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Brown Acid - The Thirteenth Trip
RIDINGEASY RECORDS
EZRDR 134LP
$26.00 PREORDER RELEASE DATE: 2/4/2022
LP version. "Here are just some of the gems from this latest edition of the popular compilation series featuring long-lost vintage '60s-70s proto-metal and stoner rock singles, Brown Acid - The Thirteenth Trip: Max, from Montreal, QC -- originally known as Dawn, before Tony Orlando & Dawn forced a name change -- kick things off with 'Run Run' from their lone 1970 single. It's a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. 'Feelin' Dead' is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI's Master Danse, which was only released as a promo 45. Think Led Zeppelin's 'Since I've Been Loving You.' Gary Del Vecchio is 'Buzzin'' hard, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin's 'Heartbreaker' and rollicking rhythmic changes certainly keep the buzz a rollin'. Finally, Good Humore's swaggering 1976 rocker 'Detroit' is a slick and smooth paen to the Motor City. It most likely doesn't predate 'Detroit Rock City' by Kiss, also released in 1976, and it has more rock'n'roll swing, but it could fit comfortably alongside the era's arena anthems."
Silence/Motion
LP version. "'Empty surrounds all of me.' It's a poignant line from the third album by Blackwater Holylight that encapsulates the search for self when suddenly everything has changed. There's a theme of processing vast personal trauma throughout Silence/Motion that eloquently -- both lyrically and musically -- and simultaneously embodies the crushing emptiness, sorrow, strength and rebuilding of recovering from personal devastation. Curiously, considering the dark times in which it was created, this is the band's most melodic and catchy music so far. Blackwater Holylight, as the name suggests, is all about contrasts: it's a fluid convergence of sound that's heavy, psychedelic, melodic, terrifying and beautiful all at once. Silence/Motion finds the band honing those contrasts, letting ideas and moods fully develop from song to song, rather than filling every song with a full range of their capabilities. It allows the band to go fully prog-rock here, and simply stay hushed and intimate there. There's a new confidence to the band in how seamlessly they wield their stylistic amalgam. The band recorded the album as a four piece: Allison 'Sunny' Faris on vocals and guitar (on 'Silence/Motion', 'MDIII', 'Around You' and 'Every Corner') and bass for the remainder, Sarah McKenna on synths, Mikayla Mayhew on guitar (and bass when Faris plays guitar) and drummer Eliese Dorsay. New second guitarist Erika Osterhout will perform the songs with them live. For Silence/Motion the band chose to work with a producer for the first time, bringing in A.L.N. (of Mizmor, Hell) to produce, along with recording engineer Dylan White -- who also helmed their previous album Veils Of Winter (2019) -- at Odessa Recording Studio in Portland, OR. Guest vocals on album opener 'Delusional' are by Bryan Funck (Thou.) Mike Paparo (Inter Arma) and A.LN. (Mizmor, Hell) lend guest vocals to album closer 'Every Corner'."
Scrap Metal Vol. 1
EZRDR 132CD
"By now you're probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don't fit the series' aesthetic. Scrap Metal Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era's classic output. We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences -- NWOBHM, thrash, glam metal, doom, etc -- colliding at once as the era birthed a wellspring of subgenres. Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We've collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it's the right thing to do."
$26.00 NOT IN STOCK
LP version. "By now you're probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don't fit the series' aesthetic. Scrap Metal Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era's classic output. We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences -- NWOBHM, thrash, glam metal, doom, etc -- colliding at once as the era birthed a wellspring of subgenres. Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We've collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it's the right thing to do."
"'Empty surrounds all of me.' It's a poignant line from the third album by Blackwater Holylight that encapsulates the search for self when suddenly everything has changed. There's a theme of processing vast personal trauma throughout Silence/Motion that eloquently -- both lyrically and musically -- and simultaneously embodies the crushing emptiness, sorrow, strength and rebuilding of recovering from personal devastation. Curiously, considering the dark times in which it was created, this is the band's most melodic and catchy music so far. Blackwater Holylight, as the name suggests, is all about contrasts: it's a fluid convergence of sound that's heavy, psychedelic, melodic, terrifying and beautiful all at once. Silence/Motion finds the band honing those contrasts, letting ideas and moods fully develop from song to song, rather than filling every song with a full range of their capabilities. It allows the band to go fully prog-rock here, and simply stay hushed and intimate there. There's a new confidence to the band in how seamlessly they wield their stylistic amalgam. The band recorded the album as a four piece: Allison 'Sunny' Faris on vocals and guitar (on 'Silence/Motion', 'MDIII', 'Around You' and 'Every Corner') and bass for the remainder, Sarah McKenna on synths, Mikayla Mayhew on guitar (and bass when Faris plays guitar) and drummer Eliese Dorsay. New second guitarist Erika Osterhout will perform the songs with them live. For Silence/Motion the band chose to work with a producer for the first time, bringing in A.L.N. (of Mizmor, Hell) to produce, along with recording engineer Dylan White -- who also helmed their previous album Veils Of Winter (2019) -- at Odessa Recording Studio in Portland, OR. Guest vocals on album opener 'Delusional' are by Bryan Funck (Thou.) Mike Paparo (Inter Arma) and A.LN. (Mizmor, Hell) lend guest vocals to album closer 'Every Corner'."
"Here are just some of the gems from this latest edition of the popular compilation series featuring long-lost vintage '60s-70s proto-metal and stoner rock singles, Brown Acid - The Thirteenth Trip: Max, from Montreal, QC -- originally known as Dawn, before Tony Orlando & Dawn forced a name change -- kick things off with 'Run Run' from their lone 1970 single. It's a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. 'Feelin' Dead' is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI's Master Danse, which was only released as a promo 45. Think Led Zeppelin's 'Since I've Been Loving You.' Gary Del Vecchio is 'Buzzin'' hard, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin's 'Heartbreaker' and rollicking rhythmic changes certainly keep the buzz a rollin'. Finally, Good Humore's swaggering 1976 rocker 'Detroit' is a slick and smooth paen to the Motor City. It most likely doesn't predate 'Detroit Rock City' by Kiss, also released in 1976, and it has more rock'n'roll swing, but it could fit comfortably alongside the era's arena anthems."
DEATHCHANT
"Heavy music's evolution has always been a murky swamp of subgenres. So, combining Thin Lizzy's glistening twin guitar harmonies with Melvins-grade sludge and a hearty dose of proto-metal psych probably shouldn't sound so revolutionary as it does in the hands of L.A. quartet Deathchant. But theirs is a special, transcendent sound. Waste, the band's sophomore album and first for Riding Easy Records, is anything but. The thirty-three minute, seven-song blast flows seamlessly from song to song, aided by droning segues, while simultaneously slithering between genres and moods. Rumbling noise, chiming guitar melodies, bluesy boogie, NWOBHM thrash, COC grunge and punk fury all rear their head at times, sometimes all at once. Though one wouldn't be able to tell by the concise structures and well-crafted songs, a lot of Deathchant's music is improvised, both in the studio and live. That's not to suggest their songs are jammy -- they're very tightly organized compositions. But the four musicians have that special musical telepathy that allows them to keep the song structures open-ended. 'Improv is a huge things for us and always has been,' singer/guitarist T.J. Lemieux says. 'The musical freedom to look at the other dudes in the band and be able to take things wherever we want to go is magical. I like the feel of flying off the hinges.' Likewise, the band itself is similarly amorphous in its membership. 'We run the band with an open door. No lineup is definitive,' Lemieux explains. On Waste, the lineup is: Lemieux, George Camacho on bass, Colin Fahrner on drums, and John Belino on second guitar. Waste was recorded live in a rented cabin in the mountains of Big Bear, CA. 'We packed a big-ass van and set up in the living room and kitchen,' Lemieux says. 'Tracked it live, with overdubs after.' The whole album was recorded over two separate weekends, engineered by Steve Schroeder, who also recorded the band's 2019 self-titled debut album. 'I'd say it has sort of a DIY LA punk aesthetic,' he adds. 'Very ironically going hand in hand with a classic metal vibe: Thin Lizzy, Judas Priest, classic Deep Purple, Uriah Heep and other melodic heavy rock bands.'"
LP version. "Heavy music's evolution has always been a murky swamp of subgenres. So, combining Thin Lizzy's glistening twin guitar harmonies with Melvins-grade sludge and a hearty dose of proto-metal psych probably shouldn't sound so revolutionary as it does in the hands of L.A. quartet Deathchant. But theirs is a special, transcendent sound. Waste, the band's sophomore album and first for Riding Easy Records, is anything but. The thirty-three minute, seven-song blast flows seamlessly from song to song, aided by droning segues, while simultaneously slithering between genres and moods. Rumbling noise, chiming guitar melodies, bluesy boogie, NWOBHM thrash, COC grunge and punk fury all rear their head at times, sometimes all at once. Though one wouldn't be able to tell by the concise structures and well-crafted songs, a lot of Deathchant's music is improvised, both in the studio and live. That's not to suggest their songs are jammy -- they're very tightly organized compositions. But the four musicians have that special musical telepathy that allows them to keep the song structures open-ended. 'Improv is a huge things for us and always has been,' singer/guitarist T.J. Lemieux says. 'The musical freedom to look at the other dudes in the band and be able to take things wherever we want to go is magical. I like the feel of flying off the hinges.' Likewise, the band itself is similarly amorphous in its membership. 'We run the band with an open door. No lineup is definitive,' Lemieux explains. On Waste, the lineup is: Lemieux, George Camacho on bass, Colin Fahrner on drums, and John Belino on second guitar. Waste was recorded live in a rented cabin in the mountains of Big Bear, CA. 'We packed a big-ass van and set up in the living room and kitchen,' Lemieux says. 'Tracked it live, with overdubs after.' The whole album was recorded over two separate weekends, engineered by Steve Schroeder, who also recorded the band's 2019 self-titled debut album. 'I'd say it has sort of a DIY LA punk aesthetic,' he adds. 'Very ironically going hand in hand with a classic metal vibe: Thin Lizzy, Judas Priest, classic Deep Purple, Uriah Heep and other melodic heavy rock bands.'"
Onwards And Downwards
EXRDR 129CD
"Excelsior! It's the hail of yore that one should go ever onward and upward. And so, fittingly Onwards And Downwards is the occultist Swedish band Alastor's clever call to arms... and also a reflection of the collective dark state of mind these days. 'If our last album Slave To The Grave were about death, this record is more about madness,' says guitarist Hampus Sandell. 'You can look at the whole record as one person's gradual slip into insanity. An ongoing nightmare without end. It also sums up the state of the world around us as this year has clearly shown.' Alastor is heavy doom rock for the wicked and depraved. Drenched in heavy, distorted darkness and steeped in occult horror that will make one's skin crawl and ears cry sweet tears of blood, the band is revitalized in 2021 with meticulously crafted songs and new drummer Jim Nordström bringing a hard-hitting and precise energy. 'It's a more focused record but at the same time it's more personal and naked. More raw emotion and pain,' Hampus says. The band recorded the album with the help of Joona Hassinen of Studio Underjord, who has helped with mixing since their Blood On Satan's Claw EP in 2017. Christoffer Karlsson of The Dahmers also assisted with overdubs and encouraged the band to demo the material early on, aiding in the album's more deliberate and tighter feel."
