text:
1: Kinetics
General Chemistry II
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Sat, 14 Mar 2020 02:40:43 GMT
1.5: Integrated Rate Laws
rakhi.agarwal@ncc.edu
[ "article:topic", "Author tag:OpenStax", "Half-Life of a Reaction", "integrated rate law", "authorname:openstax", "showtoc:no", "license:ccby", "transcluded:yes", "source[1]-chem-38261" ]
https://chem.libretexts.org/@app/auth/3/login?returnto=https%3A%2F%2Fchem.libretexts.org%2FCourses%2FNassau_Community_College%2FGeneral_Chemistry_II%2F01%253A_Kinetics%2F1.05%253A_Integrated_Rate_Laws
Nassau Community College
First-Order Reactions
Example \(\PageIndex{1}\): The Integrated Rate Law for a First-Order Reaction
Example \(\PageIndex{2}\): Determination of Reaction Order by Graphing
Second-Order Reactions
Example \(\PageIndex{3}\): The Integrated Rate Law for a Second-Order Reaction
Zero-Order Reactions
Example \(\PageIndex{5}\): Calculation of a First-order Rate Constant using Half-Life
Key Equations
Explain the form and function of an integrated rate law
Perform integrated rate law calculations for zero-, first-, and second-order reactions
Define half-life and carry out related calculations
Identify the order of a reaction from concentration/time data
The rate laws we have seen thus far relate the rate and the concentrations of reactants. We can also determine a second form of each rate law that relates the concentrations of reactants and time. These are called integrated rate laws. We can use an integrated rate law to determine the amount of reactant or product present after a period of time or to estimate the time required for a reaction to proceed to a certain extent. For example, an integrated rate law is used to determine the length of time a radioactive material must be stored for its radioactivity to decay to a safe level.
Using calculus, the differential rate law for a chemical reaction can be integrated with respect to time to give an equation that relates the amount of reactant or product present in a reaction mixture to the elapsed time of the reaction. This process can either be very straightforward or very complex, depending on the complexity of the differential rate law. For purposes of discussion, we will focus on the resulting integrated rate laws for first-, second-, and zero-order reactions.
An equation relating the rate constant \(k\) to the initial concentration \([A]_0\) and the concentration \([A]_t\) present after any given time \(t\) can be derived for a first-order reaction and shown to be:
\[\ln\left(\dfrac{[A]_t}{[A]_0}\right)=−kt \nonumber \]
or alternatively
\[\ln\left(\dfrac{[A]_0}{[A]_t}\right)=kt \nonumber \]
\[[A]=[A]_0e^{−kt} \nonumber \]
The rate constant for the first-order decomposition of cyclobutane, \(\ce{C4H8}\) at 500 °C is 9.2 × 10−3 s−1:
\[\ce{C4H8⟶2C2H4} \nonumber \]
How long will it take for 80.0% of a sample of C4H8 to decompose?
We use the integrated form of the rate law to answer questions regarding time:
\[\ln\left(\dfrac{[A]_0}{[A]}\right)=kt \nonumber \]
There are four variables in the rate law, so if we know three of them, we can determine the fourth. In this case we know [A]0, [A], and k, and need to find t.
The initial concentration of C4H8, [A]0, is not provided, but the provision that 80.0% of the sample has decomposed is enough information to solve this problem. Let x be the initial concentration, in which case the concentration after 80.0% decomposition is 20.0% of x or 0.200x. Rearranging the rate law to isolate t and substituting the provided quantities yields:
\[\begin{align*}
t&=\ln\dfrac{[x]}{[0.200x]}×\dfrac{1}{k}\\[4pt]
&=\mathrm{\ln\dfrac{0.100\:mol\: L^{−1}}{0.020\:mol\: L^{−1}}×\dfrac{1}{9.2×10^{−3}\:s^{−1}}}\\[4pt]
&=\mathrm{1.609×\dfrac{1}{9.2×10^{−3}\:s^{−1}}}\\[4pt]
&=\mathrm{1.7×10^2\:s}
\end{align*} \nonumber \]
Iodine-131 is a radioactive isotope that is used to diagnose and treat some forms of thyroid cancer. Iodine-131 decays to xenon-131 according to the equation:
\[\textrm{I-131 ⟶ Xe-131 + electron} \nonumber \]
The decay is first-order with a rate constant of 0.138 d−1. All radioactive decay is first order. How many days will it take for 90% of the iodine−131 in a 0.500 M solution of this substance to decay to Xe-131?
