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Piano In The Dark - Various - True Eighties (CD)

These are sometimes accompanied by mellotron traces, which apparently were recorded as early as With the original recordings so greatly altered, not much remains of the original pieces.

The effects that appear briefly in the original, such as animal sounds or trains traveling in the distance, are also missing here. For a long time there was only one heavily revised, or better said: unrecognizable reworking of this music on CD.

It was almost ambient meditation music at times and very, very relaxing -- making one even begin to believe in a higher and peaceful way to be -- even if it seemed a pipe and joint dream. Blake's way of doing synths is unique and well worth sampling, no pun intended. Grab the remastered and expanded version for even more goodies. High recommendations. Back in the early 70s, your beloved reviewer was in college at the University of Maryland.

One of the joys of that distant era and dated locale was the wealth of prog, art rock, and electronic music available. No, this reviewer was no head, did no drugs, but was a bona fide straight-up, nerd. But Lord knows I did the endorphin high listening to the right tunes. Anyone who knew the best of electronic music knew Tangerine Dream and Klaus Schulze.

Enough of that nostalgia. Dream was magic. What's left of the original crew and their collective vision has long since mutated into something far short of "magic". On with the review. AirScuplture has rediscovered the magic. Even doing it all live, creating it onstage, sequences generated, scores developing and even the solos all scream, "Classic Tangerine Dream is back!

For a time I thought Dweller at the Threshold reigned as the only T. Dream king of the classic sound but wait. AirSculpture has topped the hill. They are the next wave. They are the new T. Dreamers extraordinaire! Mirror, mirror on the wall? AirSculpture is the fairest of all. Just look at these titles and track times: 1. Between and the label released twenty albums that included everything from spiritual jazz and soul-jazz to free jazz and funk. Eclectic described the music that the label released.

That described the albums that Black Jazz Records released during That was still to come. Doug Carn who was just twenty-three when he signed to Black Jazz Records.

Not long after this, he began work on his debut album Infant Eyes. Doug Carn put together a band and spent the best part of a year practising and then when he signed to Black Jazz Records recorded the album.

The rhythm section featured drummer Michael Carvin, bassist Henry Franklin and bandleader Doug Carn who switched between electric piano, organ and piano. Meanwhile his wife Jean added her unmistakable vocals. George Harper played tenor saxophone and flute and was joined in he front line by trombonist Al Hall Jr and Bob Frazier who played trumpet and flugelhorn.

This talented and versatile band worked their way through the seven tracks which became Infant Eyes. The session was engineered and produced by label owner Gene Russell and the album was scheduled for later in When Infant Eyes was released inDoug Carn still regarded the album as a demo.

Despite that, it was well received by critics and hailed as a groundbreaking album. It was a similar case with the other two albums Doug Carn released for the label. That was no surprise given the quality of the three albums he released.

The first was Infant Eyes. Initially the arrangement is intense and almost frenetic before the band lock into a groove. By then, the scat disappears as unleashes an impassioned vocal. On Moon Child Doug Carn switches to piano, and his playing is moody and melancholy. Meanwhile, the horns add an atmospheric backdrop during this eight minute epic which is an emotional roller coaster. Horns are to the fore Piano In The Dark - Various - True Eighties (CD) the organ sweeps and swirls and join with the cymbals in playing a crucial role in the sound and success of the track.

However, six years later Doug Carn added lyrics and his wife Jean takes charge of the vocal. Doug Carn added new lyrics full of social comment which are delivered by Jean.

She plays a leading role in the success of breathtaking, powerful and poignant take on a familiar track from the late, great jazz pianist. Despite that, it was the most successful album that Black Jazz Records released that year.

Infant Eyes was very different to old school jazz and was new type of jazz album. It featured everything from avant-garde and even elements of free jazz, funk, fusion, soul, soul-jazz and spiritual jazz.

These genres were combined by Doug Carn and Jean Carn who unleashed her five octave vocal on Infant Eyes which introduced the pair to the record buying public across America. This was just the first chapter in the Doug and Jean Carn story. Infant Eyes was the first of four critically acclaimed albums that Doug Carn released between and These albums are now regarded as cult classics, and amongst the best that Black Jazz Records released during the five years it was in business.