EXRDR 129LP
LP version. "Excelsior! It's the hail of yore that one should go ever onward and upward. And so, fittingly Onwards And Downwards is the occultist Swedish band Alastor's clever call to arms... and also a reflection of the collective dark state of mind these days. 'If our last album Slave To The Grave were about death, this record is more about madness,' says guitarist Hampus Sandell. 'You can look at the whole record as one person's gradual slip into insanity. An ongoing nightmare without end. It also sums up the state of the world around us as this year has clearly shown.' Alastor is heavy doom rock for the wicked and depraved. Drenched in heavy, distorted darkness and steeped in occult horror that will make one's skin crawl and ears cry sweet tears of blood, the band is revitalized in 2021 with meticulously crafted songs and new drummer Jim Nordström bringing a hard-hitting and precise energy. 'It's a more focused record but at the same time it's more personal and naked. More raw emotion and pain,' Hampus says. The band recorded the album with the help of Joona Hassinen of Studio Underjord, who has helped with mixing since their Blood On Satan's Claw EP in 2017. Christoffer Karlsson of The Dahmers also assisted with overdubs and encouraged the band to demo the material early on, aiding in the album's more deliberate and tighter feel."
Brown Acid - The Twelfth Trip
"That's right, Riding Easy has reached a toker's dozen editions of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the '60s-70s. Clearly this has become a bonafide archaeological movement as each new installment leads the listener to more exciting new discoveries. Like the label has done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. Make oneself comfortable and prepare for yet another deep, deep dive into the treasure trove of dank, subterranean, wild-eyed and hairy rock 'n' roll with Brown Acid - The Twelfth Trip. Here are some examples of the treasures that lie herein: The Waters start this Trip off right with swampy fuzz- and phaser-soaked dueling guitars oozing from the grooves of their 1969 single 'Mother Samwell.' The Louisville, KY trio somehow failed to make much of a splash however, only issuing two 45s, one in '68 and this rocker the following year, before eventually evaporating in '72. The bassist went on to play in Hank Williams Jr.'s band for a couple of decades, so the band's fortunes weren't entirely sunken. Side two opens with Ace Song Service, who probably thought they were pretty clever with their risqué acronym name, but it's their b-side 'Persuasion' that really kicks A.S.S. Rollicking, relentless drums, walking bass, staggering guitars and shimmering Hammond organ shake the foundations while crooning blue-eyed soul vocals remind the listener that this is still the late-60s. The Trip concludes with Dickens, whose 'Sho' Need Love' / 'Don't Talk About My Music' 45 is one of those record collector's Holy Grail type of releases. The 1971 single only exists as a demo, printed as a white label promo pressing for Scepter Records. Comprised of NRBQ's road crew and some band members, all playing instruments they didn't know how to play, the recording happened essentially by accident when studio time became available after Gomer Pyle actor and balladeer Jim Nabors cancelled a session. The group quickly cut a few songs, which an enthusiastic A&R man had pressed up, before the label president nixed it and fired the VP for allowing such nonsense. It's believed that only about 50 copies survived!"
LP version. "That's right, Riding Easy has reached a toker's dozen editions of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the '60s-70s. Clearly this has become a bonafide archaeological movement as each new installment leads the listener to more exciting new discoveries. Like the label has done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. Make oneself comfortable and prepare for yet another deep, deep dive into the treasure trove of dank, subterranean, wild-eyed and hairy rock 'n' roll with Brown Acid - The Twelfth Trip. Here are some examples of the treasures that lie herein: The Waters start this Trip off right with swampy fuzz- and phaser-soaked dueling guitars oozing from the grooves of their 1969 single 'Mother Samwell.' The Louisville, KY trio somehow failed to make much of a splash however, only issuing two 45s, one in '68 and this rocker the following year, before eventually evaporating in '72. The bassist went on to play in Hank Williams Jr.'s band for a couple of decades, so the band's fortunes weren't entirely sunken. Side two opens with Ace Song Service, who probably thought they were pretty clever with their risqué acronym name, but it's their b-side 'Persuasion' that really kicks A.S.S. Rollicking, relentless drums, walking bass, staggering guitars and shimmering Hammond organ shake the foundations while crooning blue-eyed soul vocals remind the listener that this is still the late-60s. The Trip concludes with Dickens, whose 'Sho' Need Love' / 'Don't Talk About My Music' 45 is one of those record collector's Holy Grail type of releases. The 1971 single only exists as a demo, printed as a white label promo pressing for Scepter Records. Comprised of NRBQ's road crew and some band members, all playing instruments they didn't know how to play, the recording happened essentially by accident when studio time became available after Gomer Pyle actor and balladeer Jim Nabors cancelled a session. The group quickly cut a few songs, which an enthusiastic A&R man had pressed up, before the label president nixed it and fired the VP for allowing such nonsense. It's believed that only about 50 copies survived!"
Next To Pay
$15.00 LOW STOCK LEVEL
"With a name like Warish, the San Diego noisy punk-metal trio assured listeners they were in for a maniacal bludgeoning from the get-go. But the band has never been as dark and bitingly vicious as the wholly ominous Next To Pay. The band's mix of early AmRep skronk, dark horror rock and budget doom antipathy is taken to a whole new level on this thirteen song invective. 'Next To Pay is about a sense of imminent doom, everyone is going to die,' vocalist/guitarist Riley Hawk says. 'It's not the happiest record, I guess.' To say the least. On the title track opener, Hawk screams through shredded vocal chords with the tuneful rage of Kill 'Em All-era James Hetfield and the seething desperation of Kurt Cobain. 'This album is more of an evolution, it's a little more punk-heavy,' Hawk says of the group quickly founded in 2018. 'We figured out what our sound was.' And with that evolution comes a change in the lineup. Original drummer Nick (Broose) McDonnell plays on about half of the songs, while new drummer Justin de la Vega brings an even tighter urgency to the remaining, more recent tracks. Bassist Alex Bassaj joined after the debut album was recorded and here showcases muscular and melodic low end previously missing. Riley Hawk is also the pro-skater son of Tony Hawk. Inspired by early-Nirvana, The Misfits, The Spits and Master Of Reality-era Black Sabbath, Next To Pay keeps things heavy and pummeling at all times. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Greg Ginn's and Buzz Osbourne's wiry contortions, and occasionally drenched in chorus effects. The rhythms bash right through it all with aggressive force ensuring that nothing gets overly complicated. Warish's cover of '80s Dischord Records punks Gray Matter turns the emotive flail of 'Burn No Bridges' into a Motörhead-style basher."
LP version. "With a name like Warish, the San Diego noisy punk-metal trio assured listeners they were in for a maniacal bludgeoning from the get-go. But the band has never been as dark and bitingly vicious as the wholly ominous Next To Pay. The band's mix of early AmRep skronk, dark horror rock and budget doom antipathy is taken to a whole new level on this thirteen song invective. 'Next To Pay is about a sense of imminent doom, everyone is going to die,' vocalist/guitarist Riley Hawk says. 'It's not the happiest record, I guess.' To say the least. On the title track opener, Hawk screams through shredded vocal chords with the tuneful rage of Kill 'Em All-era James Hetfield and the seething desperation of Kurt Cobain. 'This album is more of an evolution, it's a little more punk-heavy,' Hawk says of the group quickly founded in 2018. 'We figured out what our sound was.' And with that evolution comes a change in the lineup. Original drummer Nick (Broose) McDonnell plays on about half of the songs, while new drummer Justin de la Vega brings an even tighter urgency to the remaining, more recent tracks. Bassist Alex Bassaj joined after the debut album was recorded and here showcases muscular and melodic low end previously missing. Riley Hawk is also the pro-skater son of Tony Hawk. Inspired by early-Nirvana, The Misfits, The Spits and Master Of Reality-era Black Sabbath, Next To Pay keeps things heavy and pummeling at all times. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Greg Ginn's and Buzz Osbourne's wiry contortions, and occasionally drenched in chorus effects. The rhythms bash right through it all with aggressive force ensuring that nothing gets overly complicated. Warish's cover of '80s Dischord Records punks Gray Matter turns the emotive flail of 'Burn No Bridges' into a Motörhead-style basher."
HERE LIES MAN
Ritual Divination
LP version. Four albums in, the convenient and generalized catchphrase for Here Lies Man's erudite sound -- if Black Sabbath played Afrobeat -- might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues-based than before, but the ancient rhythmic formula of the clave remains a constant. 'Musically it's an opening up more to traditional rock elements,' says vocalist / guitarist / cofounder Marcos Garcia, who also plays guitar in Antibalas. 'It's always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.' The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder / drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full four-piece band, including bassist JP Maramba and keyboardist Doug Organ. This album continues with an ongoing concept of the band playing the soundtrack to an imaginary movie, with each song being a scene. Musically and sonically, the album is also self-reflexive. 'On this album the feel changes within a song,' Garcia says. 'Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in. We're very conscious of how the rhythms service the riffs,' Garcia continues. 'Tony Iommi's (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.'"
Abyssal Trip
"'The vastness of everything is something that I think about a lot,' says Spelljammer bassist/vocalist Niklas Olsson. And it certainly shows in both the expansive, sludgy sounds and contemplative lyrics of the Stockholm, Sweden based trio. Following a five-year break between their previous album, Ancient Of Days -- perhaps fittingly spent pondering said vastness -- Spelljammer is back with an album that perfectly bridges the band's earlier desert rock leanings and their later massive, slow-burning riffs. Abyssal Trip (note: carefully re-read that album title) takes its moniker from the perpetually dark, cold, oxygen-free zone at the bottom of the ocean. The six song, forty-four minute album fittingly embodies that bleak realm with rumbling, oozing guitars intercut with dramatic melodic interludes. The songs take their time to unfurl, making them even more hypnotic. Likewise, the lyrics take a poetic approach to establishing the sonic scenery. The recording process for this album differs from previous releases in that the band -- guitarist Robert Sörling, drummer Jonatan Rimsbo and Olsson -- opted to capture the performances while holed up in the mental bathysphere of a house in the countryside near Stockholm. 'The songs benefitted from the relaxed environment of being away from everything,' Olsson explains. Indeed, the album sounds confident and meticulously arranged, afforded by the band's isolation. Sörling mixed the album and it was mastered by Monolord drummer Esben Willems at Berserk Audio. Abyssal Trip is, just like its title suggests, an epic tour through desolate zones which yields much to discover."
