based instrumentation snare, bass, kick, guitaras the horns make for the hooks, and there are hand-played drums worked in to.

As is often the case with rappers in the underground, these are dense, rapid raps with a good flow. All three of them give great performances, ones that strongly encourage me to look further into their own material, both solo and as a group. A slightly fuzzed bassline defines another song that happily includes hand-drumming behind Raekwon hitting on territory that BK-One did not restrict but has expressed awareness of being exceptional in context—selling cocaine and pursuit of money therein.

Horn hooks appear again, keeping the theme of the albums merge of Brazilian music with hip-hop alive. Phonte, Brother Ali, and The Grouch share lyrical duties and carve out one of the most varied sets of rapstyles.

Everything began with James Brown. That was the influence and we would play everything on top of that music. James Brown was an icon to Black Brazilians who had adopted soul music. In his style of playing, I could hear Harlem materializing. I heard black American music. He lived the life of a black American Musician. I could have added a more sophisticated touch to samba. But I had taken another stand, an apocalyptic one, and made something more radical.

I was crazy, but I was right. Still, it tends to be a very thin line between 1 Record and Radio City if you ask anyone who knows, and then a decent minority that prefers the frustrated, misanthropic nihilism of 3rd aka Sister Loversbut the version issued and reissued on vinyl bears the title 3rd. If one marked out a ratio of amount of recordings versus listneing time, Big Star would likely be at some absurd height in my listening record.

The only known set of statistics comes from my last. All of my Big Star records are reissues, and only one was purchased used and not by me—as a gift for me. I picked up Radio City as probably the most recent, making a trip out to purchase it deliberately when a then-local record store Bull City Records listed the reissue as newly in stock.

Alex inserts brief flashes of Mellotron throughout the verses, but particularly on the lead-up to the chorus, three down-up, down-up repetitions that are finally let ring as he slides his pick up the guitar strings and breaks into an exquisite guitar lead that ties things into place for the chorus. The counterpoint of his harmonica to his vocal, though, manages to give it the same feeling as forlorn harmonicas, without actually sounding like them—which is some kind of neat trick.

The song pumps itself up for just a moment halfway through, and Alex works in a semi-honky tonk piano. The song is a point of view on relationships not seen often: the lines might hint at actual animosity, but the delivery and the LP they go on says something else. He and Andy spend the earlier portions matching each other with riffing that seems to imply two steps forward and one back, but Chilton drifts off halfway through the verse, and the chords begin to ring and Album) string-to-string instead.

One of the more interesting parts is the final repetition of the chorus, which has the same run-out, only Alex doubles the tempo of his playing briefly and it seems to yank the entire song in the same way, only for them all to drop back to normal speed for a final repetition.

The way it ends, too, is somewhat less melodious and more like the stutter of braking from high speeds. One more repetition of that chorus leads right back into that solo, which Alex briefly sings along to without words, bringing home just how high it is going, and with it, tension. The words manage to establish and identify the feeling immediately, even if it has no personal experience on the part of a listener to confirm its feasibility.

Of course! Jody gets to stand out most on this track, too, his drums rarely able to stick to a single beat, filling constantly, and often with very full rolls and trips across the toms. It ends on this same progression, but closing with a chord progression that sounds like group of guitars looking at each other and striking the chord in unison, but with enough pause between to make that apparent. The last two tracks on the album are, on occasion, considered to have been just tossed on in some respects.

While there are demo versions of most tracks on the album, these are the only ones on the album that feature Chilton by himself. I feel the limits of my musical knowledge and my vocabulary, and it becomes that much worse when I love an album like I do this one.

But, make no mistakes at all: this is a peak. What else can I do or say? Washington, aka Mr. George Washington. A quarter. I flipped a quarter. Which is fine with me—my object is not demanding an existing opinion from anyone, but rather to find a way to settle on a release where more than one is available from an artist. Variety of response is helpful in getting a more complete aggregation of interest—after all, tastes vary wildly.

This is all a way of leading into the relatively middling response to the poll that led to this particular entry. Still, it stayed their only Top 40 hit in the US for their entire existence, though it was the herald, in many ways, of only their debut album. That album was, of course, The Crossingwhich is why I initially thought it was going to storm my poll. I had to ask for a tie-breaker at random, and it came from a high school friend who put out his vote for The Seer though I suppose you probably guessed that!

I will thank him here for that favour, as I did not relish the thought of being left with a three-way tie to sort out myself. I do actually have the Wonderland EP on vinyl as well, a U. It means, then, that The Seer is the most neglected of all the Big Country albums I own—a happy coincidence that it ended up the one I was asked to listen to, as I was less likely to otherwise. Both Stuart Adamson and second guitarist Bruce Watson used them, even, but neither for that sound. I am quite sure I heard the song numerous times in my youth, but it was during my rather lengthy spell of watching the U.

The Skids, too, were applauded there—which is why I have one of their albums on vinyl and another on CD. I had a brief return to old habits in the past year or two, seeking out a few odd 80s artists with relative mainstream success on vinyl, which is something I used to do when I first started collecting.

Any Big Country I saw, I picked up blind, by virtue of how much I liked the sound and the kind of appreciation lobbed in their direction. It establishes the Big Country style immediately—a big drum hit launches a clever and rather lengthy guitar lead, and uses an interesting guitar sound during the verses that follow: a heavily plucked, two-string, and slightly alien sound that is joined by a more traditional but smooth guitar that matches the sound of the initial lead.

