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Naturally - DJ Caësar 9114 - Vol. 3: From Paris To Barcelona (File, MP3, Album) download full album zip cd mp3 vinyl flac


Download Naturally - DJ Caësar 9114 - Vol. 3: From Paris To Barcelona (File, MP3, Album)
2017
Label: Pure Makina - PM043 • Format: 4x, File MP3, Album 320kbps • Country: Spain • Genre: Electronic • Style: Makina

Over one hundred students and chaperones piled off the buses and headed towards the memorial. I noticed a solitary figure at the base of the statue, and as I got closer he asked, "Where are you guys from?

Come gather around, Cheese heads, and I will tell you a story. He was there that night to say good night to his dad, who has since passed away. He was just about to leave when he saw the buses pull up. I videotaped him as he spoke to us, and received his permission to share what he said from my videotape. It is one thing to tour the incredible monuments filled with history in Washington, D.

When all had gathered around, he reverently began to speak. Here are his words that night. It is the story of the six boys you see behind me. The first guy putting the pole in the ground is Harlon Block. Harlon was an all-state football player. He enlisted in the Marine Corps with all the senior members of his football team. They were off to play another type of game A game called "War.

Harlon, at the age of 21, died with his intestines in his hands. I don't say that to gross you out, I say that because there are people who stand in front of this statue and talk about the glory of war.

You guys need to know that most of the boys in Iwo Jima were 17, 18, and 19 years old. He pointed to the statue "You see this next guy? That's Rene Gagnon from New Hampshire If you took Rene's helmet off at the moment this photo was taken and looked in the webbing of that helmet, you would find a photograph Rene put that in there for protection because he was scared.

He was 18 years old. Boys won the battle of Iwo Jima. Not old men. Mike is my hero. He was the hero of all these guys.

They called him the "old man" because he was so old. He was already When Mike would motivate his boys in training camp, he didn't say, 'Let's go kill some Japanese' or 'Let's die for our country. Instead he would say, 'You do what I say, and I'll get you home to your mothers. Ira Hayes walked off Iwo Jima. He went into the White House with my dad. President Truman told him, 'You're a hero. Then all of you hit the beach, but only 27 of your classmates walk off alive.

That was Ira Hayes. He had images of horror in his mind. Ira Hayes died dead drunk, face down at the age of A fun-lovin' hillbilly boy. His best friend, who is now 70, told me, 'Yeah, you know, we took two cows up on the porch of the Hilltop General Store.

Then we strung wire across the stairs so the cows couldn't get down. Then we fed them Epsom salts. Those cows crapped all night. Yes, he was a fun-lovin' hillbilly boy. Franklin died on Iwo Jima at the age of MP3 the telegram came to tell his mother that he was dead, it went to the Hilltop General Store. A barefoot boy ran that telegram up to his mother's farm. The neighbors could hear her scream all night and into the morning. The neighbors lived a quarter of a mile away. My dad lived untilbut he would never give interviews When Walter Cronkite's producers, or the New York Times would call, we were trained as little kids to say, 'No, I'm sorry, sir, my dad's not here.

He is in Canada fishing. No, there is no phone there, sir. No, we don't know when he is coming back. Usually, he Naturally - DJ Caësar 9114 - Vol. 3: From Paris To Barcelona (File sitting there right at the table eating his Campbell's soup. But we had to tell the press that he was out fishing.

He didn't want to talk to the press. Everyone thinks these guys are heroes, 'cause they are in a photo and on a monument. My dad knew better. He was a medic. John Bradley from Wisconsin was a caregiver. In Iwo Jima he probably held over boys as they died. And when boys died in Iwo Jima, they writhed and screamed in pain.

When I went home and told my dad that, he looked at me and said, 'I want you always to remember that the heroes of Iwo Jima are the guys who did not come back. Did NOT come back. Three died on Iwo Jima, and three came back as national heroes. Overall, 7, boys died on Iwo Jima in the worst battle in the history of the Marine Corps. My voice is giving out, so I will end here.

Thank you for your time. It came to life before our eyes with the heartfelt words of a son who did indeed have a father who was a hero. Maybe not a hero for the reasons most people would believe, but a hero nonetheless. We need to remember that God created this vast and glorious world for us to live in, freely, but also at great sacrifice.

Let us never forget from the Revolutionary War to the current War on Terrorism and all the wars in-between that sacrifice was made for our freedom. Remember to pray praises for this great country of ours and also pray for those still in murderous unrest around the world.

STOP and thank God for being alive and being free at someone else's sacrifice. A couple of years ago, my son Les called all excited. He had seen a notice in a local history publication that indicated that all male descendants of the Spanish Bluecoat Manuel Butron were eligible to become members of that old and staid body called Sons of the American Revolution SAR. I was quite skeptical, but then my son proved to be correct. The Summer,Volume 9, Number 3 issue of Somos Primos arrived, and sure enough, there on pages 18 and 19 were a list of Spanish Bluecoats that manned the Spanish forts in Canada during the time period These forts were located in Vancouver, and at a village called Nootka on the West side of Vancouver Island.

The justification for this SAR eligibility was that Spanish Bluecoats were fighting the British in Canada, at the same time that the American were fighting the British for their independence on the Atlantic Seaboard. Therefore, the male descendants of these Bluecoats were eligible for membership in SAR.

With the above information in hand, I approached members of the local Monterey SAR chapter to obtain the necessary forms and to inquire as to the procedures to join their group. Now most of these gentlemen were all retired naval officers, and we were all members of the same service organizations, and friends of long standing. With that, I promptly contacted Granville W. He mailed me the proper application materials, and lineage forms.

I n due time I was admitted to SAR. My National Number isand my State Number is You must join both organizations. Shortly after I was admitted, the local chapter received word to process all applicants of eligible Bluecoat lines that applied. My navy pals were overly eager for me to join their chapter, but alas, they were "A day late, and a dollar short!! Since that time, in my capacity as the Genealogist for the Diocese of Monterey, I have assisted several individuals to attain membership by providing Mission Records so they could prove their Spanish heritage.

A review of how this all came about is perhaps appropriate: During this time period, the Spanish Crown was very concerned about the inroads made by the Russians in Alaska, at Fort Ross in Northern California, and the British in Canada. The establishment of Spanish forts in Canada was viewed as a deterrent to further encroachment of the British in Canada. The Spanish Bluecoats were the soldiers detailed to man those forts. When in California, these Bluecoats were also the main source of protection for the mission padres against the hostile Indians, MP3.