And nothing elsewhere in the infinite universe like them either. Peter will ask, you know: "Have you dug 'Faces in the Jazzmatazz'? And which person are you in "Flibbity-Jib'? But the thing he is probably best loved for is a series of albums released in the late Fifties on Dot Records called Word Jazz. The four albums, recorded between andhave been anthologized several times over the course of their history including a vinyl collection on Blue Thumb and a CD on Rhinobut they have never before been made available on CD in their entirety.

In all, 27 tracks make their CD Piano In The Dark - Various - True Eighties (CD). Needless to say, Ken has also written some notes, and has provided some rare photos for the set. The Charlie Parker Dial MastersThe Judy Garland Decca MastersThe Machito Columbia Masters —the titles assume a certain form: the imperious definite article, the name of the artist, the recording company, and, at the end, that masterful word, masters.

But he did not define his era, and it did not define him. He is a performing artist of indeterminate medium, all but unknown to the general public and not well-known among musicians either. Most of his career has been in television and radio, where he lent his dark, agile bassvoice to numberless commercials.

His album Colors was originally a series of radio spots for the Fuller Paint Company. The accompaniment is not always jazz, nor is it exactly accompaniment. The absence of any clear boundary between music and sound, or sound and voice, might spark the thought that word jazz has more to do with Cagean compositionin sound than any bongos-and-angst record.

But Nordine raises this possibility with the lightest touch, for he can be very funny, and this is maybe why his albums have aged so well. The twenty-page insert booklet includes appreciationsby Laurie Anderson and Tom Waits, reminiscences by Nordine and Cunningham, all the original cover art and liner notes, and a new poem by Nordine. The only shortcoming of this album is its stingy run of five thousand copies, which are intermittently hard to find.

So if you see a copy, snap it up while you can. Bass — Emmet Frazier tracks:toHarold Gaylor tracks: toJimmy Bond tracks: toJohn Frigo tracks: to, Drums — Bob Frazier tracks:toJerome Slosberg tracks: to,Red Holt tracks: to Engineer — Jim Cunningham tracks: toto, Mason Coppinger tracks: toto Woodwind — Ken Soderbloom tracks:toPaul Horn tracks: to Tracks taken from Next!

Track 20 recorded circa No re-channeled stereo was employed in this recording. The Fairchild stereophonic disc mastering was use in transferring the original masters from tape to disc.

Posted by Jillem on Friday, October 01, Sometimes I'm in the mood for hip music and nothing else will do. He is now highly recognized as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors. They're of such a similar qualitative standard that none can be singled out as definitive, or even recommended above the others. The 20 tracks are drawn from RCA releases spanning toincluding both original compositions and oddball versions of standards like "Harlem Nocturne," "Night and Day," "Malaguena," and "Take the 'A' Train.

Kansas City. The film has since been released on DVD, Internet sites etcetera, and the Floyd contributions to the soundtrack have appeared on some rarities and outtakes type compilations, but both are sunk in what is unsurprisingly deep obscurity. The box set Shine Onwhich collected and remastered seven albums spanning the period from Saucerful to Lapsealso had an extra disc named The Early Singleswhich for the first time collected in mono non-album singles and BSides that had previously been scattered around various compilations like Relics and Worksor in some cases, weren't widely available at all.

The fans went wild. The boxset was also the debut of the band's new label, Pink Floyd Records, a sub-imprint of Sony that will be responsible for any new reissues, including new re-pressings of all the band's albums on CD, and for the first time in a long while, on vinyl.

Community Showcase More. Follow TV Tropes. You need to login to do this. Get Known if you don't have an account. Pink Floyd in Januaryfrom the only known photoshoot during the five months that all five members were together. Matter of fact, it's all dark.

It seems to take no time at all A momentary lapse of reason ' That binds a life to a life. Our thoughts strayed constantly and without boundary The ringing of the division bell had begun. Peter Jenner: Syd Piano In The Dark - Various - True Eighties (CD) a handsome boy, he was beautiful and one more part of the tragedy is that he became such a fat slob, he became ugly.

