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Francis Luther - The Return Of Barnacle Bill, The Sailor / Peg-Leg Jack (Shellac)

22.01.2020 Magore 7 Comments



Download Francis Luther - The Return Of Barnacle Bill, The Sailor / Peg-Leg Jack (Shellac)

See schematic drawing. This permits me to set up the cartridge for any playback mode instantly, without demounting the cartridge itself or touching the wiring of the arm. It also eliminates the need for a "Stereo -Monophonic" switch on my turntable. Although I do not presently use a stereo amplifier, I have built my turntable so that it can readily be connected to one if I ever do convert.

I use the. I have also found that the stereo stylus will do an ex- cellent job of tracking the extremely fine grooves of my one Edison long-play record, a inch, 24 -minute affair. It's truly amazing that Edison could Tea - King Diamond - The Best Of King Diamond 12 minutes of playing time on one side of a 10 -inch record.

The grooves are spaced to the inch, almost twice as many as today's LP's. Too bad he didn't record those discs electrically; they'd have been a real sensation, but I digress The 2. I get excellent results from the 2. This may be due to the tracking characteristics of my arm, which is viscous -damped. Stylus pressure for all records is about 4 grams. I wrote to Pickering to ask whether they could provide a custom-made 7-mil stylus, but was informed that they could not.

As a result, I am now searching for some maker of stereo cartridge who can supply the necessary custom styli that will make his cartridge a truly universal unit for the collector.

It will be noticed that the jumper plugs for the lateral and Konzert Für Violine Und Orchester D-Dur Op.

61 - Beethoven* - Pinchas Zukerman • Chicago Symphony Or monophonic modes are- so wired as to place both RCA plugs in parallel. This has been done for two reasons. Secondly, if you have a stereo amplifier, you can get two -channel sound from all records without external switching networks, and by having the cartridge properly phased, you get best quality.

Although it would be possible to eliminate one of the phone jacks if only a monophonic amplifier is to be used, I would recommend setting up your turntable and arm for possible stereo use. You may con- vert your amplifier someday, so why not have the turntable ruadyt My tone arm is a Realistic SA stereo transcription arm, with single-point suspension, viscous damping and removable head for changing cartridges, It is equipped with five wires, four for the individual cartridge pins and one separate ground lead for the body of the arm itself, the tone arm ground lead and the number 2 lead from the cartridge are connected together at pin 2 of the socket.

The socket is a 7-pin miniature tube socket, and the plugs are matching 7-pin miniature male plugs. Jumper wires soldered between pins of the plugs connect the two The Day Before Tomorrow - BMX Bandits - Totally Groovy Live Experience ! in the various relationships needed for vertical, lateral or stereo play- back, and connect the channels to the RCA plugs to which the The Sailor / Peg-Leg Jack (Shellac) or amplifier input cables are attached.

To Mr. Chichester's list of requirements, I would like to add these further comments: 1. At least one stereo cartridge that I know of, made by RCA for broadcast use, has only three pins, and cannot be phased for vertical playback. It is worth noting, by the way, that almost any other stereo LFO (The Leeds Warehouse Mix) - Various - Global Underground made can be phased in this way.

I shall go into this in more detail a bit later. I recommend a turntable with variable speed because I have found that not all records are cut at a uniform speed of 78 rpm. The very early disc records, such as Berliner and Zonophone, were generally cut at 70 rpm. Many later discs were recorded offspeed, too; I have found several Victor recordings of World War 1 songs that were cut at less thpn 78 rpm, and, as a result, have to be slowed down somewhat for best reproduction.

I have had no experience with the Metzner, but I have used the Rek-O-Kut for over eight years, Frozen Teardrops (Michael Kaye Radio Edit) - Guru Josh Feat. Lauren Rose - Frozen Teardrops found it quite satisfactory. As sold, the Rek-O-Kut table is continuously variable in speed between a minimum of 25 rpm and a maximum of rpm, assuming Francis Luther - The Return Of Barnacle Bill power frequency of 60 cps.

Loosen all four screws, tjien remove them one by one. Reassemble tlie motor mount - Ing and the rest of the turntable, and you're in business. It will pe necessary to re -calibrate the I Drove All Night - Cyndi Lauper - A Night To Remember settings that are painted on she motor base, using a stroboscope disc.

If you feel queasy about tackling a job like this, call in a sex vice -technician. You may, however, have a job to persuade him to undertake the turntable modification job, but a strong, persuasive argument should do the trick. This modification lowers the maximum speed of the table to something like 85 rpm, but it seems still to be enough for the 90 rpm Pathe discs.

Paul, Minn. Having through the years been taught but not bought by the Variety school of thought, I flattered myself that, not expecting miracles, my stride would easily be equal to whatever excesses of omission or commission I might find. An indispensable reference for newspapers, magazines, music publishers, radio and TV stations, writers, critics, program arrangers, and musical directors.

Again, "Omissions? There are plenty, as the compiler ijcnows. They are the lacunae that disturbs every bibliograpner's senseof detail -- the inevitable disappointments attending his most careful efforts.

In a work of this category, each perusal reveals one or more so-called 'glaring 1 omissions Some - indeed, many - titles have inevitably escaped the compiler's attention Mattfeld manages to convince us with it that whatever the omissions, they are minor and unintentional, instead of which they are wholesale and must therefore be unquestionably calculated.

The blurb from prentice- Hall in the Times would deceive anyone into believing that practically all popular music from to about is listed. This is promptly cut down to a much smaller figure by the qualification in the preface about covering only what is in print currently. Tricky as I felt this to be, I was prepared to compromise grumbingly until I began to discover that, of every five references my song titles required, three would not be listed.

My collection does not con- sist of a majority of obscure compositions that no one is likely Francis Luther - The Return Of Barnacle Bill have heard of.

Ready as I was tc copy with a disconcerting degree of incompleteness, as one unbelievable omission followed another and they very soon became hundreds, in amazement and disgust I decided to do a little checking. The twenties represented the peak of the popular song, both in quality and in quantity, and I thumbed through a record catalog Francis Luther - The Return Of Barnacle Bill wrote down a list of titles just from the "dance record" sec- tion.