We can use integrated rate laws with experimental data that consist of time and concentration information to determine the order and rate constant of a reaction. The integrated rate law can be rearranged to a standard linear equation format:
\[\begin{align}
\ln[A]&=(−k)(t)+\ln[A]_0 \label{in1st}\\[4pt]
y&=mx+b
\end{align} \nonumber \]
A plot of \(\ln[A]\) versus \(t\) for a first-order reaction is a straight line with a slope of \(−k\) and an intercept of \(\ln[A]_0\). If a set of rate data are plotted in this fashion but do not result in a straight line, the reaction is not first order in \(A\).
Show that the data in this Figure can be represented by a first-order rate law by graphing ln[H2O2] versus time. Determine the rate constant for the rate of decomposition of H2O2 from this data.
The data from this Figure with the addition of values of ln[H2O2] are given in Figure \(\PageIndex{1}\).
Figure \(\PageIndex{1}\): The linear relationship between the ln[H2O2] and time shows that the decomposition of hydrogen peroxide is a first-order reaction.
Solutions to Example 12.4.2
Time (h)
[H2O2] (M)
ln[H2O2]
1 0 1.000 0.0
2 6.00 0.500 −0.693
3 12.00 0.250 −1.386
5 24.00 0.0625 −2.772
The plot of ln[H2O2] versus time is linear, thus we have verified that the reaction may be described by a first-order rate law.
The rate constant for a first-order reaction is equal to the negative of the slope of the plot of ln[H2O2] versus time where:
\[\ce{slope}=\dfrac{\textrm{change in }y}{\textrm{change in }x}=\dfrac{Δy}{Δx}=\dfrac{Δ\ln[\ce{H2O2}]}{Δt} \nonumber \]
In order to determine the slope of the line, we need two values of ln[H2O2] at different values of t (one near each end of the line is preferable). For example, the value of ln[H2O2] when t is 6.00 h is −0.693; the value when t = 12.00 h is −1.386:
\ce{slope}&=\mathrm{\dfrac{−1.386−(−0.693)}{12.00\: h−6.00\: h}}\\[4pt]
&=\mathrm{\dfrac{−0.693}{6.00\: h}}\\[4pt]
&=\mathrm{−1.155×10^{−2}\:h^{−1}}\\[4pt]
k&=\mathrm{−slope=−(−1.155×10^{−1}\:h^{−1})=1.155×10^{−1}\:h^{−1}}
Graph the following data to determine whether the reaction \(A⟶B+C\) is first order.
Data for the reaction \(A⟶B+C\)
1 4.0 0.220
3 12.0 0.110
The plot of ln[A] vs. t is not a straight line. The equation is not first order:
A graph, labeled above as "l n [ A ] vs. Time" is shown. The x-axis is labeled, "Time ( s )" and the y-axis is labeled, "l n [ A ]." The x-axis shows markings at 5, 10, 15, 20, and 25 hours. The y-axis shows markings at negative 3, negative 2, negative 1, and 0. A slight curve is drawn connecting five points at coordinates of approximately (4, negative 1.5), (8, negative 2), (12, negative 2.2), (16, negative 2.4), and (20, negative 2.6).
