Which versions of La Folia have been written down. Anonymous for carillon (in dutch. Ms. 1. 75. 6)Les Folies d'Espagne (theme and double followed by 1. Manuscript LBII II. Library of Leuven?)(Folie des Spanie)A small introduction of the carillon as an instrument might be handy because. The instrument is built around. Dynamics is possible because the amount of force applied, controls. Jeff Davis, the university carillonist of Berkeley, enlightened me about the. Originally from Belgium and The Netherlands, the carillon. There are close to 2. North America alone. A modern. carillon is capable of extraordinary sensitivity to touch and has, in the. AXS.com brings you inside access to tickets, artist news, and exclusive stories on concerts, tours, sports teams, family events, arts, theater, and festivals. We value excellent academic writing and strive to provide outstanding essay writing services each and every time you place an order. There. are national schools in The Netherlands (Amersfoort), Belgium (Mechelen). France (Douai). In North America, while there is no national school. University of Michigan. Ann Arbor, and at Berkeley. The difficulty in playing comes not from. For further reading about this instrument http: //www. Chapter 7. In the slipcase.
Luc Rombouts (see below) three of those sources are mentioned. De Gruytters V.- fel. Wyckaert, nr. 3. 6 (1. La Folie. d'Espagne) and Van Belle. Some sources mention ocasionally that the La. Folia- theme was part of the program to get the appointment of beiaardier. The Leuven manuscript is not just a simple transcription (although some passages. As a source is mentioned the compact disc. Preludia, Matthias Vanden Gheyn' SABAM TM HG 1, 1. Rombouts, Luc and Huybens, G. Een 1. 8de- eeuws. Leuvens beiaardhanschrift' (translation: the songs of the Lovenaers. Gertrude of Leuven, Belgium Realisation sponsored by KU Leuven, Stad Leuven, Gemeentekrediet. Jeugd en Muziek Leuven amongst others. Sint- Pieterskerk (Sergeys- beiaard), Leuven (carillon- beiaard). Duration: 0'1. 7. Heard every hour from. Eastern 2. 00. 3 till Eastern 2. Thanks to Pierre Chantrenne for making this field recording at Leuven. Folies d'Espagne (2. Sint- Pieterskerk, Leuven, Belgium. Published by the magazine . The drum's rotation. The numbers are ment to indicate the division. Title: Folies d'Espagne Created Eastern 2. Duration: From Eastern 2. Eastern 2. 00. 4 for every. Recording date: September 2. Carillon: Sergeys- beiaard of the Sint- Pieterskerk, Leuven. Belgium Anonymous for carillon (Ms. The chosen. formula was to clasp it together with the Folia- progression. To give the tune a nice balance, an intro of an expectant. Folia- variations. The vocal Machado piece starts at the 1. Folia- variation and ends at the first bar of another three later Folia- variations to conclude the piece. Machado- fragment again with the same bridge between the Folia- variation and 'Dos estrellas le siguen' by. Machado. As the source of the Machado- piece is mentioned Cancionero Sablonara, Bayerische Staatsbibliothek, Mus. Manuscrito en forma de libro de coro, copiado en Madrid en la corte. Claudio Sablonara c. Contiene 7. 5 canciones a cuatro, a tres y a dos, cuyos autores son Blas, Romero, Machado, Pujol. R. Falconiero / Manuel: Machado Folias e Dos estrellas le siguen G. Broadcasted by Portuguese Radio April 2. Duration: 8'0. 1. He seems to have been much. Only twenty works of his are. Spanish, and all of exceeding beauty. A case in point is the finesse of his 'Dos estrellas le siguen'. This gem of a song, which opens this recording, is encased in a series of variations elaborated by our. Fol. E SIFD 1. 