$23.00 PREORDER RELEASE DATE: 3/12/2021
LP version.
Four albums in, the convenient and generalized catchphrase for Here Lies Man's erudite sound -- if Black Sabbath played Afrobeat -- might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues-based than before, but the ancient rhythmic formula of the clave remains a constant. 'Musically it's an opening up more to traditional rock elements,' says vocalist / guitarist / cofounder Marcos Garcia, who also plays guitar in Antibalas. 'It's always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.' The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder / drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full four-piece band, including bassist JP Maramba and keyboardist Doug Organ. This album continues with an ongoing concept of the band playing the soundtrack to an imaginary movie, with each song being a scene. Musically and sonically, the album is also self-reflexive. 'On this album the feel changes within a song,' Garcia says. 'Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in. We're very conscious of how the rhythms service the riffs,' Garcia continues. 'Tony Iommi's (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.'"
Empress Rising - Instrumental
EZRDR 021INST
"Swedish trio Monolord release a special all-instrumental version of their beloved 2014 debut album Empress Rising. The sleeves are printed on premium chrome jackets limited to 1000 copies each album. Begun as a digital-only release for Empress Rising - Instrumental, the response was so overwhelming the band and RidingEasy Records decided to release both revised albums on vinyl as well. Monolord formed in 2013, quickly recording their 2xLP debut Empress Rising, which RidingEasy Records released on April 1st, 2014. The second album, Vænir, followed April 28th, 2015. " "Without vocals, Empress Rising suddenly becomes a post-metal, stoner epic in the vein of Sleep's Dopesmoker and Monster Magnet's 30-minute opus 'Tab.' Arguably Monolord's most atmospheric work, the instrumental treatment gives the album a new life and listening experience." --Consequence of Sound
Vaenir - Instrumental
"About the release, Esben Willems, Monolord drummer and recording & mixing engineer for the original album and this version, says, 'Listening to the mixes for the instrumental version of Vænir opened an unexpected door. We seriously didn't expect that the album would take such a different shape and feel in an instrumental version. Really stoked to see how our fans will experience this release. Also, getting both instrumental versions (Vænir & Empress Rising) released on LP adds another layer. Hope you like it.' Swedish trio Monolord release a special all-instrumental version of their second album, Vænir originally released in 2015. Begun as a digital-only release for Empress Rising - Instrumental, the response was so overwhelming the band and RidingEasy Records decided to release both revised albums on vinyl as well. The sleeves are printed on premium chrome jackets and limited to 1000 copies each album."
Brown Acid - The Eleventh Trip
"Riding Easy is now in the double digits of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the '60s-'70s and clearly this has become a bonafide archaeological movement as each new edition leads to more exciting new discoveries. Like the label has done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. Here are just a few of the delights herein: This Trip opens with Adam Wind's 'Something Else,' featuring groovy crooning and a very acid-damaged guitar riff that meanders across key signatures like it ain't no thing. This 1969 single by the Tacoma, WA band predates grunge by 20 years, but the band's heavy psych and murky tones are just the stuff Northwest heroes Mudhoney sought so fervently at their peak. Lead singer Leroy Bell's excessive vibrato gives the tune its charm, but the heavy breakdown in the middle is the real payoff. Later, Renaissance Fair take things in a very weird, very fun and undeniably heavy direction with an insanely distorted organ that sounds like a monstrous vacuum cleaner over dirge rhythms and growling vocals on their -- let's reiterate -- weird 1968 track 'In Wyrd.' Think if someone left a copy of The Doors' Strange Parade out to warp in the sun on a blown-out toy record player, and then visiting space creatures attempted to imitate what they'd heard. Finally, Crazy Jerry sends this edition off on a high note with 'Every Girl Gets One,' featuring crunching riffs, rollicking electric piano, stop 'n' start rhythms and a curious telephone call sounding like a creepy answer to the Big Bopper's 'Chantilly Lace.' Crazy Jerry is the alter-ego of guitarist Jerry Ciccone, who can also be heard on a few soul/funk and rock records from the '70s, including The Left Banke's second album. But here, Jerry is... well, simply crazy. Get comfortable and prepare for yet another deep, deep dive into the treasure trove of dank, subterranean, wild-eyed and hairy rock 'n' roll."
LP version. "Riding Easy is now in the double digits of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the '60s-'70s and clearly this has become a bonafide archaeological movement as each new edition leads to more exciting new discoveries. Like the label has done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. Here are just a few of the delights herein: This Trip opens with Adam Wind's 'Something Else,' featuring groovy crooning and a very acid-damaged guitar riff that meanders across key signatures like it ain't no thing. This 1969 single by the Tacoma, WA band predates grunge by 20 years, but the band's heavy psych and murky tones are just the stuff Northwest heroes Mudhoney sought so fervently at their peak. Lead singer Leroy Bell's excessive vibrato gives the tune its charm, but the heavy breakdown in the middle is the real payoff. Later, Renaissance Fair take things in a very weird, very fun and undeniably heavy direction with an insanely distorted organ that sounds like a monstrous vacuum cleaner over dirge rhythms and growling vocals on their -- let's reiterate -- weird 1968 track 'In Wyrd.' Think if someone left a copy of The Doors' Strange Parade out to warp in the sun on a blown-out toy record player, and then visiting space creatures attempted to imitate what they'd heard. Finally, Crazy Jerry sends this edition off on a high note with 'Every Girl Gets One,' featuring crunching riffs, rollicking electric piano, stop 'n' start rhythms and a curious telephone call sounding like a creepy answer to the Big Bopper's 'Chantilly Lace.' Crazy Jerry is the alter-ego of guitarist Jerry Ciccone, who can also be heard on a few soul/funk and rock records from the '70s, including The Left Banke's second album. But here, Jerry is... well, simply crazy. Get comfortable and prepare for yet another deep, deep dive into the treasure trove of dank, subterranean, wild-eyed and hairy rock 'n' roll."
"When R.I.P. came crawling out of the sewers of Portland, OR four years ago, their grimy, sleazy street doom was already a fully formed monstrosity that quickly infected the minds of everyone it encountered. At the time, no one expected its depravity to take such fierce hold, and yet, here it is, sheltering in place and/or stealthily creeping through a nightmare dystopia that the '80s sci-fi / horror movies foretold. Dead End is, ironically, a recharge of the band's sound, bearing influences ranging from John Carpenter films, post-apocalyptic grunge, pro-wrestling attitude and salty lo-fi hip-hop aesthetics, to the band's ferocious heavy metal. During the three years since the 2017 release of their sophomore album Street Reaper, R.I.P. has been busy tightening their sound and their line up while loosening their grip on sanity -- touring the west coast with bands like Electric Wizard and Red Fang, and taking street doom overseas for the first time for a monthlong headlining tour of Europe. These years on the road and the addition of a more aggressive rhythm section have allowed the band to fully break free from their influences and deliver on the promise hinted at on their first two releases. For Dead End, R.I.P. worked with legendary producer Billy Anderson, interring onto wax their heaviest and most ambitious album yet. Continuing to move further away from their classic doom influences like Pentagram and Saint Vitus, the band offers a rare blast of originality in a scene rife with formulaic bands. Dead End is a fast and anxious ride where the very idea of doom is put to the test under duress of manic lyrics about death, insanity, and leather, and hook-laden guitar tracks that draw as equally from Nirvana as Black Sabbath."
LP version. "When R.I.P. came crawling out of the sewers of Portland, OR four years ago, their grimy, sleazy street doom was already a fully formed monstrosity that quickly infected the minds of everyone it encountered. At the time, no one expected its depravity to take such fierce hold, and yet, here it is, sheltering in place and/or stealthily creeping through a nightmare dystopia that the '80s sci-fi / horror movies foretold. Dead End is, ironically, a recharge of the band's sound, bearing influences ranging from John Carpenter films, post-apocalyptic grunge, pro-wrestling attitude and salty lo-fi hip-hop aesthetics, to the band's ferocious heavy metal. During the three years since the 2017 release of their sophomore album Street Reaper, R.I.P. has been busy tightening their sound and their line up while loosening their grip on sanity -- touring the west coast with bands like Electric Wizard and Red Fang, and taking street doom overseas for the first time for a monthlong headlining tour of Europe. These years on the road and the addition of a more aggressive rhythm section have allowed the band to fully break free from their influences and deliver on the promise hinted at on their first two releases. For Dead End, R.I.P. worked with legendary producer Billy Anderson, interring onto wax their heaviest and most ambitious album yet. Continuing to move further away from their classic doom influences like Pentagram and Saint Vitus, the band offers a rare blast of originality in a scene rife with formulaic bands. Dead End is a fast and anxious ride where the very idea of doom is put to the test under duress of manic lyrics about death, insanity, and leather, and hook-laden guitar tracks that draw as equally from Nirvana as Black Sabbath."
DEATH WHEELERS, THE
Divine Filth
LP version. "From beyond the gutter, The Death Wheelers bring you their second album, the soundtrack to the fictional bikesploitation flick that never was: Divine Filth. Drawing inspiration from instrumental rock, proto-metal, punk and funk, the band embalms the listener in their sonic world of decay, groove and debauchery. Surfing the line between Motörhead, The Cramps and Dick Dale, the Canadian quartet uncompromisingly blends rawness and power in their riff-fueled compositions. Recorded entirely in forty-eight hours in a live setting just like in the good old days, this second opus is a testament to what the band stands for: a no BS attitude spiked with a heavy layer of crass. Just like their previous offering, the album is devised to serve as a soundtrack loosely based on a plot synopsis of a B-movie: 'It's 1982. Spurcity is run-down. The crime rate is up and so is drug use. A new kind of kick has hit the streets and it ain't pretty. DTA, a powerful and highly addictive hallucinogenic drug, is transforming its loyal citizens into undead trash. Its users experience an indescribable high, but it leaves them rotting away within days, craving human flesh. No one knows who is dealing this new potent drug, but rumor has it that the motorcycle cult, The Death Wheelers, is behind this concoction. Could this be the end of civilization as we know it? What is motivating this group of psychotic individuals?' The cycle of violence indeed continues with this sordid slab of sounds. So hop on, and enjoy one last ride with The Death Wheelers."