Typically, a mission guard consisted of a corporal and four or five privates. All mission guards were furnished from the Escolta de Monterey Squadron of Monterey. The Spanish Bluecoats were members of what was originally and elite group of mounted cavalry.

However, in California and Mexico, they also fought as foot soldiers. In the beginning, they were recruited mainly from the province of Catalonia, in Spain. As a group they went through several name changes, but eventually became known as the Company of Volunteers of Catalonia.

Initially, most Bluecoats came from upper middle class families. The "Volunteers" were rather a snooty group, they disdaining personal armor, wore fancy breeches and blue coats, from which they derived their name, Spanish Bluecoats. Their vests consisted of from two to five leathers layers of deerskin or leather. Since soldiers of leather were recruited from the "ordinary" classes" there was always a class distinction between these two groups of fighting soldiers.

This can be compared somewhat to that which exist between the Marines and Army in our own armed forces. However, the armament of these two groups was the same. Primarily it consisted of the lance and the shield, a sword and a trabuco, which is a cavalry musket. In frontier clashes with Indians, both groups fought well, and few were overpowered or captured.

My ancestor, Manual Butron was a Spanish Bluecoat. In many of the early baptisms conducted by Serra at Monterey, Butron is listed as the sponsor. Butron also served as a cook for his unit, and as a gardener at Camel Mission. In, Serra left Monterey, and traveled to Mexico City.

Manuel Butron remained behind at Carmel Mission. In a letter to Father Fermin Palou, then at Carmel, he wrote a postscript, " Please tell Butron that I received his letter, that I ask his prayers, that I have no time for more, and that he knows how much I miss him.

This was a small plot of land at the mouth of the Carmel River near the Carmel Mission. It was varas in size About square feet, or a plot of about On his death, Serra had requested that his "Tio" be buried near him.

As one enters the church of the Carmel Mission, there is a memorial plaque inside the door in the floor, on the left side of the entry way. Although they actually started off in France, they came through Spain so that this tradition concurs with the historical and trace evidence. The reason it says this is because the surname Almanza comes from the hamlet of Almanza which is located in the province of Leon in Northern Spain, well above the Duero River and the Cantabric Mountains, beyond Muslim influence, since the Arabs who invaded Spain never penetrated beyond that point.

On the other hand, Italian clans migrated to Leon during the 11 th and 12 th centuries, mostly from Tuscany, specifically welcomed by the Alphonsine Kings, who appear in the genealogy of Almanza, and specifically avoiding the Muslim occupied land.

The surname Almanza, therefore, is more than likely a simple modification of the Italian surname Amanza, also spelled Amantia, and its variant Lamanza, also spelled Lamantia, meaning "beloved woman", itself an aphoretic variant of the Italian Manza, meaning "cow". Both surnames are from Tuscany, the same Italian province from where the Italian clans emigrated to Leon.

The Castle of Almanza is located in Southern Spain, with a foundation that dates to Roman days, its architecture is clearly Christian rather than Muslim, much like a "Disney" castle. For these reasons the Castle of Almanza was probably a Christian enclave in the South named after Italian Spaniards from the northern hamlet who penetrated Muslim territory.

The surname "Almanzar" is Spanish Mozarabic, meaning "looking place". Because of the reasons just mentioned Almanza and Almanzar are not variants of the same name. Don Diego de Soto y Aguilar, en su segundo tomo de "Casas solariegas", menciona a don Juan de Almansa, famoso justador, de quien se dijo: "Lanza por lanza, la de Juan de Almansa".

Aburto Jr. Cinco de Mayo Memories by Frank Sifuentes Mike Lozano has a 30 year record of directing community service organizations. He began his career working as an Executive with the Boy Scouts of America in before taking the position of Recreation Director in his hometown of Hammond, Indiana.

Lozano is a graduate of Indiana University. He is a recognized historian specializing in American History. Mike can be contacted at beaglelozano hotmail. In each family there is one who seems called to find their ancestors. To put flesh on their bones and make them live again, to tell the family story and to feel that somehow they know and approve.

Doing genealogy is not a cold gathering of facts but, instead, breathing life into all who have gone before. We are the storytellers of the tribe. All tribes have one. We have been called, as it were, by our genes.

Louis area on a journey called the Corps of Discovery. Its goal was to explore the uncharted territory west of the Mississippi river that would become the United States. Americans have always been enticed by the West and drawn to exploring the other side of the mountain, where they could find new valleys covered with greener grass.

So I decided to embark on my own expedition of discovery. My goal was to explore all 50 states, and in the journey, discover my ancestors to find out what part they played in settling the new world. I wanted to find out what could help me in my quest to find meaning and purpose in my life.

Little did I know what great and exciting moments would be awaiting me. They set off on their journey in the spring of Two hundred years later, in the spring ofI was now following my own expedition. The original Corps of Discovery was made up of 44 explorers who traveled by keel boat and pirogue along the course of the Missouri river. A keel boat was about 45 feet long with a cabin, a sail and a flat bottom. A pirogue was an open, long, rowboat-type craft.

I would be traveling on interstate highways in my pickup truck with a bed cap. When the United States acquired the vast Louisiana territory in from France, President Thomas Jefferson decided to explore and improve the new lands. The President wanted the Lewis and Clark expedition to find the source of the Missouri River, and possibly, a water route to the Pacific Ocean. One interesting participant in the expedition was a Newfoundland dog named Seaman.

His value to the explorers is well documented in many historical accounts of the journey. I would have my dog Dudley go with me. In fact, Dudley would be my only companion. My journey would be much more extensive than the original expedition. My journey would take me to all 50 states. I planned to Album) from Boston to Monterrey, Mexico. I then would travel through the Southwest before heading back to New England and then to Canada and back through the Midwest to pick up the Lewis and Clark trail through the western states and on to Oregon and the Pacific Ocean.

My expedition would be a total of 23, miles compared with the original Lewis and Clark total of 8, miles. Every explorer is prepared for their challenges by their upbringing, that is, personal values, education, leadership skills and vocational abilities.