8 Societa Italiana del Flauto. Dolce. Franco, Horatio (flutes) 'Mestizajes Novohispanos'. With Santiago Alvares harpsichord and Asaf Rolerstein cello: Title: Variaciones sobre La Follia an. French guitarist and lutenist Robert de Vis. Some names that spring to mind include Corelli, Lully, Couperin, Vivaldi, Carl Philipp Emanuel Bach, Marais, d'Anglebert, Telemann, without counting Paganini, Liszt or Rachmaninov much later. In France, it is often called Folies d'Espagne and, in the United Kingdom, Farinel's Ground after Michel Farinel (Farinelli), who was born in 1. Grenoble at tyhe turn of the 1. Manuscrit di Parma) Released 2. Integral Classic compact disc INT 2. Duration: 9'3. 9. Flauto, Anonymous. Released 2. 00. 8 by MA Recordings compact disc M0. A (JP). Duration: 1. Variazioni (Anonimo sec. CF- V- 2. 3 della Biblioteca Palatina di Parma per Flauto. Dolce Contralto (Flauto Traverso, Oboe) e Basso Continuo Published 1. Hors, musica varia, by UT Orpheus. Edizioni, Bologna, Italy Score 2. ISMN M- 2. 15. 3- 0. Anonymous for baroque guitar. Folias de Espanha (ca. Manuscript: Livro de Guitarra do Conde de Redondo (Count of Redondo's guitar. Original source: LVSITANA MUSICA, 1/ opera mvsica selecta - 2 Uma tablatura. O livro do Conde de Redondo, edi. Edited by the Musicology Departement of IPPC - Portugal. Paulo Galv. In this manuscript there is a Giga from Corelli's Op. Monica Hall thinks that around 1. S. Murcia's book published on 1. I. can agree with this. In the Iberian tradition, the book is notated in numerical (as opposed to. Portuguese baroque guitar sources, rhythmic indications. I reconstructed the rhythmic structure. Released 2. 00. 0 by Music. It might well be that the year was added later to the entire manuscript or that the manuscript was a collection of pieces gathered over the years. The 5- string guitar disappeared around 1. Italian builder specialized in mandolins, Gaetano Vinaccia in 1. Napels. The popularity of this new guitar becomes clear when we look at the first printed method in 1. It might be that this innovation was not implemented everywhere at once on a regional level. This Norwegian region is not on the crossroad of spreading innovations and can be considered as a northern outpost of Europe where influences spread at a later date. Whatever the reason might be, I guess the manuscript is written with an eye to the high Baroque despite the dates 1. The person, Johanne Hertzberg, who wrote the guitar music in the book lived from 1. The book was passed down generations, and the date of 1. The guitar music is certainly not of the 1. See. http: //folk. Gitar. html. Den Hertzbergske notebok. Anonymous for baroque guitar See H. Florence)Title unknown: 3 variations These three variations for harp solo might be identical to the variations. Music in manuscript 3. Conservatorio Luigi Cherubini, Florence. Griffiths, Ann revised the modern edition Published as Telwn Dewi in Tregaron, Wales in. O'Farrell, Anne- Marie (Irish harp) 'Number Twenty Nine presents Harping. Bach to Carolan' Title: Folia Source: Telwn Dewi, ed. Ann Griffiths Released 1. Number Twenty Nine and Anne- Marie O'Farrell. Meath Irish harp made in Ireland by Jan Muyllaert Anonymous for harp solo (Ms. Madrid)Diferencias de las Fol. During the course of the seventeenth century the harmonic pattern. The. latter are distinguished by their melodies with upbeats and a clear. The use of the campanela (a frequently. Rivera), barock guitar. Juan Miguel Nieto), theorbo (Consuelo Navas) and viola da gamba (Sara. Ruiz). Released 2. Harmonia Mundi compact disc HMI 9. Duration: 2'0. 0. Gerold. See also the page Recommended Folia- recordings. Zabaleta, Nicanor 'Spanische Harfenmusik des 1. Jahrhunderts' Title: Folias Released 1. Archiv Produktion LP SAPM 1. Series: Archive production, 4th research period Forschungsbereich. Westeuropa zwichen Barock und Rokoko (1. Serie: Spanischen. Meister Missing in the collection of the Rotterdam Discotheek. The Netherlands, October 1. CF0. 00. 