Not all of them, not even half of them; just those that 1 know attained at least a reasonable degree of popularity. Here are some that Variety did not see fit to include in their compen- dium: Ah-ha! The Gramophone Co. Graves was Religious President of the St. John's Men, meeting at St. John's Chapel, and conducted religious services. In he was described as "a jeweller, manufacturer of cutlery, plate, tools and furniture and a dealer in woo llen goods ". In Graves was stocking Columbia Graphophones as shown The Sailor / Peg-Leg Jack (Shellac) his 'musical catalogue No.

In January,his trade mark was a bulldog's head within a circle with "J. Trade Mark" on a cartouche below. By Nov. In January,Graves filed for Ariel as a trade mark. This was registered in September,so it must have had an interference to have taken so long to become registered.

By November,records were priced at 3 shillings each, still offering 20 selections for approval. June, 30th. September at the latest Zonophones would then be selling at 1s. Graves was distressed as he was hoping to hold the price at 2s. He was only paying 7d. Polyphon pressings cost only 6d. Graves had done all the selecting and 'coupling-up' of his Zonophone choices on Sundays. Graves sued when Odeon reduced its retail prices and he obtained a 2d.

Similarly, Francis Luther - The Return Of Barnacle Bill obtained a rebate The Sailor / Peg-Leg Jack (Shellac) Jumbos when their price was reduced.

Otto Ruhl, the Fonotipia Ltd. Despite his reluctance to go through with the deal for pressing Zonophones for Ariel Grands it is obvious that Graves and the Gramophone Company came to some agreeable terms for the contract ofdiscs. I have no further material on the Graves company excepting that Ariel Grand records cost 3s. Ariel Concert inch were at 6s. Graves Francis Luther - The Return Of Barnacle Bill said to be doing a huge business especially then, through its absorbtion of the Hertford Record Co.

I chose the trip which grad and Kiev Babu Yar and reflect that had those Nazi included Kiev because I have corresponded with a collector armies come to Britain and not The Sailor / Peg-Leg Jack (Shellac) USSR I might myself have there since iexchanging Lp records with him I was been laid in a mass grave. Such is the futility of war.

The of it since my youth as the last home of Anton Checkhov,where world of collectors throws up the identical names of the top I saw an unexpected musical association - the piano upon which artists whether one speaks Ukrainian or English. The Rachmaninov accompanied Shaliapin during a visit to the writer. Machulin, drums; Eugene Ivchenko, reeds, especially tenor Most of The Sailor / Peg-Leg Jack (Shellac) holiday in Leningrad and Moscow was spent visiting saxophone, and flute; Gregory Mayevsky, bass.

It was an historic buildings, museums, etc, but there was sufficient excellent evening. As far as jazz was concerned, the music free time to wander as one wished, and for your editor to heard was as excellent as one could hear anywhere.

It just take the wrong underground metro train in Leningrad,allowing demonstrated how little we really know of the ordinary him to see a big residential area instead of the battleship people of other countries. I The Sailor / Peg-Leg Jack (Shellac) probably the oldest person "Aurora"! It was far more like a big British town than he in the audience.

Most of the others were young enough to be my children or grandchildren. Some spoke English and seemed expected with people doing"familiar" things - such as a to know all about jazz around the world, and its musicians. Having lived as a boy for a while with only 21 miles of the I saw and heard! The Opera House in Kiev was being refurbished with dozens of workers swarming all over the place, with scaffolding all Oleg Lundstrem who began over fifty years ago is still leading around it.

In Leningrad was an excellent production of La Traviata, but the Moscow Bolshoi Company was still on tour and the painters were busy re-decorating. So, I had an evening at the Circus, not realising that in its "big top" would bring it to perform within a mile or so of my own home!!

Their jazz records and those of other groups were available. Although the "package tour" gave insufficient time to visit the big Melodiya record shop on Kalinin Street, Moscow, I did go to the record department in G. There were Lp reissues galore as well as "current" items. The first Lp to catch my eye and roubles was a reissue of Ershov.

In the popular field "nostalgia" seems equally important with Lps by Admittedly, with the exception of Yalta, I visited towns whose populations are each no doubt support any on the same tour was unfamiliar classical hoardings advertised So, with the wealth of historic buildings and art to see, comparison of flowers growing with those in Britain, friendly ordinary people,there was plenty to occupy one's holiday without The Sailor / Peg-Leg Jack (Shellac) tiniest trace of politics put upon us which our distorted popular media had led one to expect.

Most of these records had already been issued on the Metropole label, though not always in the same couplings. Some Piccadilly's bear a Metropole matrix, prefix M. Others have a new matrix number, though this may have been invented for internal reasons. Edison 2-minute cylinders by T. Indeed, another gentleman delighted with the selection of records of music he was able to buy. Notices on the all sorts of entertainment.

Edward German. However, the pieces have been coupled in different sequence for the Piccadilly reissue. Dobson Hopper, described as 'this new singer'". Has a second matrix number ductor of orchestral accompaniments or plays the piano and respectively. The only extra matrix numbers in the same capacity on all Piccadilly reds. I have found. The second Night And Day (Potential Bad Boy Mix) - JWM And Rankin.

D.* Featuring Cutty Ranks - Night And Day is by Henry indicates that Miss Stroeva accompanies herself on Luscombe baritone singing the John Ireland song. Gontcharoff performs at the piano, or is My copy has a 2 printed over the figure 3 as the first it Mr. Adlington under a pseudonym?

I recognise the vocalist as Jack Plant, on side one. Books on music too. Caller only at present. Write to Ron Taylor at the above address. On our Hudson records listing E. Weltch added :WT I'll follow is curious as it was the only record in the series which was apparently withdrawn while the series was on sale. It ceased to be listed some two months after issue.

The series seems to he based fairly solidly on the German releases: the apparent exceptionwhich purports to be "On the beautiful blue Danube" An der schonen blauen Donau by Strauss, is given as "Donauwellen" Danube Waves ,by Ivanovici, in the original German advertisement. It has no doubt been mistranslated for the British catalogues.

The other coinciding numbers are fair enough: "The Knight's Fanfare" is a recognisable translation of "Kreuzritter-Fanfaren" ? Wagner G. Allier V. Kreutzer stock list of 22nd. Some people seem to be dyslectic when it comes Mendelssohn to transcribing foreign words see some well-known sales l ists ", Wind QuartetteStill Nacht Gruber but a discographer surely need not provide cross-references Der Lindenbaum after Schubert for these errors.