As I prepared to take on my expedition of discovery, it was important for me to take stock of the personal traits that would contribute to the successful completion of my upcoming challenge. In the spring ofI felt uninspired by my career. I had been working in non-profit youth organizations for 30 years. Often, petty politics, shady fundraising and personal agendas detracted from the real mission of these organizations—and this frustrated me. I felt myself falling into a deep mistrust of organization authorities.

Knowing that I was tearing myself down from the inside out, I decided to jump off this career track. I resigned my job as executive director of a recognized youth organization to find a new cause that I could believe in.

It was a time of mistrust in our government. Everyday, the disastrous Vietnam War was in the news. The Vice-President and President had resigned. Students were protesting everything from Vietnam to the exploitation of migrant farm workers.

Corporate America was pumping away with little regard for our environment. As a young man, I desperately searched for an anchor in this sea of chaos and lies. Now, as an adult, I was coping with my own questions of personal direction.

I was wrestling with disillusionment in my work life and the direction our country was taking. The war on terror now included pre-emptive wars. We were now in a war based on fabricated lies. Politicians constantly tried to pit one group against the other - abortion against pro-life, creative design against evolutionists, Christian right against left wing liberals, blacks against whites, everybody here legally against illegal aliens.

I needed to find myself. I needed to lift myself out of the confusion and chaos of my personal life. I needed to embark on a journey of discovery to find a path that would renew and inspire me. Using photos, he has gathered much useful research information, dates, ages, Texas locations, relationships, etc. To contact Oscar, email: oscaroke cox. Lucitamother of Fidela stands in the foreground.

Grandmother Lucita died at the age of My Tia Locha Eloisa also had a dark complexion. He never had any Children with his first wife "Nacha" and she would blame him that it was his fault, after she died he re-married and had a daughter who is now in her early or mid-twenties.

Whether in Texas or another state, or country for that matter. But my racial experiences came when I was young and the country was racially divided by Black and White. Being of Hispanic descent, I was in the gray zone and had trouble discerning what my color position was. I got along fairly well with both Black and White people but White people looked more down on you than Black Anyway, I'm told by cousins and friends that the color lines were much more fuzzy if you lived in the Valley area of Texas than if you lived further north toward San Antonio But the experiences never quite go away either.

My dad fought in WWII, earned a Purple Heart, and yet when he got back to the states and Texas, could not get a GI loan because the White administrator for that area didn't think he deserved one although it was ok to die for "his" country. It brought Dad years of bitterness and hate for whites. He is 83 now but still has vivid memories of the racial injustices. Alfred A. I found this out when I drove him from San Diego so that he could stay with his daughter and family in Memphis.

When we left New Mexico he looked at me frowning and said "Don't stop in Texas! He was stationed in Memphis where he met his first wife.

He went to San Antonio Texas for boot camp I think. There he encountered racial prejudice to an extent that he hadn't seen before. He was required to stay in a separate barracks, set aside for the "Mexicans". He was angered and humiliated so badly by this experience that to this day it brings up strong emotions in him. Well, needless to say, I drove through Texas without stopping even though we almost ran out of gas.

I been to Texas myself many times. And there was no question about it, this was one of our premier events: Along with the 16th of September Mexico Independence Day. It remained hard to imagine that there was any family in all the vecindades who did not know about these fiestas. Every single memory I have of the annual celebrations includes hundreds of our people, having a time of their lives. Cinco de Mayo celebrations were three nights of festivities with something for everyone in the family.

The children ran around all over the park and had the option of exploring los montes to the East at night. And of course a number of young lovers made their way in also to enjoy some privacy in their courtship.

Though there was no doubt about, the girls were often escorted by chaparrones; mothers, grandmothers, tias and even older sisters. There was a large kiosoko for a live mextex band that heavily favored music written by Augustin Lara, like Amapola, Quinto Patio, Maria Bonita aimed at melting the heart of lovers. Then there was the Latino compositions that include La Bamba, Mambo 5. Along with Pedro Infantge, Javiar Soliz. In fact me, Johnny Candelas and Victor Sanchez became contendas', we sounded super, even without the aide of a guitar.

With some beers our harmonizing, it worked like a charm, with each beer making us sound better and better! We were among the first to learn the lyrics of just about every song Los Panchos made popular. We the young folks from East Austin had little knowledge of Mexican history. Yet, never lost our appetite for it's main celebrations. The French had the most advanced military force in the world, technologically speaking, and were supremely confident that the invasion and the conquest would be a piece of cake.

They had been led to believe that the masses would even come to greet them. On the 5th of May l's Battle of Puebla, the ill equipped and ragged army of General Ignacio Zaragosa routed what was regarded as the most power army in the world.

The victory became a hard lesson for modern armies. The French had an arrogant disregard for the courage and patriotism of the Mexican people. They did consider that the Mexicans had a knowledge of their own geography, and were motivated by the ideals of a democracy; seeking liberation from the rich land owners who were selling them out to the French imperialists. Zaragosas' army killed over 2, French soldiers and sent the rest back to their ships, to return in defeat. The French returned with twice as many men, and even more modern weapons the following year They took control of Mexico by establishing a monarchy headed by Maximillian and his Queen Carlota.

Benito Juarez went into exile after vowing that his disposed constitutionally elected democracy's forces would not rest until the French left in defeat once more. And each succeeding Mexican government exploited it's significance to instill patriotism.

This ceremony aroused nostalgia in those who had immigrated to the U. For those of us born and educated in the American English-only public schools, we could hardly wait for all the shouting to be over and for the band to start playing again. If I dug deeply and focus on mining memories from the 12 years me and my family and friends who attended the Cinco de Mayo celebrations at Zaragosa Park, I might be able to fully recreate the three evenings from the 3rd of May to the 5th.

I can say for sure that everyone of them attracted a huge crowd that included all members of the families; from babies to the older generations. There was a large dance floor made of concrete about 50 feet long and 20 feet wide, where in my book the real celebration took place.

I had become a dancing 'fool' by age 15 after great lessons from my sister Carmen and her girl friends; and the sweethearts of East Austin who were kind enough not to reject a sorry- looking in-the-early-teens kid who had enough nerve to go up to them and ask them for a dance.

Of course from age 7 to age 18 I had gone through many stages. At age ll for example, Victor Sanchez, Luis Lopez and I The Three Muscateers hung around the booths selling cold drinks, hot dogs and tacos and watched the mini parades, in which young women walked in the direction of the West around the dance area, while the young men walked toward the East, until as the evening progressed, they slowly paired off.