23) Anonymous for harp solo (version by Andrew Lawrence- King)Folias (imperfectas) Rather doubtful if this version is for harp solo, In the documentation of the discs no sources (manuscripts) are mentioned at all. Lawrence- King, Andrew 'Erasmus van Rotterdam' Title: Folias (imperfectas) - Anonymous Released 2. Alia Vox 6 cd- set (cd nr. AVSA 9. 89. 5 A/F. Duration: 1'4. 2. Lemoine, Paris, 2. Anonymous for harpsichord solo. Folies d'Espagnes pour clavecin (manuscript, collected 1. The collection, of which the Folies d'Espagne is a part, was collected by. Marc Roger Normand Couperin (1. Court of Sardina. Fran. Because of this last. Couperin of Turin' (Turino, Italy) when. Coperino da Torino'. Although the 2. 7 couplets on La Folia are anonymous, there are clearly links. Folies d'Espagne by d'Anglebert. Moroney. speculates that Coperino may have had lessons with d'Anglebert, and composed. By far the longest and most. La Folia. Couperin's set is noteworthy. First, its unusual length is impressive: containing. Anglebert's famous. The set in Couperin's manuscript has clear links with d'Anglebert's. Couperin left for Turin: 4th. Anglebert's 4th, 7th couplet = d'Anglebert's 6th, 1. Anglebert's 2. 2nd, 1. Anglebert's 2. 1st, 2. Anglebert's 1. 6th. Some of these correspondences are extremely close. We may conclude that Couperin had some contact with d'Anglebert. The work is conceived according. After the opening. Then (iv) the two previous figurations of each hand combined together. F, derived. from (iii). Each group of six variations ends with (vi) a bass solo. Harpsichord by John Phillips, built 1. Berkeley. after Nicolas Dumont 1. In this mansucript is also included Folies d'Espagne pour clavecin (1. Mlle Le Noble)Pierre F. It was begun on 6 Septembr 1. Mlle de La Pierre. It then seems to have served another pupil by the name of Mlle Le Noble, for whom the pieces proposed as exercises were copied straight after the first group. It is possible that both these harpsichordists had the same teacher, but in this case one would have to ask why the teachershould re- copy for the second pupil in the same manuscript some twenty pieces which he had already used with the first pupil. It seems that Mlle Le Noble was more gifted than Mlle de La Pierre, at least as a composer, for she . At all events this represents a music notebook whose physical unity (format, paper, watermarks) is clear. The date 2. 9 January 1. Le Noble part seems to be much later yhan the two copyists' hands. Anonymous and Mademoiselle Le Noble. Title: Folies d'Espagne (6 couplets). Livre de Mademoiselle La Pierre. Published c. 1. 68. Minkoff Reprint. 1. Anonymous for keyboard, Amsterdam (Ms. Book 1. 2Immerseel, Jos van (virginal) 'Hans Ruckers, The musical legacy' Released 2.
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Build Version 8. 0. November 2. 00. 9
CX pbx sip port is not default (5. Added: New Tunnel with less bandwidth usage
Added: Voztelecom template
October 2. 00. 9
Fixed
New
3. CX Assistant features
Trichogramma - Wikipedia. Trichogramma are minute polyphagous wasps that are endoparasitoids of insect eggs. Trichogramma have less than 1. Females also use antennal drumming to determine the size and quality of the target egg, which determines the number of eggs the female will insert. He described the tiny wasps that emerged from eggs of the Viceroy butterfly as Trichogramma minutum. The original specimens, however, were lost. Riley also described a second species in 1. Trichogramma pretiosum, but these specimens were also lost. To correct these errors, entomologists returned to the areas where Riley originally found the species and obtained neotype specimens of T. These specimens are now preserved properly in the United States National Museum. However, when looking at the Wolbachia- host associations, the Trichogramma- Wolbachia form a monophyletic group based on several Wolbachia- specific genes, which may be explained by horizontal transfer of Wolbachia between different species.