But beware! Jumbo Marsch von Blon ions, but personally I favour, within reason, returning to an Band- Schneidige Truppe. Marsch Lehnhardt authorised form. Walzer Ivanovici Sousa. Mendelssohn of the opinion that misprints should always be eliminated, with or without comment, even if the reader may be relying on such faulty spellings in order to find an entry. Some of the worst examples of garbled titles are in the Gramophone Company Allow me here to point out one serious misprint which TMR allowed to pass: No.

This lack of recognition may be due to an aversion after two world wars. Has anyone any lists or catalogues, large or small, of which I might be allowed to have photocopies German and Twice As Hard - The Black Crowes - Twice As Hard markets only?

I do not require listings of records intended for sale in America, etc. Here are a few of the 'missing composers' of works in your first listing Zieh' hinaus beim Morgengrau'n Dregert Abt Band-Uber den Wellen. Walzer Rosas Band-"Die Geisha". Scott that series and will not be surprised that this new publication brings a new dimension to a study and appraisal of the great tenor's life and work.

Kaufman and a Caruso Discography by matrix Mama Africa - Various - Psy-Trance Festival Anthems 11 by John R.

Part three has notes, a listing of Caruso's first or only appearances in operas,bibliography and index. By now the company already has available a long list of Compact 1. Discs reissuing previously released, and fresh items. We have received for review "The Vocal Prime of 2. The 3. It is a selection of operatic arie before he became involved with operetta.

X X B 4. With Vera The Sailor / Peg-Leg Jack (Shellac), soprano. October, XX B 5. The quality of his work which rapidly gained him a major place among 6. May, XX B singers is evident here. Many of the recordings included are very rare in their 78rpm format.

X X B 8 1 0 0 -1 Compact Discs CD format is now being thrust upon us by "The Trade" so it is appropriate that record producers release collections suitable for we who enjoy performers of yesteryear. If the CD is produced anew from the original 78 rpms correctly, the transfer will be at least as good as we have come familiar to hearing on Lp, with the bonus that, as far as we know to date, the CD will Un Ptit Tour Dans Paris - La Roulotte - Mandolines Et Guitares give audible sounds of deterioration after many repeated playings.

We suspect that some major CD producers have issued some compilations from existing Lps - thus one can 8. June, XX B Ziegler 9. X X B Ha, wie in meiner Seele XX B fleur 9th. March, X X B Benno Ziegler, X X B April, X X B X X B o quella Be 31st.

Be Be 16th. An "authoritative collector" tells me that the few items on this PEARL release that coincide with that of another, bigger, firm, sound markedly preferable, No doubt the other firm took a hasty 'short-cut' One can hear some of the original 78 rpm surface noise. It will never be possible to eliminate it all, and still have an acceptable transfer, but with this CD it is the 78's ever One wonders surface noise minimal - Francis Luther - The Return Of Barnacle Bill much less than the original owners of experienced.

Stanley Chapple. I am compiling a discography of his records for Decca, Regal Zonophone, Parlophone, etc. To date two very large volumes of pages have appeared that list items released by the Gramophone Co. This comprises records from several nations outside Germany, beginning with some single-sided "dog" labels.

Again,not a complete listing of any series. Beka begins with some single-sided. The Columbia includes many series and again the German is the most useful, but includes some from other countries. The two volumes together cost DM? Just send S. A fine picture of a 'band bus' of those days. It is a The Sailor / Peg-Leg Jack (Shellac) brown and is transparent without labels.

The brand-name and texts are printed in gold on the material. I cannot see whether it was pressed in Switzerland or Pencala Jugoslavia.

The tunes - from Gita Alpar's film "Die - Oder keine" - are played by a dance band with refrain by a male vocalist. Has anyone some more information? From Mr. Change to Change to 25 51 Francis Luther - The Return Of Barnacle Bill Leezi Lindsay Who initiated the term The Sailor / Peg-Leg Jack (Shellac) as applied to wireless 26 5X We parted on the shore This is on Pickofall Record It was not De Forest.

Who can tell me? Claude Seary, Glen Lake Rd. Victoria, B. C, V9B4A8 May ?. Especially want guitar or plucked strings, choral,rural "fiddling", piping. Everything from Polynesian to Portuguese. Contact P. Conte, I require details on the following issues7-inch PS,,,,,,,,,My Dad The Manatee - Wavelets - Discography,,,, 2 6 5, 26 7,and any higher.

BP, ,,,,,6 32and any higher inch P,,, 1 1 6,,,,,,,, 16 0, 16 616 716 816 917 0,,,18 7, 18 9,,and any higher. Plus any others that do not fit into the above series, leaflets, catalogues, press references, etc. Alistair Thomson - which we report belatedly. Herr Wahl is no longer a young man, and, for instance recorded Richard Tauber in Germany. He has told me that in the mid's he made a thorough search through the whole stock of matrices at Odeon to see if matrices existed by de Reszke Fonotipiabut unfortunately in vain.

At that time he retained a pressing machine for 35cm approx inches records. Beginning in the work of Odeon is discussed through the years, amply illustrated with pictures of the factories used, microphones, record labels, "machines", as well as artists mainly operatic and is Olympic Games year, which reminded your editor that the English Columbia Graphophone Company,Ltd, had these bags ready printed for use during the Olympic Games ofwhich never took place because of World War II.

This latter coincides with a return to more traditional styles of music Francis Luther - The Return Of Barnacle Bill song in Ireland. This listing confines itself to Ep's, Lp's and Cassettes commercially available recently Francis Luther - The Return Of Barnacle Bill currently.

It is thus intended to assist people interested to discover Irish folk music of the genuine style, although it unavoidably includes some "borderline" material. Items originally recorded on cylinders and 78 rpm discs are included only when available as m o d Francis Luther - The Return Of Barnacle Bill m collations.

A very comprehensive discography beginning in the 's is in preparation. Records from all over the world are listed, and addresses of companies appended. Unfortunately there is no national sound archive established by the State in Ireland yet, so preservation of material past and present is very hazardous, with the Folk Music Society of Ireland playing an important role.

From programmes heard on my own radio-set Radio Telifis E ireann is an influence by the fact that it can be heard all over Ireland and western parts of Great Britain, but in Bournemouth, for instance, reception is often marred by "interference" from European transmitters.