I remember about the age of 16 I had considered myself as 'viable' in this enchanting tradition. I wish I could really do justice in describing the dynamics of it. The idea was to catch glimpses of the girls, first without them looking at you. As each turn increased the boys and he girls had gotten an idea of which boy they might be interested in getting to know.

It was a social happening that depended mostly on the eyes. First a casual uninterested look, then a interested but non-committal look, until the look communicated: me gustas. How could I ever forget the time Irma Saldivar cast her love light brown eyes my way with one of the worlds most beautiful smiles. Canicas: from puppy love to mature man and women love - on the 5th of May.

Of course it never was all that easy. It all depended on whether they came with a chaperone. There was even a special place for them on the edge of the South part of the dance from that had especial chairs for them.

And all I can say is they didn't miss a thing. Plus there was a very limited number of smiles coming from that direction. Irma Saldivar was a classic Mexican American. She was rich in Mexican culture and a modern American girl.

The truth is we had a feeling of love from the time we were in the 4th grade in Zavala Elementary School. However by the time she reached her early teens her family had moved to South Austin.

It was an entirely new ball game. Part 1 of a 3 part story. Heritage Discovery Center Cris Metz, a Getty Scholar will be speaking on the foods and their preparation in the kitchen of the early southwest. Her presentation will be a sharing of her the findings at and will include extensive collection of photographs.

For a catalog of Special books, go to www. Their sharing will emphasize the important role that the Spanish horses played in the development of the Southwest, with a special focus on California's history.

The following is an historical overview of this unique breed; its ancestry, uses, qualities, relationships to man and their importance in our cultural heritage. Source of Photo: www. The Cruce horses are one of a very small handful five would be very optimistic estimate of strains of horses derived from Spanish colonial days that persist as purely or as nearly as can be determined Spanish to the present day.

Most other strains have long been absorbed into the Quarter Horse breed with draft and Thoroughbred influence or have undergone extinction. They are the only known "rancher" strain of pure Spanish horses that persist in the southwest. The Cruce horses are of great interest because they are a nonferal strain. The only other strains of Spanish horses that persist to this day are the feral strains in certain isolated areas Kiger and Cerbat BLM herds currently, although examples of pure horses of other populations now extinct or contaminated are present in owned, managed herdsand the Choctaw Cherokee strains, which originated in the Southwest.

The Cruce horses, as a nonferal strain, are therefore ultimately truly unique. The horses are remarkably uniform, and of a very pronounced Spanish phenotype.

In some instances this is an extremely Spanish typed, such as is rare in other Spanish strains persisting in North America. This type is illustrated in paintings of Spanish horses during the colonial period, and it was a pleasant though great surprise to see it persisting to this day. The horses varied over a very narrow range from this extreme type to a more moderate type that is more common in other North American strains and Iberian strains today.

The need to conserve this herd is great, since they do represent an extremely unique genetic resource. The Food and Agriculture Organization of the United Nations has become interested in rare breed conservation over the last fifteen years, and their interest in horses is limited to those breeds that are uninfluenced by the Arabian and the Thoroughbred.

The reason they have limited their interest and energy to horses without such influence in the incredible scarcity of such populations worldwide. The Cruce horses fit in this category very securely, and are therefore of great interest and importance not only in North American, but also in the worldwide efforts to conserve genetically unique populations of livestock.

The American Minor Breed Conversancy is very interested in this population. It must be emphasized that this interest if very great in the case of the Cruce horses, and very limited with regard to most other horse types.

For example, the AMBC has no interest in the conservation of western feral populations except for the few two of purely Spanish phenotype. The Cruce population is a most significant discovery of a type of horse thought to be gone forever. Viola Rodriguez Sadler is coordinating this activity. Please contact her directly to request a presentation for your group, school, library, agency, special event, breakfast, luncheon or dinner social or business meetings.

Viola Sadler 1. Using Archives in Mexico 2. Death Records can be Gold. Mimi Lozano 1. What is SomosPrimos. Networking, the key to success 5. Black-Latino Connection 6. Hispanics in the American Revolutionary War 2. Bernardo de Galvez, General of the American Revolution 5.

The Black Legend and Hispanic Politics 6. The Founding of Spanish North America 8. Schmal 1. Trends in Mexican Immigration and Naturalization. Many thanks to the support of Staples, other corporate sponsors and our members! Santa Ana Blvd. Suite in the City of Santa Ana. Office hours are am - pm, Monday through Friday. Attendees also enjoyed delicious appetizers, prepared by Country Garden Caterers, and cocktails, donated by Straub Distributing, while touring the new facilities.

President Janet Cronick giving welcome remarks. Guests observing ceremony and presentations. Thanks to the strength and persistence of the NLBWA-OC board members and our loyal members, we have reached another important milestone! To learn more about the organization, its programs and upcoming events, please visit our website at www.

The play is based on collected research and oral histories of Mexican Americans of Orange County. Guerrero writes: "Few people in Orange County have knowledge of the history, positive contribution, struggles for social justice of Mexican communities. The rich stories of triumph and survival of our ancestors wait to be told to a new generation of Mexican Americans, Mexican immigrant communities, and the other populations residing in the county. RUN, don't walk to see this play!

I went to the reading last weekend and really enjoyed it and so will you. The performances free of charge. Donations welcomed, reservations are really necessary. El Centro Cultural de Mexico is located at W. Well done script and performers. Highly recommend attending. Following the reading, the audience is encouraged to ask questions. Information on the project also is available at www. Westminster, CA, Supervisor Correa pointed out that the Board consists of 4 Republicans and himself, a Democrat.

Also, that although Orange County became a county March 11,Correa was the first Hispanic, elected by the citizens not appointed to the Board of Supervisors. Awards were given in recognition of outstanding service to the community. At the meeting, I was helped to prepare and was able to submit the following, which was passed and will proceed to the state and national level for approval.

Whereas, the story of the Hispanic contribution to the formation and development of the United States has not be told. Whereas, H. Kennedy Memorial Library through June 9. During the s and '60s in the Mexican-American communities, baseball was, among other things, a way of connecting to American society, said Regalado. In the"Fernandomania" accompanied Valenzuela's meteoric first season with the Los Angeles Dodgers, and it illuminated the depth of baseball's meaning to the Latin community, said Regalado, a professor of history at California State University, Stanislaus.