Commonly, uninfected wasps are unable to breed with infected wasps. This results in a reversal in sexual selection where females must compete for male mates, which has evolutionary implications as it exposes different phenotypes to natural selection. They can be considered the Drosophila of the parasitoid world as they have been used for inundative releases and much of our understanding today comes from experiments with these wasps. Trichogramma minutum is one of the most commonly found species in Europe and was first mass reared in 1. Sitotroga cerealella. Trichogramma are used for control on numerous crops and plants, these include cotton, sugarcane, vegetables, sugar beets, orchards and forests. Our mission and objectives. BCPC (the British Crop Production Council) promotes the use of science and technology in the understanding and application of effective. In recent years, there has been a growing interest in researching and developing new antimicrobial agents from various sources to combat microbial resistance. This can lead to non- target hosts being parasitized. This can cause problems by reducing the amount of parasitism of the target host, and depending on the rate of parasitism, non- target effects could be significant on non- target host populations. Species used. It is a more generalized parasitoid, able to parasitise a range of different species. T. Though Australia has its own native Trichogramma species there has not been much work undertaken to commercially use them for biological control within Australia. The larvae are the stage that causes the most damage, especially to grape berries which provides sites for bunch rot to occur. It is very predominant in areas like the Yarra Valley. Insecticide use is not a preferred method by most growers who prefer a more natural mean of controlling pests. As a result, Trichogramma were considered a good candidate for biological control as the larvae are difficult to control with insecticide and light brown apple moths are relatively vulnerable to egg parasitism with their eggs being laid in masses of 2. Selected Species. Netherlands Journal of Zoology. Retrieved May 2. 2, 2. Annual Review of Entomology. Entomologia Experimentalis et Applicata. Bulletin of Entomological Research. Proceedings of the Royal Society of London B: Biological Sciences. Proceedings of the Royal Society of London B: Biological Sciences. Trends in genetics: TIG. In 'Annual Review of Entomology' pp. Flanders, SE (1. 93. Australian Journal of Entomology. Agricultural and Forest Entomology. Annals of the Entomological Society of America. Journal of Economic Entomology. Pesticide productivity and food security. A review. The increased threat of higher crop losses to pests has to be counteracted by improved crop protection whatever method it will be (biologically, mechanically, chemically, IPM and training of farmers). The use of pesticides has increased dramatically since the early 1. Without pesticides, food production would drop and food prices would soar. With lower production and higher prices, farmers would be less competitive in global markets for major commodities. Where overall crop productivity is low, crop protection is largely limited to some weed control, and actual losses to pests may account for more than 5. Oerke 2. 00. 5). In large parts of Asia and Latin America, great advances have been made in the education of farmers, whereas the situation is still poor in Sub- Saharan Africa and has worsened in the countries of the former Soviet Union because of the lack of resources. Plant disease can be devastating for crop production, as was tragically illustrated in the Irish potato famine of 1. This disaster led to the development of the science of plant pathology (Agrios 1. From the time when synthetic pesticides were developed after World War II, there have been major increases in agricultural productivity accompanied by an increase in efficiency, with fewer farmers on fewer farms producing more food for more people. A major factor in the changing productivity patterns, either directly or indirectly, has been the use of pesticides. Ensuring the safety and quality of foods and the increase in crop loss was accompanied by a growth in the rate of pesticides use. The annual global chemical- pesticide market is about 3 million tonnes associated with expenditures around USD 4. Popp 2. 01. 