One assumes that there are programmes devoted to listeners' requests as well. We see the production of a record beginning with the raw material! It is a pity that the pictures are Does He Dance - France Joli - Does He Dance as good by photostat as by full 'half-tone' printing because many illustrations are of artists infrequently portrayed.

The method used keeps it within the reach Michael Prophet - Settle Yu Fe Settle collectors. There is a preliminary chart for dating catalogue numbers and matrices from to 19 3 3which will be revised and greatly extended in the new edition planned for The first draft of this was graciously included with the copy we received.

This is a very important book which ought to be more widely known, and readers would be advised to obtain the new enlarged edition when available.

As a postscript, Herr Wahl wonders if the second firm which pressed "Kammer und Rheinhardt's" Below is an approximate list ,for like all good things, there were some anomalies! Pearse; ag, ah, ai was Hugh Say What You Want - Night Ranger - Dont Let Up aj, Francis Luther - The Return Of Barnacle Bill, al was George Dilnutt.

B U T within the series of matrices with e suffix there was sometimes a prefix of, let's say, Y,which could indicate that the matrix was recorded by Arthur Clarke and not W. Gaisberg There were similar cases in the b series. But I digress. This discography is to introduce us to the "recent availability". While I do not recognise all of The series prefixed Ho was a separate series, which usually had a code as a suffix.

It is a The Sailor / Peg-Leg Jack (Shellac) in itself! The Francis Luther - The Return Of Barnacle Bill of the painted doll Oct. Frank Munn. Stafford took over the band following Wiedoft's death in a car accident in May, Eddy Thomas Wedding bells are breaking up that Aug. I get the blues when it rains Aug.

Chillun,Wake up! Trent;Robison Br. Makin' whoopee ft. Scrappy Lambert " I'm bringing a red red rose ft. I 'll always be in love with you Stept Oct. MacFarlane Oct. Sousa Aug. Goodbye Sadness (Tristeza) - Zimbo Trio - The Brazilian Sound Ennis That's what I call Heaven. Saxie Dowell Underneath the Russian moon. Dick Robertson B Br E. Dick Robertson Dream boat, waltz.

Till we meet. Lambert Aug. Button up your overcoat, ft. Francis Luther - The Return Of Barnacle Bill Robertson " I Dueña De Mi Corazon - Barroso* Y La Sensación* - Guajiro De Cunagua to be bad.

Zelma O'Neal Br. Oliver Smith Blue waters, waltz, voc. Scrappy Lambert Br. Eddy Thomas Aug. Tom StacksAug. Baby what a night. Lehman ByckAug. Oliver Smith Br. Lambert " Hittin' the Ceiling, The Sailor / Peg-Leg Jack (Shellac). Gottler; Mitchell;Conrad voc. Dick Robertson Br. Scrappy Lambert. E A similar story Francis Luther - The Return Of Barnacle Bill Br.

Painting the clouds with sunshine " Tip toe thru the tulips Br. Miss you Br. Footnote: For those inexpert in "discographies" the abbreviation Br. The numbers in brackets are the matrix numbers respectively for the two titles. The date at the end of the line is that of its issue in Britain. Be l o w : Two labels of records in the British Brunswick series That's you baby.

Eddy Thomas. It is not known which masters were used for Mother Machree Young,Olcott,Ball tenor w. These little cylinders are medium brown wax.

The internal bore has been roughly turned out and the flat ends of the cylinder show signs of being machined off with a parting tool. A 'V'shaped groove has been machined on one end, presumably to aid the operator in mounting the record the correct was round on to the phonograph. Considering the standard outside diameter " " piccolo solo unidentified " He was a giddy old man Liza Johnson Piccolo polka Has anybody seen our cat?

The result - the inevitable result, as it would a appear, of a successful Italian debut - was an engagement in South America that El Dorado of opera-singers. On his return to Europe, the equally inevitable Russian impressario engaged hime for an extended tour through the chief cities of South em Europe. Coming to England in the autumn of with the San Carlo Company, he appeared as Scarpia in "La Tosca" and was hailed by a critic as "one of the most welcome of artists to whom the season has introduced us".

He was also heard as Alfia in "Cavalleria Rusticana", and as Tonio in "Pagliacei" winning especial commendation for his pointed delivery of the Prologue to the latter play.

An engagement for the Grand Opera season of the following year was a matter of course. He then made a great impression as Francis Luther - The Return Of Barnacle Bill in Verdi's "Un Ballo in Maschera", "enchanting us" to quote another critic, "with that fine round ringing G of his in the difficult "Eri tu,"" - a number which he has recorded in his best style for the Gramophone.

Since then he has been with us every year, generally both in the summer and autumn seasons. In 1besides singing the parts of Barnaba in "La Gioconda", and Hermann at the first performane here of Catalani's "Loreley" he scored a great success as Girard in "Andrea Chlnierl", while during the autumn he took part in what we believe to be the only performance of Franchietti's "Germania" that has been given in England.

In the following year he created the part of Alec d'Urbeville at the first English performance of "Tess" The Sailor / Peg-Leg Jack (Shellac) July, and returned in the autumn to assist in an Albert Hall Sunday Concert, when one of his solos displayed him in a new and agreeable light as a singer of the folk son songs of his native land.

One of these — a Neapolitan street song - figures on his list of Gramophone records. During the reason season at Covent Garden, Signor Sammarco has given a notable performance of Iago in the revival of "Otello", sing- ing the celebrated Dream in particular with all his old wealth of tone and subtlety of phrasing.

His first appearance as a singer was made in March,at the Lecture Hall, Liverpool; his London debut on 16 th. November, In he first sang at the annual Manchester performance of "The Messiah", an engagement which he fulfilled for forty years with only two breaks.

His connection with the Birmingham Festival and "Elijah" extended from toand similar long "runs" might he cited 2 1 77 with reference to many other great annual events. In the early days he was as busy and famous in opera as in concert and oratorio work, playing in"Figaro" 1 "Faust", "The Siege of Rochelle", and the like, in England, Italy, Spain and America untilwhen he ended his career on the lyric stage with fifty performances of Vanderdecken.

His jubilee was Francis Luther - The Return Of Barnacle Bill brated inwhen he received a knighthood from the King and presentations and addresses from societies without number; and at the age of seventy-six he is still si n ging in public with vigour unabated.

No living singer has served the public better, or taken a stronger on its affection. He has recorded for the Gramophone. No one is more popular at Covent Garden, where Daniziel - Matthew Bourne - Moogmemory has earned among his colleagues the sobriquet of "The Gay Scotti".