Valenzuela's rookie season - and the response to it - served as a "wake-up call" for the mainstream media and scholars who had overlooked the significance of the Latin players to baseball's heritage, he said. If you need a pattern we have those too. Depending on the look you want, you can choose from different qualities such as jersey, viscose, jacquard, silk, demin, cotton, isoli and much more. Need something new for your home?

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See more. Cotton beige with flowers. A no-brainer consideration for Rockadrome. Imagine if Jimi Hendrix played in front of a jazz rhythm duo. Wild fuzzy wah wah guitar screaming over stand-up bass and scattered jazz drumming. If only the guitarist played that way for the entire duration - that would be some album! There's also some typical jazz guitar and on those cuts, you'll be wishing you had your Grant Green albums handy instead.

Steven Maxwell, most known for his group Cybotron, also lead this interesting fusion group. Perhaps Cybotron's "Colossus" is a good reference, mixing in saxophone lead rock with electronic sequences. Alpha Omega is more rooted in jazz, however, which includes some free blow sax and shredding guitar solos.

It's an odd combination. Passport's "Infiniti Machine" is also similar to this, though for certain more tame. Well worth hearing for the uniqueness factor. Alpha Ralpha's sole album is a wonderful, and perhaps pure, example of instrumental symphonic progressive rock. Given the name and cover, there's also an underlying space rock tone. The music has a warmth that was typical of the late 70s French scene, and a sound I find very appealing as I get older. In fact, it's that same type of familiarity we recently called out with the new Herba d'Hameli album.

Despite being in Hans Pokora's book as one of the rarest Spanish items, the album itself has little to offer musically. Primarily a song based rock album, not typical at all of the flamenco progressive rock movement of the day. Some Santana moves is all that saves this album from a total yawner.

Too bad, as the album sports a wonderful cover. AMA — Not Blobs. These were all pressed on cassette originally. The date of Not Blobs is based on the catalog number. Genuflex is listed 3rd as that's how the Freeman's from Ultima Thule have it ordered. Given that Liveloudandlumpy is from NovemberI'll surmise this one is from But it's only a guess.

AMA can quite simply be described as long and improvised, primitive sounding guitar-bass-drums psychedelic instrumental music with a muddy production. The kind of group that makes Tangle Edge sound like Conservatory students with an academic pedigree. A little of this kind of music goes a long way. It has a hypnotic effect as background music, but close inspection reveals all sorts of cracks, lines and warts. Like going to a dark restaurant and appearing on the surface to look beautiful, only later to be exposed in the bright lights to demonstrate the ugly truth.

Personally I like the raw intensity of the recordings, though probably not enough to lobby for a reissue. Perhaps the cassette format is perfect for these kind of recordings in that, like the medium itself, it's old and creaky. Start with "Not Blobs" if you're curios, as that one has an inkling of compositional acumen at least.

Ontario based group who recorded in Detroit, Amish were primarily a hard rock band with organ and guitar providing the solo leads. Heavily influenced by Uriah Heep and Deep Purple. Truthfully, albums like this were a dime a dozen back in those days, but Amish stands out due to the superb progressive oriented organ work, and I like the way they wah wah riff the rhythm guitar parts. Even some strange psych era interludes that recall bands like Stone Circus or even Strawberry Alarm Clock.

They even cover Traffic's 'Dear Mr. Bassist Mike Gingrich was later a member of the progressive rock group Nightwinds. High energy classically based organ prog trio like Trace, ELP and a host of Italian bands who were similarly influenced.

Would expect Long Hair to ultimately reissue this, especially considering they've now issued an archival album by them from the same time frame: "Keynotes: The Lost Tapes SWF Session " I have yet to hear it, but plan on buying it soon. Guitar blues rock trio.

One guy solos on guitar while the others keep time sort of. No vocals to get in the way. Or melody either. Sounds more American in its approach. Amber Soundroom did manage to reissue this on LP before going belly up. Not only is the album half German and half English, but some of it is recorded live and some in the studio. Talk about "cobbling something together" for a release.

There was quite a few of these private semi-progressive "Deutschrock" albums from the early 80s, and Amuthon fit squarely in the middle.

A little Anyone's Daughter, s era Grobschnitt and Novalis, Wintauge, Profil, Grim Reaper, and, oh, about more obscurities few have heard and even fewer care about. It's certainly good, and non offensive German rock musik. Anamorphose - Palimpseste France private.

An active jazz rock album. Reminds me some of Abus Dangereux's first album as well as some of Yoch'ko Seffer's s works. Smoking rhythms! I prefer the flute lead material over the much more heavily used soprano sax. Some great use of violin as well. Good album for the date considering the wasteland that was Jazz rock ensemble that reminds me some of Tantra, but perhaps more influenced by the bigger names of the day like Passport and Weather Report.

First album has violin which definitely adds points. Could see the excellent Spanish label Guersson putting these out. Boots exist. Angipatch - Vie France private. Angipatch - Delirium France private. Angipatch's debut "Vie" is a fine example of the dramatic French progressive style ala Ange and Mona Lisa. Of course, this is a more amateurish production, typical of the early s, but the effort is sincere and certainly worth seeking out. Perhaps Elohim's "Le Mana Perdu" would be a good reference.

On "Delirium", Angipatch mixes neo prog with new wave synth pop and French vocals, and is quite a step down from the debut. On this title, I was reminded of Elixir's "Sabbat" album. Lightweight electric folk duo. Was scheduled to be reissued by Transubstans, but looks to Album) tabled for now. Somewhat typical fusion of the day, primarily defined by the synth tones rather than the actual music content. The drummer definitely puts in a top performance.

Occasionally the keyboardist will play a guitar like solo on one of his older analog synthesizers. Also features a brilliant production. Overall, a bit too slick for me to lock horns with, but definitely recommended to fusion fans.

To date, Silence hasn't licensed any of their work out there's now hope as Handjort was recently licensed. In time, they put this on CD, but it's been a long time since they've tackled their back catalog. Maybe Mellotronen can talk them into a license or two? Features one of my all time favorite album covers!