The equations that relate the concentrations of reactants and the rate constant of second-order reactions are fairly complicated. We will limit ourselves to the simplest second-order reactions, namely, those with rates that are dependent upon just one reactant's concentration and described by the differential rate law:
\[\ce{Rate}=k[A]^2 \nonumber \]
For these second-order reactions, the integrated rate law is:
\[\dfrac{1}{[A]}=kt+\dfrac{1}{[A]_0} \label{int2nd} \]
where the terms in the equation have their usual meanings as defined earlier.
The reaction of butadiene gas (C4H6) with itself produces C8H12 gas as follows:
\[\ce{2C4H6}(g)⟶\ce{C8H12(g)} \nonumber \]
The reaction is second order with a rate constant equal to 5.76 × 10−2 L/mol/min under certain conditions. If the initial concentration of butadiene is 0.200 M, what is the concentration remaining after 10.0 min?
We use the integrated form of the rate law to answer questions regarding time. For a second-order reaction, we have:
\[\dfrac{1}{[A]}=kt+\dfrac{1}{[A]_0} \nonumber \]
We know three variables in this equation: [A]0 = 0.200 mol/L, k = 5.76 × 10−2 L/mol/min, and t = 10.0 min. Therefore, we can solve for [A], the fourth variable:
\dfrac{1}{[A]}&=\mathrm{(5.76×10^{−2}\:L\: mol^{−1}\:min^{−1})(10\:min)+\dfrac{1}{0.200\:mol^{−1}}}\\[4pt]
\dfrac{1}{[A]}&=\mathrm{(5.76×10^{−1}\:L\: mol^{−1})+5.00\:L\: mol^{−1}}\\[4pt]
\dfrac{1}{[A]}&=\mathrm{5.58\:L\: mol^{−1}}\\[4pt]
[A]&=\mathrm{1.79×10^{−1}\:mol\: L^{−1}}
Therefore 0.179 mol/L of butadiene remain at the end of 10.0 min, compared to the 0.200 mol/L that was originally present.
If the initial concentration of butadiene is 0.0200 M, what is the concentration remaining after 20.0 min?
0.0196 mol/L
The integrated rate law for our second-order reactions has the form of the equation of a straight line:
\dfrac{1}{[A]}&=kt+\dfrac{1}{[A]_0}\\[4pt]
A plot of \(\dfrac{1}{[A]}\) versus t for a second-order reaction is a straight line with a slope of k and an intercept of \(\dfrac{1}{[A]_0}\). If the plot is not a straight line, then the reaction is not second order.
Test the data given to show whether the dimerization of C4H6 is a first- or a second-order reaction.
[C4H6] (M)
1 0 1.00 × 10−2
2 1600 5.04 × 10−3
In order to distinguish a first-order reaction from a second-order reaction, we plot ln[C4H6] versus t and compare it with a plot of \(\mathrm{\dfrac{1}{[C_4H_6]}}\) versus t. The values needed for these plots follow.
\(\dfrac{1}{[\ce{C4H6}]}\:(M^{−1})\)
ln[C4H6]
0 100 −4.605
1600 198 −5.289
The plots are shown in Figure \(\PageIndex{2}\). As you can see, the plot of ln[C4H6] versus t is not linear, therefore the reaction is not first order. The plot of \(\dfrac{1}{[\ce{C4H6}]}\) versus t is linear, indicating that the reaction is second order.
Figure \(\PageIndex{2}\): These two graphs show first- and second-order plots for the dimerization of C4H6. Since the first-order plot (left) is not linear, we know that the reaction is not first order. The linear trend in the second-order plot (right) indicates that the reaction follows second-order kinetics.