A claim to fame in some part for the album as a whole is the title track, which catches a whole second fanbase: that of Kate Bushwho sings it as a duet with Stuart. And then Stuart blasts off with a lead in his inimitable style, one that seems to hint at the traditionally-inflected songwriting he exhibits while sounding thoroughly modern at the same time. It has the feeling of familiar rhymes in its simplicity, and echoes traditional songs in a somewhat different way—that infectious, easy-to-learn nature of folk songs that allows them to be picked up by a whole group is present here, though the song is its own.

You believe Stuart means this, but perhaps outreached his grasp with the song he put together—looking too much to bring everyone into shouting along the video including constantly shifting groups of people singing along encourages this notion, too.

I guessed that it related to Scottish history, and a quick Googling confirmed this right away. The Red Fox was Collin Roy Campbell of Glenure, tasked with retrieving taxes from the clans who was shot dead in the woods. The clan thought responsible was the Stuarts of Appin, and the prime suspect disappeared. It is generally thought that the Stewart chosen to stand trial, James of the Glen, was not responsible and was railroaded by a jury composed primarily of Campbells eleven of fifteen wereand presided over by the Chief of Clan Campbell.

He was sentenced to death and executed protesting his innocence. Unsurprisingly, this is another song that carries the rhythm of a traditional Scottish song in many ways, lyrically. Historical songs can be of some difficulty to carry off properly, but this one manages even that trick brilliantly. It has faint strains of songs associated with seamen, yet lifted to strains reminiscent more of a land-locked freedom on distant islands.

The guitar leads that follow an energetic speed-up of the song seem to carry it off into a clear sky, ending the album on a high note. Certainly, there are themes Adamson returns to I should mention, a handful of songs are co-written by Watson and Butler, but only 3 on this album, 2 with Watson and 1 with Butlerbut overall, this album feels more like a declaration of a kind of appreciation for Scottish culture and history.

It seems many fans actually think of this as their favourite album, and many more had it as their introduction. At least, one established for nearly twenty years at the time of his death, and that only decided to release new material a decade later. Released September 16, Produced and Mixed by Lindsey Buckingham. NUMBER apv salvo edema courtyards krauss cruiserweight mystics mmc potable amputated lewin pontus barzani sororities.

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Alice Cooper - Easy Action (Vinyl, LP, Album), Bridge - Loudon Wainwright III - Last Man On Earth (CD, Album), The Convict And The Rose - Willie Nelson - Tougher Than Leather (8-Track Cartridge, Album), Pruit Igoe - Philip Glass - Koyaanisqatsi (CD, Album), Reach Out (Ill Be There) (Northernbeat 12 Mix) - Various - Gayfest 2005 (CD), Sailor - Petula Clark - Sailor (Vinyl), Dim Sum - Wigan Youth Jazz Orchestra - The Lion & The Dragon - Impressions Of Hong Kong (Vinyl,, Sweet Little Rock N Roller - Rod Stewart - Smiler (Vinyl, LP, Album), Speaks - DJ Scene - When The East Is In The House (CD), John Lennon - Woman (Vinyl), Anak (Tagalog Version) - Freddie Aguilar - Anak / Child (Vinyl), Laat Me Nu Toch Niet Alleen - Johan Verminnen - Alle 40 Goed - Johan Verminnen (CD), Party Time (Raw Bud Anti Mix) - Raw Bud Vs Roni Size - Rise Up (CD), 29 Settembre - Lucio Battisti - Lucio Battisti (Vinyl, LP), Mademoiselle Angèle - Enrico Macias & Ajda Pekkan - La Féte à L’Olympia (Vinyl, LP, Album)

8 thoughts on “What A Mess - The Time Lodgers - Sometimes Never Slanted (Vinyl, LP, Album)

  1. View credits, reviews, tracks and shop for the Vinyl release of "Sometimes Never Slanted" on Discogs.

  2. Discover releases, reviews, credits, songs, and more about The Time Lodgers - Sometimes Never Slanted at Discogs. Complete your The Time Lodgers collection.

  3. An eclectic collection of old vinyl to add to the rest of the eclectic collection! the Eddie Cochran Memorial Album 4. Louis Prima ADVERTISEMENT. 5. Keely and Prima Most Famous People of All Time. 87,6Albums You Must Hear Before You Die. 75,

  4. View credits, reviews, tracks and shop for the Vinyl release of "The Pacific Age" on Discogs.

  5. Your hand is never truly steady so it's easy to slip up, and gouge the grooves of a record or even break the needle on your cartridge. Never drop or abruptly pick up the needle on a vinyl record especially as it's fading out. Over time you'll start to hear ticks and pops .

  6. Dec 20,  · Check the attic: That South Korean Pink Floyd gatefold vinyl that’s been gathering dust just might help you pay for new insulation. Here’s the 10 most collectable records released in the s. Morbid Tales - Celtic Frost (Noise N , )Estimated Reading Time: 2 mins.

  7. Lots of factors here, I'll consider these possibilities: 1. Record wear. no way to fix it, however some cartridges may be less sensitive to the problem by being able still to track the non worn part of the groove. 2. Worn needle or cartridge, try a different one. 3. Wrong type of cartridge.

  8. Apr 03,  · It is suggested that vinyl records will have a life span comparable to fine parchment paper if cared for properly. Somewhere in the s to 1,s of years. CD AUDIO: Various authorities suggest that, depending on the care taken during the manufacturing process, CDs will last between 20 and years perhaps longer.

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