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Record Report in Spanish. Digital C. He also expanded the role of the tres as a solo instrument. The big band era arrived in Cuba in the s, and became a dominant format that survives. Two great arranger-bandleaders deserve special credit for this, Armando Romeu Jr. Armando Romeu Jr. He had experience playing with visiting American jazz groups as well as a complete mastery of Cuban forms of music. In his hands the Tropicana presented not only Afrocuban and other popular Cuban music, but also Cuban jazz and American big band compositions.

Later he conducted the Orquesta Cubana de Musica Moderna. Damaso Perez Prado had a number of hits, and sold more 78s than any other Latin music of the day.

The orchestra began to sound more Afrocuban, and at the same time Prado took influences from StravinskyStan Kenton and elsewhere. By the time he left the orchestra in he had put together the elements of his big band mambo. He had an innate musicality and fluid tenor voice, which he colored and phrased with great expressivity. His orchestra, the Banda Gigante, and his music, was a development — more flexible and fluid in style — of the Perez Prado orchestra, which he sang with in — The rumbustious conguero Chano Pozo was also important, for he introduced jazz musicians to basic Cuban rhythms.

Cuban jazz has continued to be a significant influence. The mambo first entered the United States aroundthough ideas had been developing in Cuba and Mexico City for some time. The mambo—which became internationally famous—was a big band product, the work of Perez Pradowho made some sensational recordings for RCA in their new recording studios in Mexico City in the late s.

In the U. Among these was Celia Cruza guaracha singer. As a percussionist, he performed with Josephine Baker and Frank Sinatra.

He returned to Cuba in after Fidel Castro came to power in the Cuban Revolutionwhich he helped fund with contributions from his earnings as a musician. Mambo is a musical genre and dance style that developed originally in Cuba. Perez Prado's style differed from the previous "Mambo" concept. The new style possessed a greater influence from the North-American Jazz band music, and an expanded instrumentation consisting of four or five trumpets, four of five saxophones, double bass, drum set, maracas, cowbell, congas and bongoes.

The new "Mambo" included a catchy counterpoint between the trumpets and the saxophones, that impulsed the body to move along with the rhythm, stimulated at the end of each musical phrase by a characteristic deep throat sound expression.

Prado's recordings were meant for the Latin American and U. Latino markets, but some of his most celebrated mambos, such as "Mambo No. That way of singing also helped to mask the poor singing skills of the orchestra members. When the dance was coupled to the rhythm of the music, it became evident that the dancer's feet were making a peculiar sound as they grazed the floor on three successive beats.

From this peculiar sound, a music genre was born which motivated people from around the world to dance at its catchy rhythm. Filin was a Cuban fashion of the s and s, influenced by popular music in the US. The word is derived from feeling. It describes a style of post-microphone jazz-influenced romantic song crooning. The filin movement originally had a place every afternoon on Radio Mil Diez. Modern Cuban music is known for its relentless mixing of genres.

Mixtures including elements of hip hopjazz and rock and roll are also common, like in Habana Abierta's rockoson. The triumph of the Cuban Revolution in signalled the emigration of many musicians to Puerto RicoFlorida and New Yorkand in Cuba artists and their work came under the protection and control of the Socialist state, and the monopoly state-owned recording company EGREM.

The Castro government abolished copyright laws in Cuba, closed many of the venues where popular music used to be played e. Many young musicians now studied classical music and not popular music. All musicians employed by the state were given academic courses in music. The state took over the lucrative Tropicana Clubwhich continued as a popular attraction for foreign tourists untilwhen it was closed along with many other music venues and later reopened with the rebirth of tourism.

Traditional Cuban music could be found in local Casas de la Trova. Musicians, if in work, were full-time and paid by the state after graduating from a conservatory. The collapse of the USSR inand the loss of its support for Cuba changed the situation quite a bit.

Tourism became respectable again, and so did popular music for their entertainment. Musicians were even allowed to tour abroad and earn a living outside the state-run system. Famous artists from the Cuban exile include Celia Cruz and the whole conjunto she sang with, the Sonora Matancera.

Many of these musicians, especially Cruz, became closely associated with the anti-revolutionary movement, and as ' unpersons ' [] have been omitted from the standard Cuban reference books, and their subsequent musical recordings are never on sale in Cuba. Salsa was the fourth innovation based on Cuban music to hit the US, and differed in that it was initially developed in the US, not in Cuba.