SUNDAY: Wieters told Dan Kolko of MASNsports.com and other reporters on Sunday that his surgery was to remove a tendon. Wieters believes he could return within six to eight weeks.
THURSDAY: Nationals catcher Matt Wieters has undergone surgery on his left hamstring, per a team announcement. Wieters had already gone on the DL, so no immediate roster moves will be required.
The big question is what kind of rehabilitation timeline will be necessary. Further details are not yet available, but it certainly does not appear to be promising news for the veteran backstop, who had previously only been diagnosed with a strain. Clearly, this is not a typical hamstring injury that requires only rest and rehabilitation.
Wieters, who is nearing his 32nd birthday, has not exactly overwhelmed since joining the Nationals in advance of the 2017 campaign. But he had been a useful player in the early going this year, reversing his struggles at the plate by carrying a .231/.342/.385 batting line with ten walks against a dozen strikeouts.
Even if the Nats have cause to believe Wieters could return at some point during the current season, it now seems likelier than ever that an outside addition will be needed. Spencer Kieboom is currently backing up newly-minted starter Pedro Severino at the position for the time being. While both are considered defensively proficient, they're also thin on MLB experience and neither has shown much hitting capability in the upper minors. Suspended youngster Raudy Read will be available again before too long, though the preference will likely be to get him back in the swing of things in the upper minors.
For the Nationals, there's also a longer-term need to consider. Wieters is earning $10.5MM this season before returning to the open market. While Severino ought to represent a reserve or platoon piece for some time, he does not profile as anything approaching an everyday backstop. Read perhaps offers greater upside with the bat, but is hardly a can't-miss prospect.
There are a variety of hypothetical options out there for the Nationals, who'll likely find it difficult to make a substantial upgrade until closer to the trade deadline. Bringing in a player such as Miguel Montero, who opened the season in D.C., could help bridge the gap. And it's conceivable the Nats could give Blake Swihart a crack, as MLBTR's Steve Adams noted yesterday, though they'd have to believe more in his capabilities behind the dish than do the Red Sox. It also may just be that the Nationals will prefer to roll with what they have for a bit while seeking to boost the depth at Triple-A.
Looking ahead a bit to the deadline, J.T. Realmuto remains the obvious prize, as we explored recently in a post. But he'll be widely pursued and figures to cost a significant haul in prospect value. Old friend Wilson Ramos is among the potential rental assets the Nationals could consider, but he and others likely won't hit the block unless and until the Rays and other organizations decide to pack it in for the season.
As expected, the Nationals have placed catcher Matt Wieters on the 10-day DL with a hamstring strain. He'll be replaced on the active roster by backstop Spencer Kieboom, as the Talk Nats blog first reported on Twitter.
While Kieboom was previously on the Nats' 40-man, he was bumped off the roster last spring. The Nats have selected his contract again to facilitate his move back to the active roster.
At this point, it's still unclear just what sort of absence the Nats ought to expect from Wieters. The injury has been announced as being to his hamstring, but there was some concern his knee may have incurred damage. It is not known at this point whether the joint is still an area of concern.
The 27-year-old Kieboom, who's the older brother of Nats prospect Carter Kieboom, drew a walk in his lone prior MLB plate appearance. He has not hit all that much in the upper minors — his .250/.337/.333 slash thus far in 2018 is representative — but does possess solid plate discipline and contact skills (lifetime 8.4% walk rate and 19.2% strikeout rate). Kieboom has long been regarded as a quality defender, too, so he's a suitable option at least for fill-in duty.
Whether or not Wieters is shelved for a significant time, the Nationals' questions behind the dish are only getting more pressing. The club is now facing some firm challenges from within the NL East while dealing with the absences of Murphy and Eaton. Though both Wieters and now-starter Pedro Severino have produced at approximately league average offensively to this point of the season, there's reason in both cases to suspect the output will lag over the course of the season. While the team will surely also be looking for pitching depth at the deadline, the situation behind the plate stands out as being the other area of the roster ripest for upgrade. That's all the more true since Wieters is set to depart after the current season, meaning the Nats still need to find a near and long-term solution.
Matt Wieters sustained a leg injury when rounding first base after hitting a single and will undergo an MRI this morning, writes Chelsea Janes of the Washington Post. It's not clear if the damage is specific to his hamstring or something in his knee. Wieters told reporters that he felt something "behind [his] knee, kind of go a little bit." The veteran switch-hitter has been more productive so far in 2018 than he was in 2017, hitting .231/.342/.385 through his first 76 plate appearances. While he's still not the hitter he was in his best years with the Orioles, the loss of Wieters for any period would put the Nationals in a bind. He's one of just two catchers on the 40-man roster now that the Nationals released Miguel Montero last month and placed Jhonatan Solano on the 60-day DL (depth chart). Either journeyman Tuffy Gosewisch or longtime Nats farmhand Spencer Kieboom seem likely to have his contract selected from Triple-A this weekend, as Janes notes that Wieters has already been deemed unavailable for tonight's game and will "almost certainly" land on the DL for a second time this season.
Outfield prospect Juan Soto, perhaps the quickest rising star of any prospect early in the 2018 season, was bumped from Class-A Advanced to Double-A yesterday. The 19-year-old Soto opened the year in Class-A and was moved to Class-A Advanced after just 16 games. His stay in High-A only lasted another 15 games though, as Soto obliterated pitchers there before somewhat incredibly homering and hitting a double in last night's Double-A debut as well. Soto has raked at an otherworldly .373/.477/.817 clip across three levels so far, belting 13 homers, nine doubles and four triples while walking more often than he's struck out (26-to-21 BB/K ratio).
The Pirates announced today that right-hander Joe Musgrove has been placed on the 10-day disabled list due to a muscle strain in his right shoulder. Righty Clay Holmes, who'd previously been returned to Triple-A after serving as the 26th man for yesterday's doubleheader, has been recalled. (Holmes' optional assignment needn't be for the typical 10-day minimum, as he's replacing an injured player.) As MLB.com's Adam Berry notes, the move seemed somewhat curious at first, as Musgrove had said he felt good physically not long before the announcement. But testing ended up revealing a strain, leading to the roster move.
The Nationals recalled catcher Pedro Severino from Triple-A and placed Matt Wieters on the disabled list with a "mild left oblique strain." Chelsea Janes of the Washington Post first reported today that Wieters was dealing with some type of injury and that Severino was headed to Atlanta in the event that Wieters needed a DL stint (Twitter links). Janes noted that Wieters didn't take batting practice yesterday on his off day and "looked uncomfortable" throwing the ball back to the mound when catching warm-up pitches between innings for Nats starters. Both Wieters and Severino are coming off down seasons in 2017, as is Washington's current backup, Miguel Montero.
The Mariners are leaning toward placing Nelson Cruz on the 10-day disabled list so they can have a full bench for their upcoming interleague series, manager Scott Servais said today in an appearance on Brock & Salk on 710 ESPN in Seattle (Twitter link via 710's Brent Stecker). Cruz suffered an ankle injury when slipping on the dugout steps after a two-run homer over the weekend and had an MRI, though the results of that test haven't been announced yet.
Marlins catcher J.T. Realmuto has progressed to the point where he's been cleared to resume catching drills, tweets MLB.com's Joe Frisaro. However, Frisaro cautions that Realmuto will probably still require "a few more weeks" before he's able to return from the lower back injury that landed him on the disabled list to open the 2018 campaign. Chad Wallach, Tomas Telis and Bryan Holaday have been doing the catching in Realmuto's absence.
The Yankees announced today that they've voided right-hander Ben Heller's optional assignment to Triple-A Scranton/Wilkes-Barre and instead placed him on the Major League 10-day disabled list with a bone spur in his right elbow. There's no immediate timetable provided for Heller's return, though he'll benefit from being on the MLB disabled list instead of the minor league DL, as he'll now gain big league service time (and be paid the pro-rated portion of the league minimum) while sidelined.
3:28pm: The Athletics are nearing agreement with Lucroy, per ESPN.com's Jerry Crasnick (via Twitter).
3:14pm: The Athletics are pursuing a veteran catcher and expect to acquire one, per MLB.com's Jane Lee (via Twitter). Specifically, the club anticipates either signing Jonathan Lucroy or acquiring Matt Wieters from the Nationals.
Lucroy remains one of the top remaining un-signed free agents. He entered the winter as the top-rated catcher available.
Needless to say, the latter possibility hints at the potential for lots of creative trade scenarios — especially given the long trade history between these organizations' current front office leadership. The Nats owe Wieters a hefty $10.5MM salary after his poor 2017 season. At the same time, the team would surely only move him (and as much of the salary as it can) if it has an upgrade lined up.
Of course, it could be that the Nats would see Lucroy himself as a preferable option to Wieters, adding yet another potential dimension to the situation. Lucroy entered the winter emphasizing his desire to play for a competitor, after all. Washington has also long been tied to quality young Marlins receive J.T. Realmuto, though it's not clear whether there has been any recent movement on that front.
At this point, though, the trade possibilities are all speculation.
The Orioles seem to be casting a wide net in their hunt for starting pitching, as they have been cited as having interest in quite a few arms already. While the organization has become known for doing a good portion of its business later in the offseason, perhaps it'll be more aggressive on some pitchers this time around. In any event, the latest name connected to the O's is righty Alex Cobb, with Jon Morosi of MLB Network tweeting that the team has interest in a hurler who long tormented them in the division. Cobb won't come cheap, but could be an option if Baltimore decides it's able to add a more significant contract. The primary goal, though, will be to ensure there's enough depth on hand in the rotation.
The Mets are the current poster child for the concept that you can never have enough pitching depth. Even on the heels of a tough season in which the club's vaunted rotation collapsed, though, GM Sandy Alderson says he'll consider dealing arms, as Mike Puma of the New York Post reports. While there's still a need to "be careful" not to thin the staff out too far, Alderson is obviously also looking for ways to improve with a limited amount of payroll flexibility. Odds are that the team's most prominent pitchers won't be dangled, but Puma suggests Robert Gsellman, Seth Lugo, or Rafael Montero might conceivably be discussed.
While there's nothing the Nationals can do to get out from under their 2018 commitment to Matt Wieters, the team will look for ways to improve behind the plate. Jorge Castillo of the Washington Post writes that the plan is to reduce the veteran's role. Of course, that would mean relying more heavily on another player, and the team's top internal alternatives (Pedro Severino and Raudy Read) are hardly sure things. An external acquisition will surely at least be considered; I ran through some other possibilities after the Nats were bounced from the postseason.
The Blue Jays are aiming for depth in their pitching staff, Ben Nicholson-Smith of Sportsnet.ca writes. Lefty Robbie Ross is among the arms they are interested in, he reports. Certainly, Toronto has had a chance to see Ross up close over the past several years, which he has spent with the Red Sox. He was limited by injury in 2017 but turned in 55 1/3 innings of 3.25 ERA pitching in the prior campaign. Toronto isn't limiting itself to lefty relievers, though; Nicholson-Smith says the club is looking at basically every type of hurler out there.
Marc Topkin of the Tampa Bay Times has the latest on the Rays' efforts to land a new ballpark. Owner Stuart Sternberg expressed optimism about a prospective site in Hillsborough County, but there are plenty of challenges still to be dealt with. Among them: the club "might only cover $150 million of the projected $800 million cost," Topkin writes. Those interested in learning more about where things stand will want to give the link a full read.
NOV. 6: The Nationals have now formally announced that Wieters has exercised his player option.
4:44pm: Wieters will indeed exercise his player option to remain with the Nationals, the Washington Post's Chelsea Janes reports (Twitter link).
NOV. 4, 8:19am: It "is not at all a done deal" that Wieters exercises his option, Chelsea Janes of the Washington Post tweets. The catcher has yet to make a decision in either direction.
NOV. 3, 1:05pm: Agent Scott Boras tells Feinsand that Wieters is still mulling the decision (Twitter link). "What he does for a pitching staff is off the charts & in great demand," Boras tells Feinsand.
12:20pm: Matt Wieters intends to exercise his $10.5MM player option and remain with the Nationals in 2018, reports MLB.com's Mark Feinsand (on Twitter). It's not a surprising move for Wieters, considering the poor season he had in his first year as the Nationals' primary backstop.
The 31-year-old Wieters inked a two-year, $21MM guarantee with the Nats last offseason, with the latter year of that contract coming in the form of a player option. However, Wieters posted career-worst marks in batting average, on-base percentage, slugging percentage and caught-stealing rate with the Nats this season, so it's seemed all but certain that he'd forgo another chance at free agency for quite some time now.
Overall, Wieters batted just .225/.288/.344 with 10 homers through 465 plate appearances. He halted 25 percent of opposing stolen-base attempts, which is only slightly below the league average but is also well south of the career 33 percent mark he carried into the 2017 season. He also rated as one of the game's bottom pitch-framing catcher, per Baseball Prospectus.
Even with Wieters back in the fold, it'd be a surprise if the Nationals didn't pursue help behind the plate this offseason. Young Pedro Severino is the team's top internal alternative, but the 24-year-old Severino batted just .241/.292/.332 in 59 Triple-A games last season.
Given the Nationals' status as clear-cut contenders — especially in their final season of control over Bryce Harper — GM Mike Rizzo seems unlikely to head in the year with such a glaring question mark on his roster. Myriad trade opportunities could present themselves, and it's also possible (speculatively speaking) that the Nats could make a run at either Alex Avila or Welington Castillo — the top two catchers on the open market. Avila, in particular, strikes me as a logical candidate; he can play some first base in the event of an injury to Ryan Zimmerman, and his left-handed bat would pair well with Wieters, who has consistently been a more dangerous right-handed hitter than left-handed hitter throughout his Major League career.
Matt Wieters will return to Baltimore tonight for the first time since signing with the Nationals, and he spoke with Dan Connolly of BaltimoreBaseball.com about his offseason departure from the Orioles as well the emotions he's feeling in advance of tonight's return to Camden Yards. Wieters' podcast appearance also included talk of Dylan Bundy's breakout and the experiences he's had when being managed by two of our generation's most successful managers: Buck Showalter and Dusty Baker.
Though Rickie Weeks has gotten off to a dreadful start to his 2017 campaign with the Rays, the "clock isn't ticking yet," writes Marc Topkin of the Tampa Bay Times. It doesn't appear that Weeks is on the brink of losing his roster spot, despite an ugly .163/.317/.286 batting line to open the season, though Topkin notes that he'll need to turn things around sooner rather than later. Topkin also notes that the Rays face a decision when Matt Duffy returns from the disabled list late this month. Duffy is in line to be the starter, but the Rays will have to determine if Tim Beckham or Daniel Robertson is the better option to serve as a utility option.
Both Aaron Sanchez and the Blue Jays were encouraged by a 33-pitch bullpen session yesterday, writes Sportsnet's Ben Nicholson-Smith. Sanchez felt comfortable enough to throw his curveball — the same pitch that has led to the blister issues and a subsequent removal of part of his fingernail — and is now slated to pitch in an extended Spring Training game on Tuesday. If that outing goes well, he'll be an option to return to Toronto's rotation this weekend against the Mariners, per Nicholson-Smith.
Hanley Ramirez has yet to appear in a game at first base this season due to a shoulder issue, but he's ready to take the field for the Red Sox' upcoming interleague series in Milwaukee, writes Jason Mastrodonato of the Boston Herald. That should allow the Red Sox to deepen their lineup against left-handed pitching, he points out, with Chris Young sliding into the DH slot and Ramirez playing at first over the left-handed-hitting Mitch Moreland. While Moreland has more than held his own against southpaws in a small sample of work this season (.879 OPS in 24 plate appearances), he's struggled against lefties throughout his career. And, as manager John Farrell points out to Mastrodonato, Moreland isn't accustomed to playing first base on an everyday basis (due largely to his platoon issues), so the ability to keep him fresh by mixing Ramirez in at first base is important in multiple regards.