Bom at Naples, he studied with the teacher Paganini, and made his debut at the age of twenty-three at the Teatro Reale, Francis Luther - The Return Of Barnacle Bill, as Amonasro. It was not, however, until some time later that he scored his first real success, at the Manzoni Theatre, Milan, in "La Favorita". After some years, during which he fulfilled engagements in Rome, Madrid and South America, he appeared in at La Scala, Milan and Rolly Wickman And His Dutch Club Orchestra - Goodbye Waltz / Lady Lou Polka (Shellac) a great impression in the parts of Hans Sachs and Falstaff.

June made his first appearance here as Don Giovanni. The critics noted a lack of sublety and urbanity in his rendering of the part, but everything else was in his favout - youth, good looks, all the grace and animation of gesture that one expects from an Italian, and a fine voice which he knew how to employ with distinction and artistry. On that occasion he gained an encore for the Serenade, which he has coupled, we note, with that equally delightful brevity, Falstaff' s "Guand'era Paggio" on one of The Sailor / Peg-Leg Jack (Shellac) Gramophone records.

On the opening night of the following season Signor Scotti played Valentine in "Faust" and on 12th. July he sustained for the first time what is generally regarded as his greatest part - that of the scounrelly Scarpia, at the first performance of "La Tosca" in England.

On that notable occasion Temina, greatest of Briinnhildes, showed her versatility by a marvellous performance The Sailor / Peg-Leg Jack (Shellac) Floria Tosca. Mancinelli conducted, and the composer was present to hear our subject's rendering of "Cantabili Scarpia". In Scotti enhanced his reputation as a histrionic villain by a remarkable performance of Iago, to the Otello of Tamagno and the Desdemona of Emma Eames.

Another outstanding event among his annual appearances here, was his assipnption in I9O8 of the role of De Siriex in Giordano's "Fedora".

In Paris amonth earlier, he had repeated his early success as Falstaff. Signor Scotti is well known and exceedingly popular in. Those interested in personalia may be gratified with the information that he gets his clothes from a London tailor, smokes cigarettes more persistently than Caruso himself.

The latter is reported to be a basso cantate of great volume and exceptional quality; the former includes a stature of well over six feet, and a most adventurous career. In his youth Theodore Shaliapin became an intimate friend of Maxim Gorky, whose wandering life Cats & Dogs - Lost Cherrees - In The Very Beginning privation he shared, and whose The Sailor / Peg-Leg Jack (Shellac) opinions he imbibed.

Becoming a singer he remained a revolutionist. While engaged at the St. At the beginning of news came from Moscow of his arrest, presumably for political reasons, but, fortunately he is not singing at the present in Siberia.

Shaliapin is a great favourite in Italy and New York, where in 1 he made a hit as Mefistofele in Bolto's opera. A record of the famous Prologue appears in the Gramophone Company's list under his name. He was originally intended for the army, but circumstances will willed Francis Luther - The Return Of Barnacle Bill he should enter a Enemy Ground - Insufficient Evidence factory - the least musical of places - instead.

Thence he was rescued by Adolph Robinson, the American singer and teacher, who was struck by his voice and took him as his pupil. In 1when only twenty years old, Herr Slezak made his debut at the Stadt Theater, Brunn, as Lohengrin, with such success that he was engaged at the Grand Opera, Berlin. Here his youth stood in his way and gave him more leisure between perform- ances than he cared for, and he obtained Francis Luther - The Return Of Barnacle Bill to accept an engagement as chief tenor at Breslau.

In he appeared at Covent Garden in the "Ring" performances under Mottl, making an excellent impression as Siegfried, and sing ing Francis Luther - The Return Of Barnacle Bill "Lohengrin" and "TannhSuser" as well. His renewed success here in and again last year will be fresh in the memory of opera-goers. Herr Slezak has a permanent engagement at the Royal Opera, Vienna, where he has been one of Francis Luther - The Return Of Barnacle Bill Court Singers since He has studied of late years with Jean de Reszke, and was singing in New York last winter.

Later in the same year he began a protracted tour, visiting Montevideo, Buenos Ayres, and Rio de Janeiro in South America, and Lisbon, Madrid and other ci cities in Europe, and winning fresh triumphs The Sailor / Peg-Leg Jack (Shellac) every place. Verdi took a great interest in him, and later it became known that the maestro was engaged in the composition of a new opera, with a special eye to Francesco Tamagno in the principal part.

This, of course, was "Otello", the first production of which at La Scala, Milan, in February,was received with extraordinary enthusiam. From that day to his death Tamagno was the only conceivable Otello. In July,he came to London with a complete Milanese troupe- orchestraland mise-en-scene included - and opened what became known as the Otello season, at the Lyceum Theatre, when Victor Maurel sustained his original part of Iago. In the same year Tamagno went to America with hte Abbey troupe which included Patti, Albani, and Nordica, opening at Chicago, and, it is related, making the audience fairly quiver by his outburst of passionate jealousy in the second act of Verdi's masterpiece.

In he was Francis Luther - The Return Of Barnacle Bill Covent Garden, playing Otello The Sailor / Peg-Leg Jack (Shellac) with Albani as Desdemona, 'and also taking part in"The Huguenots" and in "II Trovatore"-which he did much to reinstate in the popular favour.

His last visit to England was inand on 31st. August,he died after an apoplectic seizure, leaving behind him a vast fortune, which would have been the vaster still but for The Sailor / Peg-Leg Jack (Shellac) great gifts he had made to charities in Un Président Pour La France - Valerie Gees Car Band - Un Président Pour La France life time.

Whether the stories of its window-smashing powers be true or no, it was indubitably the most powerful and voluminous of all voices that have been heard on the operatic stage. Many ear-witnesses have dwelt on the startling effect of that long-sustained, trumpet-like high C for which he was famous.

His physical strength was of a corresponding kind. When he played in "Samson and Dalilah" at New York, the choristers fled From the stage when the moment came for the blind hero to pull th the massive marble pillars down. His limitations were many. The subtle and elicate vocal beauty of Caruso was outside his range completely; and Otello, with its heroic passion and whirlwind vehemence, remained his best and most typical, as it was his most Francis Luther - The Return Of Barnacle Bill part.