Two graphs are shown, each with the label "Time ( s )" on the x-axis. The graph on the left is labeled, "l n [ C subscript 4 H subscript 6 ]," on the y-axis. The graph on the right is labeled "1 divided by [ C subscript 4 H subscript 6 ]," on the y-axis. The x-axes for both graphs show markings at 3000 and 6000. The y-axis for the graph on the left shows markings at negative 6, negative 5, and negative 4. A decreasing slightly concave up curve is drawn through five points at coordinates that are (0, negative 4.605), (1600, negative 5.289), (3200, negative 5.692), (4800, negative 5.978), and (6200, negative 6.175). The y-axis for the graph on the right shows markings at 100, 300, and 500. An approximately linear increasing curve is drawn through five points at coordinates that are (0, 100), (1600, 198), (3200, 296), and (4800, 395), and (6200, 481).
Does the following data fit a second-order rate law?
Data for second-order rate law
[A] (M)
1 5 0.952
2 10 0.625
Yes. The plot of \(\dfrac{1}{[A]}\) vs. t is linear:
A graph, with the title "1 divided by [ A ] vs. Time" is shown, with the label, "Time ( s )," on the x-axis. The label "1 divided by [ A ]" appears left of the y-axis. The x-axis shows markings beginning at zero and continuing at intervals of 10 up to and including 40. The y-axis on the left shows markings beginning at 0 and increasing by intervals of 1 up to and including 5. A line with an increasing trend is drawn through six points at approximately (4, 1), (10, 1.5), (15, 2.2), (20, 2.8), (26, 3.4), and (36, 4.4).
For zero-order reactions, the differential rate law is:
\[\ce{Rate}=k[A]^0=k \nonumber \]
A zero-order reaction thus exhibits a constant reaction rate, regardless of the concentration of its reactants.
The integrated rate law for a zero-order reaction also has the form of the equation of a straight line:
[A]&=−kt+[A]_0 \label{intzero}\\[4pt]
A plot of \([A]\) versus \(t\) for a zero-order reaction is a straight line with a slope of −k and an intercept of [A]0. Figure \(\PageIndex{3}\) shows a plot of [NH3] versus t for the decomposition of ammonia on a hot tungsten wire and for the decomposition of ammonia on hot quartz (SiO2). The decomposition of NH3 on hot tungsten is zero order; the plot is a straight line. The decomposition of NH3 on hot quartz is not zero order (it is first order). From the slope of the line for the zero-order decomposition, we can determine the rate constant:
\[\ce{slope}=−k=\mathrm{1.3110^{−6}\:mol/L/s} \nonumber \]
Figure \(\PageIndex{3}\): The decomposition of NH3 on a tungsten (W) surface is a zero-order reaction, whereas on a quartz (SiO2) surface, the reaction is first order.
The half-life of a reaction (t1/2) is the time required for one-half of a given amount of reactant to be consumed. In each succeeding half-life, half of the remaining concentration of the reactant is consumed. Using the decomposition of hydrogen peroxide as an example, we find that during the first half-life (from 0.00 hours to 6.00 hours), the concentration of H2O2 decreases from 1.000 M to 0.500 M. During the second half-life (from 6.00 hours to 12.00 hours), it decreases from 0.500 M to 0.250 M; during the third half-life, it decreases from 0.250 M to 0.125 M. The concentration of H2O2 decreases by half during each successive period of 6.00 hours. The decomposition of hydrogen peroxide is a first-order reaction, and, as can be shown, the half-life of a first-order reaction is independent of the concentration of the reactant. However, half-lives of reactions with other orders depend on the concentrations of the reactants.
We can derive an equation for determining the half-life of a first-order reaction from the alternate form of the integrated rate law as follows:
\ln\dfrac{[A]_0}{[A]}&=kt\\[4pt]
t&=\ln\dfrac{[A]_0}{[A]}×\dfrac{1}{k}
If we set the time t equal to the half-life, \(t_{1/2}\), the corresponding concentration of A at this time is equal to one-half of its initial concentration. Hence, when \(t=t_{1/2}\), \([A]=\dfrac{1}{2}[A]_0\).
t_{1/2}&=\ln\dfrac{[A]_0}{\dfrac{1}{2}[A]_0}×\dfrac{1}{k}\\[4pt]
&=\ln 2×\dfrac{1}{k}=0.693×\dfrac{1}{k}
\[t_{1/2}=\dfrac{0.693}{k} \nonumber \]
We can see that the half-life of a first-order reaction is inversely proportional to the rate constant k. A fast reaction (shorter half-life) will have a larger k; a slow reaction (longer half-life) will have a smaller k.