1). The growing dependence on chemical pesticides has been called the “pesticide treadmill” by entomologists (Bosch 1. A major factor in the “pesticide treadmill” involves two responses to pesticide resistance. The first is to increase the dose and frequency of use of the less effective pesticide; this typically results in higher levels of pest resistance and damage to natural enemies and the environment. The second response is to develop and commercialise a new pesticide. The treadmill concept assumes that this two- step process will continue until the pest meets a resistance- proof pesticide or until the supply of effective new pesticides is exhausted. The greater the impact of control measures on pest populations, the more extreme are their evolutionary responses. However, the moderate rates in yield increase in the major world crops during 1. FAO 2. 00. 0). Pesticide productivity has been estimated in three general ways: with partial- budget models based on agronomic projections, with combinations of budget and market models, and with econometric models. For a long time, benefit analyses relied on partial budgeting. The most widely cited studies on pesticide productivity, those of Pimentel and various coauthors, use this method (Pimentel et al. Assessment of global crop losses by Cramer (1. Knutson et al. Those studies use data from field trials and expert opinion to estimate pest- induced losses on crop by crop basis with current pesticide use, without pesticides, and with a 5. They construct alternative production scenarios for each crop to estimate changes in input use. Current prices are then used to value changes in per- acre production costs and per- acre yield losses, which are added to obtain an estimate of the costs of changes in pesticide use. One of these studies (Pimentel et al. In comparison, Cramer (1. North and Central America. Estimates of crop losses at 3. The costs of pesticides are low relative to crop prices and total production costs. Crop losses of the magnitude estimated by Pimentel et al. The models ignore even short- run, farm- level substitution possibilities caused by differences in land quality, human capital, and other characteristics of farm operations. Field trials can hold constant all production practices except pesticide use, deliberately ignoring substitution possibilities. Moreover, they are often conducted in areas with heavier than normal pest pressure, where pesticide productivity is probably higher (Pimentel et al. As a result, studies on crop losses due to pests based on partial- budget models tend to overestimate crop losses in agriculture. Other studies have attempted to estimate pesticide- related effects of large reductions in pesticide use by combining partial- budget models with models of output markets (Zilberman et al. These studies use the same approach as partial- budget models in estimating yield and cost effects of changes in pesticide use. Projected changes in per- hectare expenses and yields are then incorporated into models of agricultural- commodity markets and used to project changes in output prices and consumption in market equilibrium. Models of this type incorporate some, but by no means all, substitution possibilities. The productivity of pesticides—and thus the effects of reducing pesticide use—depends in large measure on substitution possibilities within the agricultural economy (Zilberman et al. In general, pesticide productivity will tend to be low in situations where substitution possibilities are large. Real prices of energy and durable equipment have fallen relative to agricultural chemical prices (Ball et al. On the other hand, the prices of hired and self- employed labour have risen steadily, both in real terms and relative to agricultural chemical prices, and this suggests that labour- intensive pest- control methods have become less attractive relative to pesticide use. However, those estimates failed to take into account the possibility that other pest- control strategies could be used or that new technologies could be developed in the absence of chemical control. Moreover, pesticide use can improve food quality in storage and provides some benefits directly to consumers. Most of that benefit is passed on to consumers in the form of lower prices for food. It is possible to estimate pesticide productivity directly with econometric models. Statistical methods can be used to estimate parameters of models that link output with input use. Varied substitution possibilities are implicit in the parameters of these models. Specification of models that are nonlinear in input use allows rates of substitution between inputs to vary as input usage changes. Econometric models are commonly used to estimate factor productivity and productivity growth in the agricultural economy (Griliches 1. Ball 1. 98. 