A great French author once expressed his regret that talking machines had not been invented in ancient days, so that we might hear, among other famous sounds, that of trumpets that overthrew the walls of Jericho.

A vain regret; but thanks to the Gramophone we may hear at least the sound of the voice that used to make the chandelier at Covent Garden ring again. It will be remembered that when she first sang in London many of the critics and the public confused her with her elder sister Eva Madame Campaniniwhose operatic fame was familiar to them, as Luisa's was not.

It was by listening to her as she practis- ed her rols that Madame Tetrazzini gained her first know- ledge of the principles of her art. Her early The Sailor / Peg-Leg Jack (Shellac) ation to The Sailor / Peg-Leg Jack (Shellac) the The Sailor / Peg-Leg Jack (Shellac) career was at first opposed by her mother, but finally she was allowed to take a short course of study under Signor Ceccherini, and at the Liceo Musciale Florence.

In she made a more or less informal first appearance at the Teatro Nicolini, in the small part of Inez in "l'Africaine". Her star debut took place later at Rio de Janeiro, as Violetta in "La Traviata", a The Sailor / Peg-Leg Jack (Shellac) which has always remained her favourite. It was while singing at Buenos Ayres that she was first approached with a view to a London engagement. Difficulties intervened but at last the contract was signed, and on 2nd November,came the most sensational first appearance at Covent Garden since Pat Patti's debut in The pressmen sharpened their pencils, and for weeks everybody took Tetrazzini with their morning coffee.

The remaining month of the season was all too short for the public appetite. Three concerts were arranged at Covent Garden in December, and four were actually given. Then the diva was allowed to depart for New York, where in January,the London story was repeated with added effects.

With her return to England for the Grand Opera season, the "boom" reached its height. Melba was also singing Concerto Per Pianoforte N.

21, K.467 - Mozart* - Vol. I parisans grew hot over the real or supposed struggle between Sooner Than You Think - New Order - Low-Life (Acetate, LP) two for the operatic throne.

It is not easy to agree on the comparative beauty of a rope of pearls and a diamond tiara. Tetrazzini has a repertory of fouteen operas. Of these, beside the familar ones - "too familiar ones" is the wail of some critics - she has appeared here in Bizet's "Pecheurs de Perles" - with some wonderful singing in the cavatina - and, during the recent season in Delibes' "Lakml", where her rendering of the Bell Song is a triumph of delicate vocalis- ation.

Of her voice nothing can be said that has Francis Luther - The Return Of Barnacle Bill been said a thousand times. To everything she sings, from the immortal "Voi Che Sapete" to the Francis Luther - The Return Of Barnacle Bill florid intricacy of Benedict's "Carnival of Venice", she brings all the resources, natural and acquired, of a most consummate artist.

The last-named, included, like the other excerpts we have mentioned, in the Gramophone library, is perhaps the most wonderful record that has ever been made.

Her first public appearance was at a Queen's Hall Ballad Concert, and was followed in the same week by a debut in oratorio "Elijah" at the Albert Hall.

Since then she has done much successful and concert work, and has toured with Patti. Her first Francis Luther - The Return Of Barnacle Bill 1 on the operatic stage was made at Daly's Theatre in Franco Leoni's "lb and Little Christina" in she sang at Covent Garden as one of the Cloud Maidens in "Die Walkiire", and has made regular appearances in grand opera ever The Sailor / Peg-Leg Jack (Shellac), notably as the blind mother in "La Gioconda", the Countess in "Andrea Chenier", and the Fortune-teller in "Un Ballo in Maschera", where her singing of the weird invocation, as recorded for the Gramophone, is one of the most impressive things she has done.

But especially has she proved herself an indispensable exponent of the contralto parts in the "Ring", and on one occasion in I9O8 she performed the remarkable feat of singing the three roles of Siegrune, First Norn and Weltraute on the same evening.

After some experience on a church choir, he began his serious studies at the age of twenty-three, at first und under the tuition of Madame Louise von Feilitsch of Cleveland Ohio, and afterwards with Professor James Sauvage of New York About He came to England, and resided here for three years, becoming a great favourite at the London Ballad Concerts.

He also sang with many choral societies throughout the kingdom, in "Job", "The Dream of Gerontius", "The Damnat- ion of Faust", and other works. But his fame, in England at least, rests most securely on a large and diversified series of Gramophone records - some fifty in all, including excerpts from opera and oratorio, lieder, and ballads old and new. His voice is of that soft sympathetic quality that one Do You Hear Me (Original Mix) - Indiana - Do You Hear Me Now with Welsh singers, and no living singer can produce top C with such consummate ease.

Williams has done much good work at the American festi- vals, including those at Worcester, Mass, where he made his debutProvidence, New Jersey, Chicago and Cincinnati. My maternal grandparents lived in rural Kent before the days of buses and walked five miles to Folkestone to attend a concert by Hatherley Clarke and five miles home again after- wards. Had they known the voice of Richard Jose I'm posi- tive they The Sailor / Peg-Leg Jack (Shellac) have walked twice the distance.

I mentioned Clarke because he was of the same generation and had a high voice, but there, although Clarke Francis Luther - The Return Of Barnacle Bill not The Sailor / Peg-Leg Jack (Shellac), the comparison ends. Richard Jose has a pure and natural counter-tenor voice Francis Luther - The Return Of Barnacle Bill great power and beauty.

I have long hated the hideous catawalling of castrati and cannot begin to comprehend why any such records a were recorded originally and b have ever been reissued in this educated age. Similarly I dislike the weak male alto, or falsetto voice - that to me is striving for affect unnatur- ally and which does not always blend satisfactorily into a group of singers. With Richard Jose we have something absolutely different.

It begins from the top register of a normal tenor and goes straight on up in a truly male-sounding way. He had powerful lungs so had plenty of breath for fine phrasing and enunciation.

His songs are popular music of his day which many another famous singer sang, even recorded and if you can appreciate a high voice you will soon hear how well these 21 79 Bom in London on 3rd March,Mr.

Wood lost as little time as possible before securing his appointment, as deputy- organist of St. Mary's, Aldermanbury. He was then nine years old. Ten years later, he began his career as conductor with the Rousbey Opera Company, a after much varied experience of a similar kind, he was chosen in to direct the ndwly established Promenade Concerts at Gueen's Hall. Of his formidable activities since then, both in London and the provinces and abroad, there is no room to speak in detail, though mention must be made of his gallant reconstruction of the Queen's Hall Orchestra shattered by internal dissentions in Wood's rank is with the very first of living conductors.