Wear a piece of history with this sterling silver pendant featuring an ancient Roman bronze coin, issued in the third and fourth centuries AD by different roman emperors. Accompanied by a certificate of authenticity, each coin pendant is truly unique and a fabulous addition to your day-to-day jewelry collection.
Made in the United States. Pendant with ancient coin.
Details: Crafted with sterling silver and bronze coin. Average pendant diameter: 0.71 inches/18 millimeters.


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Xicato Announces Partnerships in Top Ranked Growth Region of the United States
April 6, 2021 EINPRESSWIRE
Xicato Expands Territory Coverage with Three New Sales Agencies in Texas and Oklahoma
The new partnership with Xicato allows us to offer premium brand lighting and controls from a global leader that enhances our portfolio of resources for our respective market."
— Andy Burns, VP of Business Development for Smith Lighting
LOS GATOS, CA, UNITED STATES, April 6, 2021 /EINPresswire.com/ — Xicato, the leading provider of Bluetooth smart building wireless controls and highest quality spot light sources and linear lighting, today announced partnerships with CW Lighting in Houston, Design Build Lighting located in the San Antonio and Austin area, and Smith Lighting in the state of Oklahoma to represent the Xicato brand in their respective regions. All three manufacturer's representative agencies will promote and sell Xicato's expansive portfolio of lighting and Bluetooth mesh controls solutions to customers and building project owners in one of the top ranked regions for relocation and populous growth in the United States.
"CW Lighting is very excited to be partnering with Xicato to represent their lighting and controls," said Michelle Holman, Partner at CW Lighting. "Their reputation for cutting edge technology and quality products is well-known throughout the industry and to be able to represent them in the Houston market is a privilege."
CW Lighting is a full-service agency with decades of experience in lighting and controls for commercial and residential projects. Their large team of experts have extensive experience handling the most rigorous of customer requirements in lighting. CW Lighting now offers Xicato's advanced solutions for beautifully designed smart lighting projects in the greater Houston region.
"Xicato fits the very definition of a truly innovative company in respect to their lighting product portfolio. These products combined with their market leading lighting controls technology provide our customers with premium solutions sorely needed in a market that is growing by leaps and bounds," said Dan Pitcher, Principal at Design Build Lighting.
Design Build Lighting was formed in 2008 by Dan Pitcher, a 26-year veteran of the lighting industry. Dan's background encompasses product manufacturing and manufacturer's sales representation. The entire team brings a combined 100 plus years of experience in the lighting and construction industries.
"The new partnership with Xicato allows us to offer premium brand lighting and controls from a global leader that enhances our portfolio of resources for our respective market," said Andy Burns, VP of Business Development for Smith Lighting.
Smith Lighting provides support to architects, interior designers, engineers, distributors, contractors, end users, and corporate accounts. The team offers consultative services to evaluate energy savings, controllability, and design. Xicato's differentiated portfolio of lighting and Bluetooth controls augments these services perfectly.
"According to recent news, Texas and surrounding areas have seen explosive population growth due to the mass exodus of companies and people moving from California and other higher cost regions of the country," said Amir Zoufonoun, Xicato's CEO. "These partnerships deliver opportunities to fulfill the demand for newly built energy efficient and connected building projects with Xicato's smart building technology and solutions. We are extremely pleased to expand our network of partners with these three top-notch agencies."
About CW Lighting:
At CW Lighting, our mission is to provide the best possible service to our customers, in a timely, professional manner. Our efforts are focused on conducting business with the utmost integrity, while always adding value to our customer. These values have been with CW Lighting throughout the years and will remain the foundation of our business for years to come.
About Design Build Lighting:
Design Build Lighting is a comprehensive lighting manufacturer's representative and design services vendor. With primary territorial coverage in central and south Texas, we serve designers, contractors, distributors, and end users. In addition, we serve our clients domestically and abroad. More than a product vendor, Design Build Lighting can help with facility lighting design and specification, unique fixture design, and many other custom requirements.
About Smith Lighting:
Bob Smith was the founder of Smith Lighting in 1969, his father founded Smithcraft Lighting, a leading commercial lighting manufacturer and one of the first producers of linear fluorescent fixtures. Smith Lighting Sales has grown from a one-man operation representing a few select manufacturers to one of the largest lighting firms in Oklahoma offering over 100 of the most recognized names in lighting. Eric Stewart is the President of the company today with 15 amazing team members offering full-service representation promoting Lighting and controls to the Specification community and Electrical Distribution markets.
About Xicato Inc.:
Xicato is defining the future of smart buildings, delivering the absolute best quality, highest performing, most reliable, and one of the broadest portfolios of spot light sources and linear lighting solutions; world-class Bluetooth enabled LED drivers; as well as other wirelessly connected intelligent devices including sensors, switches, gateways, controls electronics, and software; plus, installation and commissioning services. Xicato's solutions inspire architects, designers and building owners to create beautiful and healthier environments with smarter and connected experiences. With an installed base of over 10 million nodes, spanning thousands of locations in over 30 countries, and backed by a strong team of innovators based in Silicon Valley, Xicato continues to stay ahead of customer needs in a variety of verticals including the world's most renowned museums and cathedrals, retail shops and hotels, offices and hospitals. For more information, visit xicato.com. Xicato and the Xicato logo are registered trademarks of Xicato, Inc.
April Mitchell
Xicato Inc.
8662238395 ext.
marketing@xicato.com
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redpajama_set_name: RedPajamaCommonCrawl