5; Capalbo and Antle 1. Chavas and Cox 1. Fernandez- Cornejo et al. Chambers and Pope 1. Econometric models capture all forms of substitution in production, including short- term and long- term substitutes for pesticides on individual farms and at the regional and national levels. Headley (1. 96. 8) estimated such a model by using state- level cross- sectional data in the US for the year 1. He used crop sales to measure output and expenditures on fertilisers, labour, land and buildings, machinery, pesticides and other inputs as measures of input use and found that an additional dollar spent on pesticides increased the value of output by about USD 4 showing a high level of productivity for that period. There are several reasons to believe that Headley's estimate of marginal pesticide productivity could be too high. Firstly, using sales as a measure of output tends to bias productivity estimates upward because output price tends to be positively correlated with input demand. Secondly, Headley's specification assumes that pesticides are an essential input, that is, that production is impossible without pesticides. Finally, the specification that Headley uses does not allow pesticide productivity to decline as fast as it should, again leading to upwardly biased estimates of pesticide productivity (Lichtenberg and Zilberman 1. The Headley model generates estimates of the marginal productivity associated with pesticides, that is, the additional amount (value) of output obtained by using an additional unit of pesticides. Multiplying the marginal productivity of pesticides by the quantity of pesticides used thus understates the total value added by pesticides (Pimentel et al. Carrasco- Tauber and Moffitt (1. U. S. Their use of sales as a dependent variable generated an implicit estimate of aggregate US crop losses in 1. Pimentel et al. That specification suggests that their estimate of pesticide productivity should be biased upward. Chambers and Lichtenberg (1. They used this dual formulation to specify production relationships under two specifications of damage abatement, neither of which imposed the assumption that pesticides are essential inputs. Implicit crop losses in 1. Pimentel et al. Assuming no change in crop prices, farm income would decrease by 6 %, considerably more than estimated by other studies (Pimentel et al. Estimated crop losses with zero pesticide use ranged from 1. Pills Thrills And Bellyaches RaritanEditor’s Note: This list was researched and curated by Chris Gerard. Generally when people think of 1001 Albums You Must Hear Before You Die Published in 2005 by Cassell Illustrated. Selected & written by 90 leading international critics, general editor Robert Dimery. Black Grape are a rock band from England, featuring former members of Happy Mondays and Ruthless Rap Assassins. Their musical style fuses funk and electronic rock. NME: The 500 Greatest Albums Of All Time : October 2013 1. The Queen Is Dead – The Smiths 2. Revolver – The Beatles 3. Hunky Dory – David Bowie. Black Grape - Wikipedia. Black Grape are a rock band from England, featuring former members of Happy Mondays and Ruthless Rap Assassins. Their musical style fuses funk and electronic rock with electronic programming and samples. History. It was Ryder's first musical project after the disintegration of Happy Mondays due both to his multiple drug addictions and to disagreements about revenues with other band members. The formation of the new band was intended to draw a line between his past life and his new one. Ryder and Bez recruited rappers Paul . Recording of new material started that year, although the group was not under contract. In 1. 99. 5 Black Grape was signed by Radioactive Records (an imprint of major label BMG) and released its debut album It's Great When You're Straight.. Yeah. The album debuted at number one in the UK Albums Chart, and spawned three top 2. Another song on the album, . However, Metallica drummer Lars Ulrich listed it as his favourite album of 1. It was released by the management label Fletcher Mc. Gee Ltd under license to BMG Rights Management. The 1. 00 Greatest Alternative Singles of the '8. Part 1: 1. 