Calculate the rate constant for the first-order decomposition of hydrogen peroxide in water at 40 °C, using the data given in Figure \(\PageIndex{4}\).
Figure \(\PageIndex{4}\): The decomposition of H2O2 \(\ce{(2H2O2⟶2H2O + O2)}\) at 40 °C is illustrated. The intensity of the color symbolizes the concentration of H2O2 at the indicated times; H2O2 is actually colorless.
Solution The half-life for the decomposition of H2O2 is 2.16 × 104 s:
t_{1/2}&=\dfrac{0.693}{k}\\[4pt]
k&=\dfrac{0.693}{t_{1/2}}=\dfrac{0.693}{2.16×10^4\:\ce s}=3.21×10^{−5}\:\ce s^{−1}
The first-order radioactive decay of iodine-131 exhibits a rate constant of 0.138 d−1. What is the half-life for this decay?
5.02 d.
We can derive the equation for calculating the half-life of a second order as follows:
\[\dfrac{1}{[A]}−\dfrac{1}{[A]_0}=kt \nonumber \]
\[t=t_{1/2} \nonumber \]
\[[A]=\dfrac{1}{2}[A]_0 \nonumber \]
and we can write:
\(\begin{align*}
\dfrac{1}{\dfrac{1}{2}[A]_0}−\dfrac{1}{[A]_0}&=kt_{1/2}\\[4pt]
2[A]_0−\dfrac{1}{[A]_0}&=kt_{1/2}\\[4pt]
\dfrac{1}{[A]_0}&=kt_{1/2}
\end{align*}\)
\[t_{1/2}=\dfrac{1}{k[A]_0} \nonumber \]
For a second-order reaction, \(t_{1/2}\) is inversely proportional to the concentration of the reactant, and the half-life increases as the reaction proceeds because the concentration of reactant decreases. Consequently, we find the use of the half-life concept to be more complex for second-order reactions than for first-order reactions. Unlike with first-order reactions, the rate constant of a second-order reaction cannot be calculated directly from the half-life unless the initial concentration is known.
We can derive an equation for calculating the half-life of a zero order reaction as follows:
\[[A]=−kt+[A]_0 \nonumber \]
When half of the initial amount of reactant has been consumed \(t=t_{1/2}\) and \([A]=\dfrac{[A]_0}{2}\). Thus:
\dfrac{[A]_0}{2}&=−kt_{1/2}+[A]_0\\[4pt]
kt_{1/2}&=\dfrac{[A]_0}{2}
\[t_{1/2}=\dfrac{[A]_0}{2k} \nonumber \]
The half-life of a zero-order reaction increases as the initial concentration increases. Equations for both differential and integrated rate laws and the corresponding half-lives for zero-, first-, and second-order reactions are summarized in Table \(\PageIndex{1}\).
Table \(\PageIndex{1}\): Summary of Rate Laws for Zero-, First-, and Second-Order Reactions
Zero-Order
First-Order
Second-Order
rate law rate = k rate = k[A] rate = k[A]2
units of rate constant M s−1 s−1 M−1 s−1
integrated rate law [A] = −kt + [A]0 ln[A] = −kt + ln[A]0 \(\dfrac{1}{[A]}=kt+\left(\dfrac{1}{[A]_0}\right)\)
plot needed for linear fit of rate data [A] vs. t ln[A] vs. t \(\dfrac{1}{[A]}\) vs. t
relationship between slope of linear plot and rate constant k = −slope k = −slope k = +slope
half-life \(t_{1/2}=\dfrac{[A]_0}{2k}\) \(t_{1/2}=\dfrac{0.693}{k}\) \(t_{1/2}=\dfrac{1}{[A]_0k}\)
Differential rate laws can be determined by the method of initial rates or other methods. We measure values for the initial rates of a reaction at different concentrations of the reactants. From these measurements, we determine the order of the reaction in each reactant. Integrated rate laws are determined by integration of the corresponding differential rate laws. Rate constants for those rate laws are determined from measurements of concentration at various times during a reaction.