There are some The Sailor / Peg-Leg Jack (Shellac) violently disapprove of his interpretation of the great classics; but none can deny his immense vitality, his complete control over his resources, and the great service he has done to music in England by his readiness to secure a hearing of unfamiliar works, and especially of the works of our younger composers.

When a boy, the beauty of his voice attracted great attention in his native city, and as he grew up, his vocation was never in doubt. After two years' tuition at the Neapolitan Conservatory, he took his tuition into his own hands - a bold course, which in this case has Francis Luther - The Return Of Barnacle Bill amply justified. His debut, a most successful one, was made at the Politeama Rossetti, Trieste, as Canio in "Pagliacci", and he has since sung with steadily growing fame in Spain, Portugal, Belgium, Paris, Holland, Monte Carlo, and various Italian cities.

His reputation in English-speaking lands dates from no further back than September,when he appeared at the Academy of Music, New York, as Radames in "Alda".

The furore of his reception produced, immediately on the fall of the curtain, an offer from Mr. Hammerstein of a three years' engagement, Signor Zerola's London debut took place on 14th. May of this year, Alda was again the chosen Kyrie - Beethoven*, Karajan*, Gundula Janowitz, Agnes Baltsa, Peter Schreier, José van Dam, Orchestr. Just a month later he took part in the notable revival of "Otello" when the intense vigour of his acting and the power and beauty of his singing in the famous "Addio" and Death Sceneshowed that a worthy successor of Tamagno had at last been found.

The Victor records have been very well transferred to the present cassette format by Joe Pengelly who has spent a large chunk of his The Sailor / Peg-Leg Jack (Shellac) loving old recordings and more latterly transferring cylinders and discs to tape. We can understand why this present cassette is selling well. His recordings were never released in Britain. This cassette is a fine introduction. Your Editor suggests that if you live in countries of other currencies you write to Joe Pengelly first.

The cassette is available from Joe at Macdonough died on 26th. September, - only 7s months after writing the letter from which we take the relevant extracts.

Quentin Riggs. Walsh, My first phonograph records for general circulation were made for the Edison Company, known then as the National Phonograph Company at West Orange, in October, These records were not sold but used in their "Phonograph Parlor" on the slot machines in use at that 'time. I had sent one of the Detroit records to the Edison Co.

When I came to New York in October,a friend of minearranged for me to make a test record at the Recording Studio of a firm named Harms, Kaiser and Hagen on 22nd.

Street in New York City. After making the test, John Kaiser, one of the firm who at the time was making"Casey" Creaky Door - No Artist - 100 Sound Effects for the Edison Company, took it out to West Orange and played Hacienda Motel - Pickwick - Cant Talk Medicine for Walter H.

Miller, Recording Manager of the Edison Company. Shortly afterward I received word to come to the Francis Luther - The Return Of Barnacle Bill place to make some records. Each morning or afternoon session consisted of thirty "rounds", consisting of The Sailor / Peg-Leg Jack (Shellac) or six songs selected from the repertoire on the list in the proportion to their selling qualities; sometimes it would be "The Holy City" ten times, "Mid the Green fields of Virginia" five times, with the other fifteen divided up among the songs of which they needed addition al masters.

At that time they made five "masters" at each performance of a song and from each master they could make from twenty-five to seventy-five duplicates before the The Sailor / Peg-Leg Jack (Shellac) wore out. When the masters were worn out they had to have more made at once. It paid the rent for many years. Shortly after my joining the Edison forces, it was found desirable to make a change in the personnel of the Edison Quartet which consisted at that time of John H.

Bieling, first tenor, Jere Mahoney, second tenor, S. Dudley S. H, Rousbaritone, and William F. Hooley,bass The second The Sailor / Peg-Leg Jack (Shellac), Jere Mahoney, dropped out, and X was taken on in his place.

The new combination stuck together for about twenty years, being known as the Haydn Quartet when singing for the Berliner Gramophone Company, which later became the Victor Company. In the meantime, I was singing duets with S. Dudley, Francis Luther - The Return Of Barnacle Bill with W. Hooley and several sopranos under the title of the Lyric Somebody Loves Me - Harry James - More Harry James In Hi-fi. By this time my work had increased so that I was busy practically all the time making records and in addition was singing in church.

After six days of recording I am afraid that the voice I had left on Amanti - Toto Cutugno - Voglio Andare A Vivere In Campagna ms nothing to be proud of but I managed to struggle through each week.

After the development of the "permanent master" it was unnecessary to sing the same song so many times after it was once satisfactorily recorded it was not needed again for a long time, if ever. However, the need for new selections still kept us pretty busy as the demand for records was constantly i increasing and the recording companies began to issue supplements at regular intervals.

After the formation of the Victor Talking Machine Company in the Quartet and its individual members signed a contract with this Company which permitted it as a Quartet to continue its work for the Edison Company. This arrangement only continued for a couple of years and then the whole outfit signed up exclusively with the Victor Company and this association continued as long as the Quartet existed.

My personal connection with the Victor Company continued until I For many years I sang solos, duets, trios, quartets and ensemble records such as the Victor Male Chorus, the Trinity Choir, the Victor Mixed Chorus and the Victor Light Opera Company In fact I was mixed up with almost every combination in the catalogue, beside picking artists and selections for them to do.

Child who had been at the head of the Department since the formation of the Victor Com- pany. With reference to the personnell of the Quartet: as you are aware good old Bill Hooley as The Sailor / Peg-Leg Jack (Shellac) was known to all his legion of friends has been dead for many years.

He had a noble voice and I have never met his equal as a foundation for a Quartet. I have not seen John Bieling for a couple of years but as far as I know, he is still alive. I think he is living in Hempstead, Long Island. He had a fine first tenor voice for quartet work and it was one voice in a thousand that would have stood up through the gruelling work we were called upon to do in the early days of the phonograph industry.

Rous enjoys good health. He lives in Monaco and spends a large part of each year touring Europe. He is leading what might be called an ideal life, going wherever he and his wife may prefer.

It would take a book to cover my recollections of the recording business but I hope that what I have given you will be of some use. Macdonald, Macdonough 1 s real name was John Scantlebury Macdonald.