Piano In The Dark - Various - True Eighties (CD) Cuba has so many indigenous types of music there has always been a problem in marketing the 'product' abroad to people who did not understand the differences between rhythms that, to a Cuban, are quite distinct. So, twice in the 20th century, a kind of product label was developed to solve this problem. The first occasion was in the s after " The Peanut Vendor " became an international success. It was called a 'rumba' even though it really had nothing to do with genuine rumba: the number was obviously a son pregon.

The label 'rumba' was used outside Cuba for years as a catch-all for Cuban popular music. The second occasion happened during the period — in New York Cityas musicians of Cuban and Puerto-Rican origin combined to produce the great music of the post Cha-cha-cha period. This music acquired the label of 'salsa'. Tito Puentes once said, now they call it Salsa, later they may call it Stir Fry, but to me it will alway be Cuban Music"; but over time salsa bands worked in other influences.

New York radio programmes offered 'salsarengue' as a further combination. You look at a band of the s playing Cuban music and you will see the same exact instruments in Salsa Music. Later still 'Salsa romantica' was the label for an especially sugary type of bolero. It was not until the s that Cuban music became popular for Puerto Rican bands. Plena, Bomba and other styles or music were popular at the time in Puerto Rico. Many famous Puerto Rican musicians went to learn the music styles of Cubans in the s and s, and it was not until the arrival of Castro in and the Cuban music stopped its exportation to the world, that Puerto Ricans in New York were able to be greatly noticed, but what is known as Salsa today, was brought to New York in the s and s by Dizzy Gillespie and Chano Pozo[] [] this last one was discovered by Dizzy Gillespie as he was one of the greatest percussionist that ever lived.

The question of whether or not salsa is anything more than Cuban music has been argued over for more than thirty years. Initially, not much difference could be seen. Later it became clear that not only was New York salsa different from popular music in Cuba, but salsa in Venezuela, Colombia and other countries could also be distinguished.

It also seems clear that salsa has receded from the great position it achieved in the late s. The reasons for this are also much disputed. It differed from the traditional trovanot because the musicians were younger, but because the content was, in the widest sense, political.

Nueva trova is defined by its connection with Castro 's revolution, and by its lyrics, which attempt to escape the banalities of life by concentrating on socialism, injustice, sexism, colonialism, racism and similar issues.

Nueva trova had its heyday in the s, but was already declining before the fall of the Soviet Union. On the other side of the spectrum, Carlos Varela is famous in Cuba for his open criticism of some aspects of Castro's revolution. The nueva trova, initially so popular, suffered both inside Cuba, perhaps from a growing disenchantment with one-party rule, and externally, from the vivid contrast with the Buena Vista Social Club film and recordings.

Audiences round the world have had their eyes opened to the extraordinary charm and musical quality of the older forms of Cuban music. Even " Guantanamera " has been damaged by over-repetition in less skilled hands. All the same, those pieces of high musical and lyrical quality, among which Puebla's " Hasta siempre, Comandante " stands out, will probably last as long as Cuba lasts.

Son remains the basis of most popular forms of modern Cuban music. Sierra Maestrais famous for having sparked a revival in traditional son in the s. Nueva trova still has influence, but the overtly political themes of the s are well out of fashion. Meanwhile, Irakere fused traditional Cuban music with jazzand groups like NG La BandaOrishas and Son 14 continued to add new elements to son, especially hip hop and funkto form timba music; this process was aided by the acquisition of imported electronic equipment.

There are still many practitioners of traditional son montunosuch as Eliades Ochoawho have recorded and toured widely as a result of interest in the son montuno after the Buena Vista Social Club success.

Europe-based Cuban female singer-songwriter Addys Mercedes merged her roots of Son and Filin with elements of urban, rock and pop-music, reaching mainstream airplay charts in Germany. In the s, increased interest in world music coincided with the post-Soviet Union periodo especial in Cuba, during which the economy began opening up to tourism. Cubans have never been content to hear their music described as salsaeven though it is crystal clear that this was a label for their music.

Though derived from the same roots as salsa, Timba has its own characteristics, and is intimately tied to the life and culture of Cuba, and especially Havana. According to Vincenzo Pernaauthor of Timba: The Sound of the Cuban Crisistimba needs to be spoken of because of its musical, cultural, social, and political reasons; its sheer popularity in Cuba, its novelty and originality as a musical style, the skill of its practitioners, its relationship with both local traditions and the culture of the black Diaspora, its meanings, and the way its style brings to light the tension points within society.