00 - 8. Editor’s Note: This list was researched and curated by Chris Gerard. Generally when people think of . There’s no question that it was a golden age for pop music, although some of the quintessential hits of the . Many younger music fans in particular consider . But like all musical decades, there is another layer of music that by and large didn’t fit neatly into Top 4. US). My first question: What is alternative? After all, there are plenty of artists who reside outside the limited universe of Top 4. It’s hard to put your finger on it exactly, but you know it when you hear it. The term “alternative” didn’t really become prominent until the very end of the . Before that we had punk, post- punk, new wave, college rock, underground, modern rock, and other more specific labels like goth, industrial, new romantic, ska, power pop, hardcore, indie rock, etc. All of these fit within the umbrella of what would be considered alternative. Of course, it also depends on the artist, the album, the country, or even the listener. There are songs that hit the top of the singles chart in the UK or elsewhere in the world—the Boomtown Rats’ 1. I Don’t Like Mondays”, for example, the Jam’s “A Town Called Malice”, or David Bowie’s “Ashes to Ashes”—which had zero chance of ever becoming a mainstream hit in America. Most would agree that Blondie’s earlier material, all of which was released in the ? They had four #1 singles in a three year span: “Heart of Glass”, “Call Me”, “Rapture” and “The Tide Is High”. Can an artist with that level of commercial pop success still be considered alternative? It seems much more feasible if its an artist that breaks through with one surprise hit—like Love and Rockets with “So Alive”, for example, or Suzanne Vega’s “Luka”. Sometimes it’s simply a judgment call. Many of these songs fit into multiple categories and many that were left out for not being alternative could very easily be considered by others to fit into that label quite nicely. There is necessarily and unavoidably a degree of subjectivity in not only selecting which songs to include and ranking them, but also determining which songs can be considered alternative in the first place. The most important factor in compiling and ranking the list is artistic importance, with cultural significance also considered. Only one song per artist is selected, and only songs that were released during the . There are omissions that some might find surprising. The Ramones, for example, released almost all of their most important work in the . Early MTV staples like “Pop Music”, “Cars” and “Video Killed the Radio Star” were all released in the . The Clash’s London Calling, one of the genre’s most important albums, came out in December 1. Likewise is Depeche Mode’s Violator, which hit stores in March 1. Personal Jesus” did come out in 1. Although the term “singles” is used in the title, it’s used lightly. As long as the song is a key album track or represents a major song in the artist’s repertoire, it need not have had a physical single release. There were nearly 4. Many great songs are not included, but what we are left with is 1. At the very least, even if you pay no consideration to the rankings, it’s a great starting point for exploring some of the amazingly diverse and powerful music from the . The Primitives - “Crash” (1. The opening track and first single from Lovely, the Primitives’ debut album, “Crash” is a fizzy, melodic power- pop confection. Tracy Tracy’s spritely vocals glide beautifully above the chugging guitars and locomotive drums. The chorus, with its “na- na- na- na- na- na / slow down” backing vocals, is an earworm of insidious virulence. It’s almost impossible to avoid getting it stuck in your head. This isn’t quite the little red Corvette going much too fast in Prince’s classic, but the Primitives certainly dip their toes in the same metaphoric territory, although “Crash” could have a broader variety of meanings. Musically it’s like a car barrelling down the highway, mimicking the motion suggested in the chorus, with the sudden snarl guitar at the beginning suggesting the crash itself. Despite the sharply worded warning in the lyrics, “Crash” is a breezy nugget of glimmery perfection. It reached #5 in the UK singles chart, and #3 on the Billboard Modern Rock chart in America. Laid Back - “White Horse” (1. Danish duo Laid Back had one of the decade’s most unlikely crossover hits when their minimalist electronic oddity “White Horse” reached #2. US pop chart for two weeks in May 1. It was initially the b- side to their European hit “Sunshine Reggae”, but American DJs started spinning “White Horse” so it was reissued as a single in its own right. It became a popular dance hit, and for a while it was a go- to tune for breakdancers showing off their Robot skills. The deep multi- tracked vocals sung in a deadpan baritone exude a sense of menace, repeating “If you wanna ride, don’t ride the white horse” with the air of someone speaking from experience, and recommending instead to “ride the white pony”, evidently suggesting cocaine is preferable to heroin. Perhaps the lyrics’ enigmatic nature snuck the song past most of the censors, although some radio stations did indeed balk at playing it. One of the new wave era’s more interesting curios, “White Horse” is included on Laid Back’s second album .. Keep Smiling. 