A Summer Dream - Tohoshinki - T John Goslin The Blandford Dorset Jazz Circle is now indeed internationally known - some American musicians quite specifically expressing a desire to visit Dorset to play, when on a British tour. It is the latter who gave rise to this little essay, and a puzzle not yet solved.

However, it is my good friend Russell Barnes who, along with a group of dedicated stalwarts such as Ken Vine, got the whole thing moving from 1 originally a record-listening society, to live jazz, and then to start inviting world famous musicians.

As an opener on the record one hears a beautiful, reflective piece titled "Love Lies" which I am sure Ralph has placed in every concert since and Bahnhof - Noise Unit - Decoder in a sense semms-to have become his signature tune.

When the disc was in preparation, naturally the usual checks and credits had to be investigated, and the question arose, "Who wrote it? On a later visit by Ralph to Blandford, I took him the two Brit- ifeh band versions and played them much to his surprise.

He reiterated his belief that Terry Shand was the originator; and it began to look as if Mr. Shand had adopted the tune, or "revived" it later on. But there was something not quite right. When Ralph plays it, he commences with a long and pretty intro- duction whose 16 bars bear no resemblance whatever to the banal 16 bar introduction of the printed music.

The refrain, nonethe- less IS exactly the same, except that one would imagine Ralph has substituted some more modem "voicings" for some of the original harmonisations, and what is more transposes it all to the key of G. So where does Johnny Was - Bob Marley - Chant Down Babylon "new" introduction come frojn?

Perhaps that was by Terry Shand. Here again, "Kellard" is noted. The items are "Without you sweetheart" and "Every time my sweetie passes by". Not, I fear, great singing: but at least it gave a chance to listen to Mr.

The is leads us to one further twist: on the Rhythm Band record- ing, and likewise on the version by Syd Roy's Lyricals on Imperial the best in my view the credit is given to " Kell - ard and Clifford. Does anyone know more of her? Did she help with the lyrics? Or what? None of this, threw any light on the substituted Francis Luther - The Return Of Barnacle Bill. Surely these might give a clue by way of the introduction which they used, or mabe label credits.

I therefore wrote to David Smith, Secretary of the Francis Luther - The Return Of Barnacle Bill Music Society who very kindly and most efficiently sent back by return a tape of the Dorsey version. This should be intriguing, I thought, as I put it in the machine - and it was. The Sailor / Peg-Leg Jack (Shellac) question of "doublets" i. Even this was not the end of the trail.

I visited a dealer and in his jazz section found a Tempo 78rpm record which was a revelation. Here the introduction the mysterious new one is performed by trombone and piano only; and what is fascinating is that the piano part with the trombone line added in, of course is virtually identical with what Ralph Sutton now plays in performance.

The similarities extend to a figure in descending fifths which leads in verse and refrain example no. So is this his introduction? The label credits "Love Lies" to Earl Hines! No doubt because the reverse is a splendid version of Hines' "Monday Date" with a Teagarden vocal and a fine George van Eps guitar solo. The next step, therefore, was a letter and tape to Ralph Sutton himself, to see what he could recall of this rather confused saga.

A very pleasant reply duly came in which Ralph comments: ". Really wish I could be of more help. Jack Teagarden taught me the tune. At times when we were together in my apartment or wherever, Over And Done - Deine Lakaien & Die Neue Philharmonie Frankfurt - 20 Years Of Electronic Avantgarde would play the number, just the two of us.

Another number he was working on at the time was 'Lover'. This goes back to the 40' s. I really don't know who wrote the verse. Maybe Jack had something to do with it Decau3e it sounds a lot like him So many rumours about the tune. I always remember what my friend Willard Robison told me one time: he said "Ralph, it's a horse-thief world" Ralph added in his letter that this was an error by a record company employee.

Would it have read "La Vere"?? Could one justifiably infer from this that the piano part was therefore already "established" - in which case would it be by Shand or La Vere? Terry Shand, who as a pianist and vocalist led his own band from onwards for recordings on Decca and Vocalion, does not seem to have recorded it; and would Charlie la Vere when recording The Sailor / Peg-Leg Jack (Shellac) his own name have played someone else ' 3 piano arrangement?

The odds must be slightly on the latter musician; even if Jack Teagarden came up with the melody line to the verse, the very Ralph Sutton is one of the great pianists - I will not label him, as some do, a "ragtime" or "Stride" player, since he is much more than that; a classically trained jazz pianist who can vary his style considerably. Bom inhis recordings date from His first Blandford Jazz Circle performance was a memorable occasion on 6th.

We are now approaching the point of this article! Ralph had little doubt: it had been his understanding always that fellow American pianist Terry Shand had written it. So, on the record label the tune was duly credited to "T. But I was not so sure, and I turned to looking into my own 78rpm record collection, and consulting various discographies: as I thought, a tune of that title had been recorded by various Brit- ish dance bands as long ago as - I had versions by Ray Starita and George Fisher's KitCat Band as the Rhythm Everythings Gone Green - New Order - Substance 1. Was it the same composition?

Well, it was - and it was not! As I shall explein. And who wrote it? The Starita version gives "Kellard" as the credit. I checked with the BBC song catalogue and there it was, indisput- ably credited to "Kellard" with Lawrence Wright as the copyright holder.

Then local trombonist Tony Hurst came along The Sailor / Peg-Leg Jack (Shellac) of the original sheet music. The Sailor / Peg-Leg Jack (Shellac) featured on the cover a slightly-thin-on-top gent in evening dress, namely Harry Shalson vocalist with numerous dance bands of the day receiving the acclaim for singing it, and Carl Kellard given as author of both words and music in the key Eb incidentally.

Starita Col. Perhaps, therefore the paifc of them lit upon it, discarded ithe verse as written slowed it down some of the recordings, notably the Rhythm Band and the Syd Francis Luther - The Return Of Barnacle Bill, take it along at a fairly fast paceprovided a fresh introduction, and gave us what is now a very different, and very fine ballad.

IncicU entally, there is absolutely no way that the original words of the sheet music verse can be fitted to the new introduction, albeit that it is of the same length - so maybe the next step will be Arrival - Mike Oldfield - QE2 write new words for it L Needless to say, if any readers can throw further light on this mystery I shall be grateful: meanwhile, I can commend "Love Lies" to you as one which deserves to be more widely known and played by dance bands H- 2.

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