Another Roadside Attraction are yet another late 's band that has that "Midwest progressive rock" sound that I'm quite fond of, and is littered throughout these pages. They feature the unusual lineup of two keyboardists, a drummer and a vocalist. The songs themselves have that slight FM radio slant that makes me a bit nostalgic. But the instrumental sections are right out of the classic ELP playbook.

Like those albums, hyper active acoustic piano drives the compositions forward. Synthesizers tend to be the solo instrument of choice.

If ProgQuebec ever becomes ProgOntario, then perhaps they'll take on this one! The LP itself has the look and feel of your typical US private press and features neat cover art. In the past yearvia the Laser's Edge, I learned about this Latin rock band and their album "Sincerely Antique". It's quite excellent, and I've featured it on UMR.

I didn't realize they had a second album until yesterday end of It's definitely more pop focused, but there are at least 4 tracks that remind me of the debut. Probably out of scope, but worth mentioning for fans of "Sincerely Antique". Sounds more like what was happening with their fellow countrymen in the s Dutch scene with albums from Cosmic Dealer, The Outsiders, and Q Plenty of excellent fuzz guitar and soloing to enjoy here.

All on top of some splendid older organ sounds. The opening tracks on each side are instrumental, and represent the best material on the album. The vocals are in machismo English - with a gospel tinge. Ex-Samla Mammas Manna guitarist performing an instrumental, and primarily Latin fusion album. Predictable, but well played. Nordic all-star fusion lineup, with all the expected sounds of the era. Apprentice - Rough Draft USA Mainstream Records not the Mainstream Records presumably Apprentice could be classified as a straight ahead fusion album, but it has just enough of an edge, especially in the 70's inspired guitar work, to add it here as a featured item.

There's no mistaking its s heritage though, especially noticeable in the thin sounding synthesizers, warm bass tones and slick production qualities. From the far south Chicago suburbs, comes the super obscure Ariel, an album that is just now making its sound heard worldwide. Early 80s Rush is the most obvious first influence, but there's more here than meets the ear as it were.

All instrumental guitar, keys, and drums are the core components, and the compositions are complex and tight - with a strong fusion influence. No escaping the King Crimson sound from the era either, but also surprisingly Doldinger's Passport, minus the sax imagine the sequencer heavy Moog lines for example. While Side 1 is impressive enough, the final three tracks do nothing short of wow the listener.

And they close with their peak composition, always a hallmark of a great album. Ariel does not belie its mid 80s sound despite the somewhat psych influenced guitar toneand yet compared with the normal dreck from the era, the band proves the middle 80s were not a total wasteland heavy metal genre exempted of course.

This one deserves the buzz its currently receiving in the underground. Apparently this album is a full story represented in song. As such, it can be unbearably vocal heavy. In fact he wrote the lyrics for at least one Ange track, so the comparison is more than cursory.

But the lack of instrumental breaks takes away any chance that non-French speakers will come out with anything but a Parisian Sunday-Morning-Comic-Book reading. Strangely enough, there is some mellotron interspersed that might endure the odd specialist to the album. Aquarell, lead by two female vocalists, is pretty much a German language folk album with a straightforward rock approach.

Some of this reminds me of late 70's Ougenweide, and there's plenty of dancing around the campfire festival singing going here too. In a couple of spots, the fluttering flute gave off a whiff of Jethro Tull, but not enough of that for the readers of this site I suspect. They have a second album, and judging by the cover, looks dreadful. And yes, you can judge a book by its cover!

Aquarelle - Live a Montreux Canada Atlantic. My reviews here: Aquarelle This will probably get covered by ProgQuebec, as they've done a great job of documenting the Quebec scene.

Sax and flute lead early English progressive rock. Echoes of Diabolus especially and the debut albums of both Gravy Train and Raw Material come to mind.

Fine organ solos with nice contrast provided by acoustic guitar. Multiple boots exist. Arakontis — Live at the Quasimodo Germany Arakontis play a fine Latin fusion with some nice guitar driven melody lines, and a fair amount of electric piano. Not atypical for the time and place, and another good example of the style. Not as fusion oriented as Rozz and less Latin than To Be, but both albums provide guideposts of what you can expect from Arakontis.

The albums listed here are the ones not on CD. Three of their titles not listed have been reissued by MNW prior. Swedish folk is the backbone, and from there they mix in jazz, world music, folk and a little bit of rock. Mostly out of scope, but fans of the fringe elements of avant progressive will certainly enjoy these. Arc - Maquette France Game. It's a distinctly French form of rock, and for what it is, it's pretty good. Don't expect Ange though. For their first album, Archimedes Badkar could be considered an alternative to Kebnekaise.

Whereas the latter mixed Swedish folk with blues and psych rock, Archimedes Badkar took the folk music through the jazz rock blender. It's a fascinating fusion, and the ethnic components are out front, so they're quite serious about it.

The cover of Big Boy in space reminds me of the first Austin Powers movie. I doubt they had Big Boy's in Sweden inso a bizarre sight indeed. Comes with a cool multi-page newspaper of lyrics and a postcard! There is a bootleg CD of this title. On the double LP second album, Archimedes Badkar moves from Swedish folk to that of India and Tibet though the homeland still is featured.

Here the jazz and rock components are toned down a bit. But with two albums to stretch over, the band has plenty of time to explore the various different creative avenues they set out for themselves.

Archimedes Badkar were four years ahead of Embryo's landmark double LP "Embryo's Reise" for this kind of European jazz fusion east-west sound. The second LP of the set goes for broke and the listener will experience a more experimental sound with hit and miss results.

Archimedes Badkar's third album, the overtly titled "Tre", was reissued a few years back. For me, it's the weakest of the three albums but still goodthough I know many folks disagree with my assessment.

Well known Italian pop star who got his start in the beat scene with I New Dada, and later formed Krisma with his wife Christina Moser.

Like most Italian pop stars in the early s, they had to take their one crack at progressive rock, and here it is. Similar to Lucio Battisti's more adventurous works, which is say, it's pretty conservative singer songwriter rock oriented material.

This is a new entry into the CD Reissue Wishlist, and comes as quite a surprise for me. Then I was told their 's albums were different, so I got ahold of "Los Elementales" which is on CDa highly rated fusion album from But while I thought it was good, it wasn't anything really that different or special.