9. 8. Jo. Boxers - “Just Got Lucky” (1. Jo. Boxers’ jubilant “Just Got Lucky” was a surprise hit in America, spending two week at #3. November 1. 98. 3. Unlike many songs from the new wave era which can often sound hopelessly dated, the upbeat Northern soul- influenced “Just Got Lucky” has aged extremely well. As relationship songs go, “Just Got Lucky” captures love in its first bloom of excitement and promise—faces are still plastered with silly grins, flowers are delivered for no reason other than to say . In the UK, Jo. Boxers’ first two singles “Boxerbeat” (#3) and “Just Got Lucky (#7) were both major hits. Maniacs - “Like the Weather” (1. Like the Weather” was the second single from 1. Maniacs’ second album In My Tribe, and is arguably their finest. Natalie Merchant’s glimmery vocals skate above the lean and insistent groove, with restrained organ, a lyrical bass, and bright lines of guitar. A simple ascending guitar pattern opens the song, over the polyrhythmic percussion played by the band’s versatile drummer Jerry Augustyniak. Despite the grim lyrics about a woman so depressed she can’t get out of bed, “Like the Weather” has a gentle warmth to it. Natalie Merchant sings lines like, “The color of the sky is gray as I can see through the blinds / lift my head from the pillow and then fall again”, with deceptive vibrancy. Anybody who has ever struggled with depression will understand when Merchant sings, “it is such a long time since my better days / I say my prayers nightly this will pass away”. Perhaps the relatively sunny nature of the recording is a conscious effort to hasten the passing away of those nights. Concrete Blonde - “God Is a Bullet” (1. Johnette Napolitano is one of rock’s most under- appreciated vocalists, and she delivers a blistering performance on “God Is a Bullet”. The concept of a bullet playing the role of God, the ultimate arbiter of life and death, is as relevant as ever as America continues to struggle in the grip of a gruesome spree of mass shootings. Of course the mass shootings get the headlines, but the problem is far deeper than that, with an astonishing 3. America every year. As it winds to its harrowing conclusion, the guitars flash like sirens in the wake of yet another shooting as they fade to black. As powerful today as the day it was released, “God Is a Bullet” is the opening track to the band’s second album, Free, and it reached #1. Billboard Modern Rock chart in June 1. Red Hot Chili Peppers - “Knock Me Down” (1. Knock Me Down” is taken from 1. Mother’s Milk, by far the Red Hot Chili Peppers’ finest release at that point in their career. It’s a tightly- wound freakout in which the Chili Peppers’ boundless vitality is obvious. Listen to the skittery bassline that jumps all over “Knock Me Down”—lean, mean, fast and tight. Vicki Calhoun is the vocalist soaring in the background as the song winds to its manic conclusion. Along with their cover of Stevie Wonder’s “Higher Ground”, the wickedly funky “Knock Me Down” helped crack open the door to massive success for Red Hot Chili Peppers, reaching #6 on the Billboard Modern Rock chart. With “Knock Me Down”, the band showed they were capable of writing great songs that were still unmistakably their style, but with mass appeal. It was the Chili Peppers’ biggest hit until three years later, when their timeless ballad “Under the Bridge” lodged at #2 on the pop chart. The English Beat - “Save It For Later” (1. Save It For Later” was written by vocalist Dave Wakeling early on in his band’s career, and true to its title he saved it until the English Beat’s third album Special Beat Service (in the UK they are simply known as the Beat). Along with their earlier single “Mirror in the Bathroom”, the upbeat ska- flavored rocker “Save It For Later” has become one of the band’s signature songs. It is the band’s most fully- realized track, catchy with tight harmonies, subtle strings, enigmatic lyrics (presumably about a young man discovering that adulthood does not automatically provide the answers and solutions that one might have assumed), and a terrific vocal by Wakeling. And if Wakeling is actually singing “save it fellator” at some points in the song as is widely assumed, then that opens whole new avenues of possible interpretation (not to mention humor). Although “Save It For Later” wasn’t a major hit upon its release, it has become something of an . Orchestral Manoeuvres in the Dark - “Enola Gay” (1. Notable for its dizzying synthesizer that whirls relentlessly in the background, “Enola Gay” is a landmark single of the synth- pop genre. |