The use of synthesised keyboard is also common. Timba songs tend to sound more innovative, experimental and frequently more virtuosic than salsa pieces; horn parts are usually fast, at times even bebop influenced, and stretch to the extreme ranges of all instruments.

Bass and percussion patterns are similarly unconventional. Improvisation is commonplace. Several projects gained international attention in the s due to their revival of traditional music styles such as the son cubano of the septeto and the conjunto era. Founded inSierra Maestra band was one of the first revivalist groups in Cuba. The release of the latter in September was a true watershed event.

The album became a worldwide hit, selling millions of copies and turning established musicians into globally renowned figures. Buena Vista resulted in several follow-up recordings and spawned a film of the same nameas well as tremendous interest in other Cuban groups. In subsequent years, dozens of singers and conjuntos made recordings for foreign labels and toured internationally. The conclusion some have drawn is that the wholesale closure of popular music venues after the revolutionwhich threw many musicians out of work, and subsequent control by state committees, damaged the development of Cuban popular music.

Hip hop grew steadily more popular in Cuba in the s and s through Cuba's Special Period. Poverty became more widespread and visible in Cuba. In the s, some Cubans started to protest this situation by means of rap and hip-hop. During this period of economic crisis, which the country's poor and black populations especially hard, hip hop became a way for the country's Afro-descended population to embrace their blackness and articulate a demand for racial equality for black people in Cuba.

When hip-hop emerged, the Cuban government opposed the vulgar image that rappers portrayed, but later accepted that it might be better to have hip-hop under the influence of the Ministry of Culture as an authentic expression of Cuban Culture.

In some ways, hip hop is tolerated by the government of Cuba and performers are provided with venues and equipment by the government. The government gives rap and hip-hop groups time on mass media outlets in return for hip-hop artists limiting self-expression and presenting the government in a positive way.

Both lyrics and dance movements have been criticised. Reggaeton musicians such as responded by making songs that defended their music. The musical interaction between Cuba and the US is ancient. Already in the 18th century, during the Spanish rule of Louisiana —the Havanese orchestras and bands offered concerts in New Orleans and in the 19th century the Cuan contradanza was very popular in the US.

At the beginning of the 20th century, the first jazz bands were created in Cuba, in the style of the American groups. The group played during 14 years at the Teatro Principal de Sagua. The strong influence of the American music on the Cuban younger generations gave way to the beginning of the soloists and groups of rock and roll in Cuba during the s.

Many Cuban artists sang versions of American songs translated to Spanish, as it was also happening in Mexico. The launching of the group Los LLopis represented the entrance in a new stage for the Cuban music, that of the generation and amplification of the sound by electroacoustic devices; because in the sound composition of this group one can observe a novel element of great importance, the inclusion of an electric guitar.

The vocal quartet Los Zafiros was another successful group from the beginning of the sixties. Founded init was influenced by the doo-wop style of The PlattersThe Diamonds and other American groups, and counted on a repertoire consisting of ballads, calypsos and bossanovas, as well as songs with a slow rock ad bolero rhythms.

Its style, strongly influenced by the British Invasion groups, as the Beatles and the Rolling Stoneswas labelled as "deviant" and consequently repressed without any hesitation. Since then, the Revolutionary government of Cuba began to implement an absolute control over all aspects of the Cuban society, including, of course, all cultural expressions.

Aroundthe Revolutionary government implemented a strategy to substitute the foreign products that the young people preferred, with others that better matched their official guidelines; and as a result of this strategy, a new radio program called Nocturno was broadcast inwhich initial musical theme was "La chica de la valija" Girl with a suitcase from the Italian sax player Fausto Papetti.

Actually, rock music began to be heard in Havana during the seventies, in a radio program from Radio Marianao called Buenas Tardes Juventud. At the beginning of the eighties, that radio station joined Radio Ciudad de La Habana. They achieved much success and created a headbanger following among the Cuban youth. Punk rock was introduced in Cuba in the late s and gained a cult-type following among a minority of the youth.