This is one of the best things I've heard in the last couple of years. It's a mite inconsistent, which is part of its charm I think. Garden variety fusion with sax in the lead. Some fine fuzz soloing, but overall a bit of a snoozer. Instrumental medieval folk rock lead by the former guitarist from Raccomandata Ricevuta Ritorno and Samadhi. Reminds me of some of the bands coming out of Brittany during this time like Avel Nevez or an instrumental Malicorne.

Very nicely played especially the violinwith just a bit too much gloss in the production to have any impact.

Minimum Vital would later take a similar approach though with Baroque as a blueprint and apply much more firepower. Still a very worthy piece and a surprising sound to come from Italy. Fine Boston based pop psych, though not indistinguishable from their peers. Not sufficient to meet the demand though. Wonderful major label Crimson styled prog - also some Shylock, Carpe Diem and Memoriance can be heard. Musea has tried to reissue this in the past, but Phonogram appears not interested.

No one is going to get rich on this album, so might as well let the hobbyists have their fun! Artport is the kind of album I find very pleasant to listen to. Perhaps not something I'll froth about, but is easy to appreciate their technical ability, melodies and composition style. The main differentiator with Artport is the guitar is entirely acoustic. This is a very welcome sound in an all too predictable environment. You still get the 80s slap bass and sterilized shopping mall slickness - but the guitar is extraordinary.

I can easily recommend this to private fusion collectors. Artport are from Minnesota, and the album is obscure, though not necessarily expensive. Apparently this was sponsored by the Asahi Optical Company for a multi-vision show presented throughout The Netherlands.

It's in effect a proto New Age music with flutes, piano, percussion, organ, etc Like most 70s albums in this field it's much rawer than the slick gloss that followed throughout the s and beyond. As would be expected, the flow is very much like a soundtrack album.

I had this on LP many years ago, and recently received a request to add here. In other words, they were dead-on for their time. Chicago based Ashby Ostermann Alliance is a good example of early 80s fusion mixed with a strong rock aesthetic. In fact the AOA album doesn't give that indication early. It seems to be pointed in the direction of Latin Jazz, but about midway through Side 1, the guitarist begins to take over. Then the compositions take on more complex forms, and before you know it, you have a mighty fine progressive fusion album on your hands.

I wouldn't be surprised to hear that these guys knew or played with fellow Chicagoan group Proteus. Association P. Guitarist Toto Blanke's experimental jazz rock group well really it would be drummer Pierre Courbois' band, since he's the P. All of their albums are more towards "out jazz", with some rock elements interspersed throughout. The debut album was originally released under the band name Association Earwax, and is a bit more diverse. Some Soft Machine fuzz organ moments are offset by free rock and free jazz, as well as some more mellow late 60s jazz sounds.

But "Sun Rotation" goes beyond my personal realm of enjoyment at various times. But there are long stretches of free jazz here. It's not psychedelic, nor cosmic, nor spacey - but rather chaotic noise. Long drum solos, atonal shrieking, random tinkering of out of tune notes - whatever they feel like playing - whenever they feel like playing it. It's not controlled chaos either, but absolute free improvisation. There's an audience for this style, I just don't happen to be one of them - so I think it's only fair to mention it - as I'm rather certain I'm not the only one who doesn't like pure cacophony.

It's a pity that element is present here, as when they do catch a groove, it's quite exhilarating. Horrendously under produced music from Tulsa, OK, but a superbly complex progressive rock album lays behind the mess. A clean recording may take the grime off of this gem.

Fantastic symphonic space rock. A mixture of UK styled pop psych and one long progressive instrumental journey that makes up Side 2. Not a bad album at all, and ahead of its time.

The side long track has been included in a Love compilation, which probably nullifies the need for "Tranquillity Bay" to be reissued separately - presuming that's what drives the interest in this album as it does for me.

LP only release that's as good as their other recordings. Pioneers of the free folk movement. Just when you thought you'd heard every German funky fusion band from the late 70s and early 80s, in flies yet another one - this time its Heidelberg's Atrium.

Yea, get down baby. Track two 'Southern Breeze' then sends us on our expected island vacation, and here we have an upscale sophisticated soft tropical number with wordless voice. Excuse me sir? Can I get another Mai Tai please? Oh sure, with the umbrella is fine Track three gets us back into the darkened lounge for more funky business.

I do like that they use trombone, an instrument not represented near enough in jazz fusion. Next song reintroduces vocals, but this time in German. Over a disco beat mind you, but maybe we're getting somewhere now. What will Side 2 bring? OK, this is more like it. Psych guitar, electric piano, and more complex meters. And then the next one adds in a bit of progressive rock you can see where this is going can't you? Time for the longest track ' Quasimodo Man', coming in at a full 7 and a half minutes.

This one is a bit more typical hard edged fusion, with some trading licks of psychedelic guitar and synthesizer. Most of the Prescription Drug series is an homage to the more psychedelic elements of the Krautrock scene. Attack Wave Pestrepeller sets their sites towards the experimental electronic sounds of Kluster and their ilk.

An interesting modern take on a pioneering music. With a name like Audio Visions and a little violin, one has to presume Kansas played a big role in their initial setup. But it's still very much a product of the glossy 80s.

Simmons drums and tinny synthesizers are the order of the day. Another way to say it's art pop rather than full-on progressive rock. So for my tastes, this one isn't worth the effort. But I'm sure some folks are on the other side of this same fence. Wonderful complex cover art belies the contents. Audite is a vocal heavy German language album, with a clear affinity for the classic 70s progressive rock sound. Sophisticated arrangements are apparent, and the electric guitar work in particular is exemplary.

Synthesizers and even a little flute propel Audite to interesting status. No getting away from the canned early 80s production though. I was most reminded of Anabis' "Wer Will?

A good one for aficionados of the 80s German symphonic sound, though a bit of a slog for those looking for more dynamic instrumental input. Aum - Belorizonte Brazil Bemol. Then come the guitar solos, which are full of energy, complete with the compressed fuzz tone one would expect to come out of France at this time.

Definitely a cut above he ordinary instrumental fusion album. Aunt Mary - Loaded! I'm pretty certain "Loaded! Not sure the first album has ever been put out legit.

Pretty much typical hard blues rock with a few jazzy moves, similar to many a band from the UK during these times. Definitely one of the better horn rock albums. However most of these horn groups tried too hard for pop stardom, and failed miserably.