The half-life of a reaction is the time required to decrease the amount of a given reactant by one-half. The half-life of a zero-order reaction decreases as the initial concentration of the reactant in the reaction decreases. The half-life of a first-order reaction is independent of concentration, and the half-life of a second-order reaction decreases as the concentration increases.
integrated rate law for zero-order reactions (Equation \ref{intzero}):
\([A]=−kt+[A]_0\) with \(t_{1/2}=\dfrac{[A]_0}{2k}\)
integrated rate law for first-order reactions (Equation \ref{in1st}):
\(\ln[A]=−kt+ \ln[A]_0\) with \(t_{1/2}=\dfrac{0.693}{k}\)
integrated rate law for second-order reactions (Equation \ref{int2nd}):
\(\dfrac{1}{[A]}=kt+\dfrac{1}{[A]_0}\) with \(t_{1/2}=\dfrac{1}{[A]_0k}\)
half-life of a reaction (tl/2)
time required for half of a given amount of reactant to be consumed
equation that relates the concentration of a reactant to elapsed time of reaction
This page titled 1.5: Integrated Rate Laws is shared under a CC BY license and was authored, remixed, and/or curated by OpenStax.
1.4: Rate Laws
1.6: Collision Theory
Author tag:OpenStax
Half-Life of a Reaction


I have about three of four go-to movies when people ask my favorite (on a recent tumblr post I answered Sunday in New York, Hot Enough for June, Sullivan's Travels and Le Notti Bianche) but really those few movies are tied with hundreds more.
Jules et Jim is the story of two men -- one German, one French -- who remain best friends during the Great War and when one friend loves the other's wife. It is a breathtaking film; absolutely beautiful and wistful. It stars Jeanne Moreau and one of my new favorite actors, (not pushing anyone aside, just saying "hello" and keeping all the others company) Oskar Werner.
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When it comes to French movies I find it hard to decide which is better - Jules et Jim or Un Homme et Une Femme.
But then these movies were of an age that produced the likes of Moreau, Deneuve and Bardot.
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text:
THE GIZZLE REVIEW
Music, film, theatre and game reviews.
Stoker (2013) - Park Chan-wook
With a name like Stoker you may be expecting a vampire horror flick. Instead, Park presents us with a film that's part murder mystery, part gothic fairytale and part erotic thriller. At its core, this is a deeply perverse film.
The essence of Stoker is the loss of innocence – specifically, that of India Stoker (Mia Wasikowska). When her father dies, her uncle Charlie (Matthew Goode) unexpectedly arrives on the scene and moves in with India and her mother Evelyn (Nicole Kidman). What results is a twisted love triangle that pushes the boundaries of acceptable family relationships: mother and daughter forced to breaking point as the empty hole left behind in both of their lives morphs into incestuous desire for Charlie. "We don't need to be friends, we're family", India tellingly says to her uncle. Underlying secrets of the family's past are slowly uncovered, though its final twist is an obvious one.
Staying true to the Stoker name, the gothic cinematography is stunningly monochromatic. Paralleling the narrative, the construction of the film is purposefully unsettling. The events take place in a creepy mansion that's crumbling and decaying, the lighting elongating every shadow. The costumes, too, create a distorted sense of time, mixing India's old-fashioned smocks with her mother's colourful sensuality. Most of all, the stark colour scheme reflects the loss of innocence: flowers stained with bright blood; virginity corrupted by sexual fantasy; white tainted by black. Stoker may not be a true horror film, but its mise en scene ensures a Hitchcockian tension.