The Doula Deck- 10 illustrated cards for pregnancy and childbirth preparation. These large, colorful cards are perfect for demonstrating the different stages of birth, fetal presentation, and optimal birth positions. One of the cards features a finger labyrinth that you can use with your clients during birth- helping them calm and center themselves. These cards are intentionally created with minimal text to allow you to adapt them to fit your needs as a doula, midwife, or other worker. Expectant mamas can also use these cards as a pocket guide to birth positions and the labor process!
Cards are printed on sturdy, smooth, high quality card stock. Each card measures 5" x 7" - set includes 10 individual cards.


text:
The Paris Library
Odile Souchet lands her dream job at the American Library in Paris, much to the chagrin of her father, who thinks she should focus on finding a husband. But it is 1939, and soon she has bigger worries as Nazis occupy the city, and even the inimitable directress, Miss Reeder, cannot guarantee the safety of the library's books and patrons. Forty years later, in a small Montana town, Lily Jacobsen is curious about her quiet, elegant neighbor...
Positive Susan Maguire,
Chapters alternate between Odile in Paris, where readers get to know Boris, the Russian head librarian, eccentric patron Professor Cohen, and Odile's twin brother, Rémy, who enlists in the French army ... Charles brings her experience working at the American Library in Paris to this novel inspired by real people, that is a love letter to Paris, the power of books, and the beauty of intergenerational friendship.
Positive Kirkus
World War II Paris during the German occupation forms the setting for an intelligent and sensuously rich novel of a young woman's coming-of-age ... While the chapters featuring Lily are snappy and often amusing, especially as she begins to adopt Parisian airs, they play a distinctly secondary role to those concerning Odile's life during the war. Structurally, the novel sometimes sags ... But the author has a clear affection for both Paris and the American Library, where she worked as a programs manager in 2010, and she integrates the stories of many of the real-life employees and patrons of the library into the story with finesse, earning the novel its own place in the pantheon of World War II fiction ... A novel tailor-made for those who cherish books and libraries.
Positive Publishers Weekly
Charles...delivers a delightful chronicle of a woman's life in WWII-era Paris and rural 1980s Montana ... Charles's richly detailed plot incorporates historical figures from the American Library and highlights the perils of occupied Paris. Historical fiction fans will be drawn to the realistic narrative and the bond of friendship forged between a widow and a lonely young girl.
Sadeqa Johnson
The Revolution According to Raymundo Mata
Gina Apostol
Julia Claiborne Johnson
Hades, Argentina
Daniel Loedel
What did you think of The Paris Library?