During the nineties, rock and roll in Cuba was still an underground phenomenon. In Havana, the "Ciudad de La Habana" radio station presented several programs showing the most recent tendencies on that type of music around the world. Juan Camacho, an old musician and radio host had a morning program called Disco Ciudad. Some bands from that period were Gens, Zeus and Los Tarsons. Inthe Welsh group Manic Street Preachers was invited to perform in Cuba, [] and Fidel Castro attended its concert along with other government authorities.

InCastro gave a speech honoring the Birthday of John Lennonwhose music, as a member of The Beatles and as a soloist, was banned in Cuba for a very long time.

A bronze statue of Lennon was placed in a Havanese well known park, and it became a notoriety because of becoming a victim of constant vandalism from passers by that frequently stole its bronze spectacles. At the same time that the government was showing a more indulgent attitude toward the foreign rock groups, as part of an international campaign which purpose was to achieve an opening in the commercial transactions and investments of the US and Europe in Cuba, it continued to implement an inflexible repression against any form of internal dissidence.

More recently, Rick WakemanSepultura and Audioslave performed in Havana, [] and The Rolling Stones offered a historic concert that has become the most outstanding rock event since the beginning of the Revolutionary period in A new phenomenon occurred in when several Cuban metal bands begin to emigrate to the United States, creating a parallel scene with the bands Agonizer, Escape, Ancestor, Hipnosis, Suffering Tool and Chlover []. The works below are reliable sources for all aspects of traditional Cuban popular music.

Spanish titles indicate those that have not been translated into English. From Wikipedia, the free encyclopedia. Music and musical traditions of Cuba. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. October Learn how and when to remove this template message. Main article: Classical Guitar in Cuba. Main article: Classical piano in Cuba. Main article: Classical violin in Cuba.

Main article: Piano In The Dark - Various - True Eighties (CD) in Cuba. Main article: Musicology in Cuba. Main article: Zapateo. Main article: Guajira music. Main article: Criolla. Main article: Music of African Heritage in Cuba. Main article: clave rhythm. Main article: Cuban Carnival.

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9 Responses to Piano In The Dark - Various - True Eighties (CD)

  1. Mezshura says:

    Elton John song lyrics collection. Browse lyrics and Elton John albums.

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    Pink Floyd were a British Psychedelic and Progressive Rock band which formed in The initial line-up consisted of Syd Barrett and Rado “Bob” Klose on guitar, Roger Waters on bass, Richard Wright on keyboards, and Nick Mason on drums. They recorded several songs before Klose left to focus on studies. note The four-piece then went on to gain a reputation as one of the foremost British.

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    It's got mild smokey dark jazz vibes, but it's way, way too long and too repetitive. And that closer is segmented as follows: multiple unaccompanied overdubbed saxophones playing an almost liturgical theme, unaccompanied spoken word (in Italian, the only time that language is spoken on the CD), drums and saxophone, then the overdubbed saxes again.

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    Progressive Electronic is a progressive rock music sub-genre. Top Progressive Electronic artists: Tangerine Dream, Klaus Schulze, Brian Eno, Kraftwerk, Edgar Froese, Steve Roach, Ashra, Heldon, Bass Communion, Harold Budd, Fripp & Eno, Coil, Robert Rich, Alio Die, Radio Massacre International, and more. Definition of the genre, Top Progressive Electronic (Progressive Rock) albums, Download.

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    "You and I" is a downtempo song featuring instrumentation from electric guitars and piano, with Gaga and Lange providing background vocals. The song received critical acclaim, with reviewers listing it as one of the highlights from Born This Way.

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    Music, Film, TV and Political News Coverage. "I feel like it was very disturbing to have to relive those moments," Clary tells Gayle King of testifying against singer.

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    Online Dictionaries: Translation Dictionary English Dictionary French English English French Spanish English English Spanish: Portuguese English English Portuguese German English English German Dutch English English Dutch.

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    The music of Cuba, including its instruments, performance, and dance, comprises a large set of unique traditions influenced mostly by west African and European (especially Spanish) music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional music in the world.

  9. Kigarn says:

    Architecture & Morality is the third studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 8 November by Dindisc. Inspired by religious music, the band sought to broaden their musical palette by utilising elaborate choral samples, the Mellotron, and other new instruments to create a more naturalistic, emotive sound.

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