The performers are also well cast. Like Wednesday Addams, Waskowska is all porcelain skin and lank dark hair, her blank expressions (typical of all her performances) ensuring she almost fades into the black and white background. In any other performance this would be a criticism, but for such an introverted character (like Twilight's Bella Swan, but with more incest) it works. Kidman is well suited to her role, balancing sexuality and fragility like a pristine doll – her flame hair utilised in an extraordinary morphing shot. Goode's turn as Charlie is suitably disturbing, his eyes displaying both menacing danger and irresistible charm.
It's the hyperbolic sound design that most stands out however, even above the sparse score from Clint Mansell (that additionally includes pieces by Philip Glass). In a stroke of the supernatural, India has slightly exaggerated hearing, resulting in a hugely dynamic aural soundscape – the cracking of egg shells, the ticking of a metronome, the crescendo of piano playing, the sound of a belt being slowly removed through trouser loops. It's equally unsettling yet weirdly sexual. The use of sound – more than anything else – conducts our emotions through an intriguing, if ultimately disappointing, narrative.
Posted by ed_nights
Labels: Film, Matthew Goode, Mia Wasikowska, Nicole Kidman, Park Chan-wook, Stoker
A Chorus Line @ The London Palladium
The premise behind A Chorus Line is a fine one: giving voice to the faceless members of Broadway chorus ensembles. It is perhaps this focus on humanity, rather than fantasy, that has ensured the endurance of the show. But does it live up to its premise?
There's only so much that can be done with seventeen dancers stood on the titular line, but the show presents a snapshot of each dancer, drifting between the reality of the audition experience and nostalgic dreamscapes. This is aided by some spectacular lighting that cleverly utilizes spotlights and colour to delineate time and space, as well as an intimate sense of voyeurism as the audience are given a behind-the-scenes view of the audition in process. Yet whilst Hamlisch's score cleverly summarises Broadway traditions, the endless repetitions of dance steps and numbers becomes tiresome – 'One'(in both rehearsal and performance mode) is enough to drive any audience insane.
One of the problems with A Chorus Line is that it is a show for dancers about dancers. As expected, the original choreography utilised here is thrilling and the quality of dance is exceptional, every dancer performing in tight unison with every kick, flick, turn and point. It's rare, however, to find a cast of true 'triple threats'. Something must suffer along the way and, sadly, it's the singing that takes the hit in this production. Being such a Broadway-jazz hands affair, the singing is nasal and often a little screechy. There is strength in numbers, with harmonies well blended together, but solo sections in 'At The Ballet', for example, didn't quite hit the mark. When the dancing is so accomplished, any negative points are only more prominent.
There's also an imbalance between the different parts, with some receiving far more stage time than others. As such, rather than revealing the humanity of these characters, many are reduced to two-dimensional caricatures. There are some clear stars amongst the ensemble though. Scarlett Strallen's Cassie is the obvious example – a failed Hollywood actress seeking to start over. Her solo piece, 'The Music And The Mirror', is meant to be a virtuosic display but, despite some technically proficient dancing and great use of mirrors, Strallen lacks sex appeal in the raunchy instrumental, leaving the number falling a little flat. Victoria Hamilton-Barritt's Diana, meanwhile, strutted around the stage embodying Bronx swagger and sang 'Nothing' and 'What I Did For Love' with aplomb. As the most famous of the cast members, John Partridge is also an obvious standout and, although he spends much of the show as Zach's disembodied voice in the audience, his occasional on-stage persona was well realised.