text:
By this time into Recycling Week you may have had a few discussions about your recycling habits and what can and can't be recycled. While we are keen recyclers, Planet Ark research shows 94 per cent of us are making at least one mistake at the recycling bin. Test your knowledge with their recycling mythbusters quiz. There are ten Biome Prize Packs up for grabs, which include all sorts of resuable goodies. What you can do at work PlanetArk are also aiming to recycle 5000 mobile phones from workplaces this November and are offering the chance to win one of five $100 JB Hi-Fi vouchers. Register your Monday Muster on any Monday in November and encourage your colleagues to bring in their old mobile phones for recycling. The plastics and metals that were used to make it are valuable resources that can be recovered and made into new products, reducing the need to mine. You can also recycle print cartridges (Planet Ark turns the plastic and leftover ink from printer cartridges into new materials and products like road surfaces and artists' ink), and some aluminium coffee capsules. What you can do at home With the rise of 'fast fashion', clothing and textiles has quickly become one of the fastest growing waste streams in Australia. Hosting a clothing drive at your home or workplace is a great way to ensure unwanted clothing ends up in the hands of those in need rather than landfill. You could also hold a Swap Party to encourage people to reuse items which, in turn, reduces the demand for new items. Goods up for swapping could be anything from DVDs and fashion to books and toys. Try to buy recycled However while recycling is great, unless you're buying recycled products you're only doing half the job. It's all about closing the recycling loop - the more products you buy that are made from recycled materials the greater the environmental benefits and the more efficient the use of natural resources. Choosing to buy products made from recycled materials supports green jobs, keeps waste out of landfills and reduces carbon emissions. Check out the Recycled Products Directory on RecyclingNearYou.
https://nnimgt-a.akamaihd.net/transform/v1/crop/frm/eV5wxSqxRk6zfLmD5bhc9J/033a1818-69fb-4c07-ae5d-bcd79b7b45d4.jpg/r4_53_999_615_w1200_h678_fmax.jpg
How is your Recycling Week going?
The plastics and metals used to make mobile phones are valuable resources that can be recovered and made into new products, reducing the need to mine.
By this time into Recycling Week you may have had a few discussions about your recycling habits and what can and can't be recycled.
While we are keen recyclers, Planet Ark research shows 94 per cent of us are making at least one mistake at the recycling bin.
Test your knowledge with their recycling mythbusters quiz. There are ten Biome Prize Packs up for grabs, which include all sorts of resuable goodies.
What you can do at work
PlanetArk are also aiming to recycle 5000 mobile phones from workplaces this November and are offering the chance to win one of five $100 JB Hi-Fi vouchers. Register your Monday Muster on any Monday in November and encourage your colleagues to bring in their old mobile phones for recycling. The plastics and metals that were used to make it are valuable resources that can be recovered and made into new products, reducing the need to mine.
You can also recycle print cartridges (Planet Ark turns the plastic and leftover ink from printer cartridges into new materials and products like road surfaces and artists' ink), and some aluminium coffee capsules.
What you can do at home
With the rise of 'fast fashion', clothing and textiles has quickly become one of the fastest growing waste streams in Australia. Hosting a clothing drive at your home or workplace is a great way to ensure unwanted clothing ends up in the hands of those in need rather than landfill.
You could also hold a Swap Party to encourage people to reuse items which, in turn, reduces the demand for new items. Goods up for swapping could be anything from DVDs and fashion to books and toys.
Try to buy recycled
However while recycling is great, unless you're buying recycled products you're only doing half the job. It's all about closing the recycling loop - the more products you buy that are made from recycled materials the greater the environmental benefits and the more efficient the use of natural resources.
Choosing to buy products made from recycled materials supports green jobs, keeps waste out of landfills and reduces carbon emissions. Check out the Recycled Products Directory on RecyclingNearYou.


text:
Trebesing est une commune autrichienne du district de Spittal an der Drau en Carinthie.

Géographie

Histoire

Commune en Carinthie

redpajama_set_name: RedPajamaWikipedia


RE: City/SADC Community Grant Program 2019 - The City of Sigourney annually has designate a portion of the Local Option Sales Tax to the Community Betterment Grant Program (CBGP).
The Administrator for the CBGP is the Community Betterment Committee of the Sigourney Area Development Corporation.
The purpose of the CBGP is to encourage the physical improvement and appearance of the Sigourney business areas and business properties.
Bradley Grefe, Regional Planner for Area 15, spoke Wednesday February 20th at Sigourney City Hall about the CDBG a Federal grant Program used to improve communities' infrastructure; which includes $500,000 in grant money which must be matched by the community receiving the funds.
The City of Sigourney will not be dispersing the $12,000 for the City/SADC grant in 2019 and maybe not for the foreseeable future. The $12,000 will be used by the City for a CDBG grant that will be applied for in 2019.