Or they were blues rock groups that added horns in a feeble attempt to be trendy. But Aura just kicks butt from beginning to end. They never lost focus of the horn charts and they're constantly a feature, rather than a side show for some lame songwriting.

Also some nice sax, organ and guitars solos to check out. Not sure if there's a market for this long forgotten style, but if there is, Aura along with Rodan and Gas Mask would have to be amongst the first few to get noticed for a CD reissue.

Largely excellent high-flying instrumental fusion in the classic RTF mold. The last couple of tracks in particular are absolutely blazing, one of which features a guest spot by Bunny Brunel. Strongly recommended to fans of stuff like Proteus, Spaces, Apprentice, etc. And really that's all there is to say. I could throw in perhaps Child's Play as another reference, an album we featured recently here. As well as Momentum, Genre, and others of its ilk. It's on the border of fusion and progressive rock.

It starts more in a typical early 80s jazz rock mode, but as The AC notes, it really picks up from there. There's some smokin' guitar leads here! I probably shouldn't like this album as much as I do.

It's very amateurish, but there's a magnetic charm about it. Comparable to the female vocal lead symphonic bands coming out of Germany during this time like Werwolf, Rebekka, Eden and Credemus. The Swedish language adds points too Personally, I love the language in song.

The band themselves have reissued this in both a CD-R and download format. But a CD-R is better than nothing! Arizona based group who play a blend of AOR and prog. Barely qualifies for this list, but holds some interest.

Perhaps the best album to mix folk with intense krautrock jamming. There's a fine line between electric folk rock and folk influenced progressive rock. With Brittany, the majority of the bands are the former. Avel Nevez, on "Service Compris" at least, is probably the most clear example of the latter at least from this French region. There's no mistaking the patriotism and indigenous melodies that define the Breton area the regional map in the trashcan says all you need to know politically.

However, the guitar and in particular, the synthesizer work points to a deep 's knowledge of French and UK progressive rock. If you're familiar with the mid 90's band Kadwaladyr, then Avel Nevez is probably closest in sound to that high spirited bunch. I haven't heard the first album, though it's my understanding that it's much more folk inspired. Axis is as eclectic an album as you'll find from the early 70s.

In some ways, it mirrors Aphrodite's Child's classic "" album, with its mix of song oriented pop psych and long complex instrumental journeys. Axis begins as a straight up hard rock album and moves over to Canterbury jazz rock and then onto free jazz. Side 2 is similar, though they add a symphonic rock angle as well. The keyboards on Axis are splendid featuring anything from fuzz overloaded organ to jazzy electric piano to layers upon layers of mellotron. The album features two bona fide monster tracks: "Materializing the Unlimited" and "The Planet Vavoura".

If the whole album were like these two songs, it would probably be in my Top 10 ever. Features an awesome psyched out gatefold cover. Here's a very rare album from the Azabu section of Tokyo that appears to have been just discovered. The first track is heavily influenced by era Chicago Transit Authority, which is a really good thing in my book.

What is this anyway? Off to the AC's notes I went You can tell that they're just trying to mess with your mind at this point. Soft acoustic folk-psych follows, but is disrupted by a noisy outburst and radio speech that is swallowed up in ominous avant-garde piano dissonance. A brief flute interlude precedes a headlong dive into wild garage psych, morphing into a full-on psychedelic jam with organ and absolutely insane fuzz guitar soloing.

Quietly, a rising chorus of birdsongs emerges, backing a return to the gentle acoustic folk guitar and flute heard previously. But then, a strange surge of fluttering electronics heralds a chaotic collage of Japanese phone conversation, backed by a sinister electronic dirge. Clattering percussion rises from this seething mass, heralding an onslaught of pounding rhythms, droning horns and destructive psych guitar, with wisps of strange noise and moaning in the raging storm.

Abruptly, the haunting acoustic folk psych and flute cut in, ending the chaos in a moment of zen. This is a truly harrowing piece of music, encapsulating the bad acid freakout visions you're glad you never had. Unfortunately, side two can't keep up this kind of all-out delirium, and the group's roots as a large-scale amateur music collective come to the fore, with some strange and inept jazz and folk songs, rambling detuned jazz bass and piano, and even a lengthy late night jazz club jam session.

However, a few moments of interest are still lurking within. Privately pressed in micro quantities and still only known to a few hardcore Japanese collectors, this album, while by no means a consistent masterpiece, is still an essential snapshot of authentic psychedelic freakout on the outer fringes of the era's underground scene. Truly a group stretching the boundaries of what was known - very much a product ofan era when this mentality was the norm rather than the exception.

The highs go really high here, and so the corresponding down time is more tolerable. Because there's some serious payoff action to witness. Always a hallmark of an album worth repeated listens. Psyched out, low budget, space folk from the fairer sex. It's a cool album really, though not necessarily inspirational like Quad and Ohr Musik. Somewhat similar to same period Kitaro, and a precursor to what Motoi Sakuraba would accomplish later in the decade.

I was later advised that his other 3 albums are much more laid back and that "Moonlight of Asia" is the more progressive rock influenced of the bunch. Not to be overlooked is the fine analog synthesizer work - especially some of the fat Moog sequencer runs. A good one for fans of late 70s electronic music. Details for this artist in English are scarce. Bad ass hard rock is the order of the day, with clear ambitions towards AOR pop sensibilities.

Anyone into the late 70s harder rock scene will appreciate - everyone else needs to run for cover. I'm partial to the sound - so lots of fun around here.

Reviews on the site. Mike M says: "World-ish psychy stuff a la Atman, Clivage". This was a test press reissued on LP by Hexamon in But never on CD.

Good progressive hard rock album from the Los Angeles underground. Chicago based, Berklee Schooled, Bagel O'Fun opens In the Underground Wonderland with one of those "head raisers" that features fiery guitar and organ, as well as a memorable melody. But it appears that their formal training in all aspects of jazz ended up coloring this work in a negative way.

For fans of early 70s rock-jazz, late 70's smooth jazz, as well as experimental free jazz, then I suspect this one will resonate. I suppose they were trying to create an underground wonderland, but it's too Art School for general acceptance though. Two excellent tracks and a lot of - albeit interesting - filler.

Song based progressive pop music sung in French. Relatively harmless, but does feature a few truly inspired progressions hidden within the commercial attempts. Not dissimilar to how the US groups operated in the mid to late 70s. Features a beautiful gatefold cover.


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