Releasing two engines that are capable of sharing a single chassis together is an ideal way to approach character creation. Gordon and Henry's HO models were both released in the same year, so I can see it likely happening again in the N Scale lineup. And if Mavis isn't the perfect partner to release alongside Toby, I pretty much don't know who is.
Exactly. Gordon and Henry being released together is a very strong possibility considering they share the same chassis. So is Toby and Mavis. The main argument going for Mavis in Large Scale is that she can reuse Toby's chassis/cowcatcher mold and that would apply to N Scale as well once Toby is eventually made. I have a strong feeling as well that if/when Diesel is released in N Scale, that it's a good move to release Paxton alongside him. They share almost all of the same molds and an N Scale Paxton would probably have a much better face than the HO one considering they won't have to worry about moving eyes.
Of course, if sets of twins are announced for the line (like Bill and Ben, Donald and Douglas, Arry and Bert), they'd both be released side by side obviously. But I also want to say that next year in 2020, there might be a slight possibility we could get a second engine announced alongside James (because let's be honest, the next N Scale engine's gonna be James). If that does happen, I'm calling Edward since both he and James go well together and are around the same size. Since the first three years of HO Scale had at least two new engines being released each, something similar to that could happen with N Scale. Who knows, if N Scale turns out to be easier for Bachmann to produce we could see two N Scale engines every year but I highly doubt that. Either way, the possibilities of this new line have me excited and I'm interested to see where Bachmann takes it.
I actually was thinking about Edward for a brief moment. His similar size with James is a pretty good point to bring up and it helps that their tenders are just about the same shape.
While I'm not sure how soon Donald and Douglas may come, I would hope for Duck to be released shortly afterward since the twins' front wheelbases are somewhat similar to his.
In one way or another, we're all excited for the N Scale lineup and we all hope for it to be a success. HO Scale engines have been announced at a gradually slower rate in recent years, so it's possible for N Scale engine announcements to come our way a bit faster since they could be easier to make. For now, though, the best us fans can do is to keep sharing our ideas/suggestions with Bachmann over the coming months and hope they may listen to us.
Let's hope Bachmann's taking notes, so they can reuse things like chassis and molds to help build up the N Scale range faster. Gordon and Henry would share the same chassis, with Gordon having added trailing wheels. Mavis and Toby would also share the same chassis, with Mavis being a bit longer. Paxton can easily get released with Diesel. Diesel having a grumpy face on the first try, and Paxton having a more accurate face, since Bachmann doesn't have to worry about eye mechanisms in N Scale.
I heard that the HO versions of the Great Western Van, Fruit and Vegetable Van, and even the Water Tanker look inferior to their Large Scale counterparts, with the two vans using the Ventilated Van tooling, and the Water Tanker being in reversed colors from its Large Scale counterpart. Maybe Bachmann can fix those issues in the N Scale versions.
When James gets announced next year, some N Scale rolling stock that I'm hoping would also get announced in 2020 include the Red Coaches, which are something the range needs sooner rather than later. We could also get a Mail Car for Percy, S.C. Ruffey because nearly every Thomas merchandise line in existence has made him, and possibly a Brake Van to help complete a train. We'll get the Express Coaches when Gordon gets announced within a few years or so. When Bachmann gets to Spencer, they should also make the Special Coach. Emily would also need her coaches as well. As for Toby, N Scale Henrietta should be nowhere near as problematic as Large Scale. Maybe we can even get Hannah.
Yeah, hopefully they see this thread and take our ideas and suggestions into account when working with the N Scale range. Finding ways to squeeze out more than one engine a year would be very beneficial. I definitely hope when they eventually make Diesel, they'll give him the grumpy face right away. Similarly, I'm sure that when Rosie's made in N Scale, she'll be her current red instead of her old pink. And since the designs will probably be CGI based, Spencer will probably have sleek silver paint. Maybe even by the time they get around to Oliver, Jam Filled may fix his CGI model. Hopefully however the Express Coaches and Spencer's Special Coach will be inspired by the Model Series/HO Scale designs. I'd be fine with CGI style Annie, Clarabel, and Troublesome Trucks but the Express Coach CGI design isn't really that good.
I didn't even consider the possibility of recolor rolling stock like the GW Van or the Water Tanker in this range but I can definitely see them carrying over to N Scale. Sounds fine to me. The more rolling stock the merrier I say. However I hope they'll first release all the important rolling stock items before getting into recolors (except for ones like Red Express Coaches or Hannah).
As the year goes on, I'll change my predictions accordingly as new information is revealed about the line. To close this post off, I just wanted to say that I've been thinking of characters that can be made in N Scale and I can't really think of many they couldn't. One that they might have trouble with is Stephen considering how small he is. I do hope he is possible though considering they probably won't make him in HO Scale. What characters do you guys think Bachmann may be unable to make in N Scale?
What characters do you guys think Bachmann may be unable to make in N Scale?
I think that Philip, Scruff, Bash and Dash are too small to be made.
Sorry, we replied too quickly. The exact scale of this line has not been determined yet.
Read into this what you will. It almost makes me wonder if they will do completely new toolings for everything or not.
All right, clearly some of you guys are getting a little too carried away with this new range. I am excited for it as much as the next guy but, announcing two engines for that range a year or making other larger engines like Rebecca or Spencer (as brought up in another thread) is a little "extreme".
Sure, the range started with two engines this year, Thomas and Percy. This is exactly what the large scale range did too, as well as HO while also including James. But in literally the last 10 years, it's been pretty rare for Bachmann to announce more than one engine per lineup unless if a range had only just recently started or we get a pair of twins. Heck even when narrow gauge got announced only Skarloey was announced. Honestly, I think it's almost obvious if not inevitable that James is probably going to be the only new engine announced in 2020. Any other engine would probably come out a year or so afterwards.
Size is not going to be anywhere near as much of an issue here like it was in large scale, but it seems that the catalog hasn't even determined prices yet for these models, and more likely than not, pricing will likely be an issue for this range too. I definitely think Gordon would be a great seller and easily has the best potential out of any larger engine. At the same time though, I'm not going to deny the fact that like any other scenario, that the tooling cost is something Bachmann would have to really think about before production. Especially with the manufacturing cost at China as well as licensing from Mattel. It's basically why I feel if other engines come out, I expect them to add Emily and Toby as they were both popular in HO and large scale and wouldn't cost as much as Gordon and Henry.
Honestly I'm just glad that the new N scale range will likely have new toolings rather than taking toolings from Tomix or Graham Farish. That will likely help boost their sales and really show the true potential that this new range will have. Just as long as pricing isn't too steep.
Yeah true. we have been a little bit too over the top with saying what Bachmann could do with this range. We have no idea the price or if it's even gonna take off. I guess personally I've just been hyped up by the prospect of this new range that I may have speculated some pretty crazy things. I still stand by my 2020 predictions but I recognize that I shouldn't get so hyped for something either years and years away or something that may not even happen at all.
I've been looking back through the old threads and catalogs recently, and there are a few things I noticed in regards to how quickly Bachmann has been able to get new ranges out. When the Large Scale range was announced in 2009, there were no pictures for the models, but they had painted samples of at least Thomas by July. They were also able to release the entire range by December 2009. For the Narrow Gauge range in 2015, there were again no pictures for Skarloey (a.k.a. the only model Bachmann were making themselves at the time). By the NMRA train show 2015, they had an engineering sample on display (August 28, 2015 - Thanks Chaz for providing the record). The official picture was uploaded to the site on December 9, 2015 (thanks Cheeky_ULP for the record) with Skarloey coming into stock the same day. Another thing I have noticed with the large scale range is that all engines, with the exception of James, have been released within the year they were announced. I believe one thing that could possibly have to do with this (in the case of Emily and Toby, at least) is that they were able to just scale up the HO models and make the small changes for details to stand out better. It seems like they can release things fairly quickly when they only need to be resized. I think the reason James took longer was because he had several differences compared to the HO model. Another thing that I noticed is that the models seem to take the longest when it is being completely designed for a first release. Examples of this are Oliver, Rheneas, Rosie, Duck, Donald, Douglas, and Rusty. I know that we are in different economic times, but do you guys think it would be possible for the N Scale range to have at least a couple of engineering samples on display at the NMRA Train Show in July?
It's a little hard to predict how production is going to go since things have been a lot slower as of late. I think that while we could have at least unpainted engineering samples of at least Thomas and maybe the rolling stock maybe at some point this year, it all really depends on what stage the models are at in terms of production. It's a little hard to speculate on engineering samples or prototypes until Bachmann reveals any info to the public via shows or posts on the forum. I'm just hoping that the first lineup of the new N scale range won't take over two years to be released similar to the case of Oliver and now Rusty who still isn't out yet or hasn't been seen on any of Bachmann's public displays.
If I was Bachmann, this would be my yearly plan..
well you guys - with the amount of interest shown in this thread Bachmann would be silly not to manufacture Thomas in N scale . it would be a top seller - the only contender is Tomix and they are hard to get even when new and largely over scale .
my request is for a walking talking full DCC ''Sir Topem Hat'' .
I don't know about Sir Topham Hatt being in DCC... but I do want to bring up the engines eventually being released in DCC and sound at some point.
My N scale club runs DCC only, so when I do get these models, I will have to add DCC to Thomas and Percy already. Personally, I think if Bachmann really wants the sales for these to take off, they should announce DCC/sound models sooner rather than later so fans have the option to go down that route, rather than just to buy these models and add DCC to these models themselves, only to discover a few years later that DCC and sound alternatives would eventually become available. I feel Bachmann probably would have had better overall sales with the DCC sound models in large scale if that were the case, especially with how terrific the sound quality of the models turned out on them compared to the HO analog Thomas model.
Lately, I've been thinking more deeply about Bachmann's newly announced N Scale Thomas line, and I have to admit that the idea of it has really grown on me. Also, just today, I came across this image, showcasing the Tomix Thomas in front of a 1:148 N Scale British Express Coach and a 1:148 N Scale British Loco (Oliver's basis) in front of the Tomix Thomas Express Coach.
After looking at this image, I think that making the new Bachmann line in scale with the standard 1:148 British N Scale (smaller than Tomix) would be the smarter move as there is currently much more that is offered through that than there is in the Tomix range. Moreover, this would make sense since Bachmann is now offering their entire Thomas range in the UK, so UK modelers will want to have Thomas models that are in scale with their other British products. What are your thoughts? And for those who have already stated their preference, does this image change it?
This actually makes me more hopeful that they will be made in 1:148. It would make more sense, at least.


The James and Younger outlaw gangs ride into town, and it is up to the local marshal, who has lost both his nerve and his gun skills, to stop them.
I watched the DVD of one of the most badly abbreviated TV miniseries it has ever been my misfortune to watch. The DVD is a total rip off trying to cash in on a few "names". Unfortunately, the story is impossible to follow due to the editing - characters enter and disappear without trace.
The story is supposed to be about a family's rise to wealth and power. The film shows the two Blackwood brothers (Harris Yulin and Stacey Keach) in a wagon heading to Ohio accompanied by the wife (Sara Miles) and baby. They build and share a cabin, rescue a fleeing slave, fall out, the wife departs with the brother-in-law, then inexplicably returns to her husband accompanied by a small son, which he incorrectly assumes is not his child. After the "over my dead body" speech from the husband, they are posing for the happy family photo without us knowing why he took her back.
The faithful former slave, now beloved family retainer, is married off to a young woman who appears out of nowhere. The slave's former owner reappears on what seem to be cordial terms and catches the eye of the daughter, sulkily played for 60 seconds by Amy Irvine, then they too are gone to the cutting room floor. The boys grow up, everyone quarrels, the youngest son (Geraint Graham) is convinced that he is the illegitimate son of the brother-in-law and schemes about something or other. Father dies, Another son (Harrison Ford) has a shouting match with his mother after the funeral, and the film suddenly ends right there. At least I think that is what is was about. Although some of the story must have overlapped with the Civil War, it is never mentioned.
Aside from the butchering, the film is a waste of highly accomplished actors, and releasing such an inferior films harms their reputation. I don't know how long the TV version was, but the DVD could easily have been twice that long. Reducing a miniseries to 1 hour 40 mins. barely introduces us to the characters, let alone following a plot. Add that to the faded print, poor quality sound and lack of close captioning, I wouldn't be surprised if the DVD had been copied from a video tape. Save your money.


Pirelli Rubber Webbing is a 2" wide reinforced rubber webbing to give a combination of soft comfort and rugged durability. Gives excellent firm resilient support and always returns to original position. 100 foot roll.


text:
François Borne (1840–1920), sometimes spelled Bourne, was a French flautist playing with the orchestra of Grand Théâtre de Bordeaux, composer and professor at "Conservatoire de Musique de Toulouse" (High School for Music in Toulouse). He is recognized for technical improvements to the flute. Furthermore, he is remembered today for his composition Fantasie Brillante on Themes from Bizet's Carmen which is a staple of the Romantic flute repertoire.

References

1840 births
1920 deaths
19th-century classical composers
20th-century classical composers
French male classical composers
French classical flautists
Musicians from Toulouse
French Romantic composers
19th-century French composers
20th-century French composers
20th-century French male musicians
19th-century French male musicians
20th-century flautists


text:
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