A Chorus Line does show the darker side of the Broadway stage – the bitchiness and competitive nature of auditions; the instability of regular employment; falling from grace; and, in the case of Paul, paedophilia and sexuality. The latter is presented through an extended monologue in a credible performance from Gary Wood, holding the audience captivated with simply words and a spotlight. In such a dance heavy show, it's ironic that its most arresting moment contains no dance at all. The show is set in 1975 and, with the use of seventies costumes, risks becoming an old-fashioned period piece. Yet the issues the show tackles are still relevant today – another reason for the show's long-running success.
Together, the ensemble truly represent a unified singular sensation. However, in a show striving to highlight the individuality of its performers, it's an inherent irony of the production that they're at their best when performing spectacularly as a single chorus.
Labels: A Chorus Line, John Partridge, London Palladium, Marvin Hamlisch, Theatre
Autre Ne Veut - Anxiety
There's a track nestled in the middle of 'Anxiety' (the second album from New York's Arthur Ashin, a.k.a Autre Ne Veut) entitled Ego Free Sex Free. It's a track that pretty much sums up the album in terms of its free-spirited style and content.
What's most notable about 'Anxiety' is Ashin's vocal. High-pitched and more than a little Prince-esque, it's an unrestrained delivery that wavers between subtle cooing and free wailing. It's as sexy as it is an emotive force, less concerned with melodic integrity than with simply evoking feeling.
The musical content is equally unrestrained by presenting a warped version of electro R&B, a vision that's weird and beguiling. Take opening track and lead single Play By Play. Rather than following typical verse-chorus structure, the song is more episodic in nature, shifting gears with alarming frequency – from its gloriously shimmering opening, to its jerky funk middle section and gospel sing-along ending. 'Anxiety', in fact, is the perfect epithet for the album as it jitters and fluctuates with schizophrenic consistency. Beats smash and dissolve; brass squeak and honk; guitars roar and caress; synths and samples soothe and shatter. It's a concoction that shouldn't work - but it does, incredibly so. The result is an album that's complex and layered, the sort of album where each time you listen you discover a new sound hidden in its musical depths.
But why does it work? For starters, each wrenching jolt is paired with short catchy hooks that ensures a certain accessibility. With Ashin's past history as a writer of jingles, this aptitude for melody is the album's constant. And despite the episodic structure of these songs, they never outstay their welcome. In fact, a handful are less than three minutes long, ending all too abruptly.
Most of all, there's a warm glossy sheen over the whole album stemming from Ashin's emotive vocal. For all the album's nervousness, 'Anxiety' is open with its free-spirit and proud to be different.
Gizzle's Choice:
* Play By Play
* Counting
* Ego Free Sex Free
Listen: 'Anxiety' is available now.
Labels: Anxiety, Arthur Ashin, Autre Ne Veut, Music
Little Boots - Motorway
Whilst her debut album was clearly influenced by dance music, Victoria Hesketh a.k.a Little Boots has been dabbling much more into club territory with the intermittent releases of Headphones, Shake and Every Night I Say A Prayer.
Now her second album, 'Nocturnes' (pictured), is finally set for release in May. Motorway is the first single from the album and continues the club theme. It's a hypnotic slice of ethereal disco that's precisely crafted and perfectly matched by the ghostly video.
That said, it's lacking a punchy chorus so feels a little forgettable. Motorway is a slow-burner that's missing the giddy rush the title might insinuate. Clearly Hesketh is still torn between pop and dance, with her best work to date balancing the two extremes. It's a dichotomy that is likely to continue with 'Nocturnes'.
Listen: Motorway is available as a free download on the Little Boots website.
Labels: Little Boots, Motorway, Music, Nocturnes
Kleerup & Loreen - Requiem Solution
Swedish producer Kleerup has a habit of pairing up with some of his native country's biggest artists. Not satisfied with kick-starting Robyn's career with the excellent With Every Heartbeat, a track that appears on his debut self-titled album (released in 2009) alongside further collaborations with Lykke Li and Tityo amongst others, Kleerup has now joined forces with woman of the moment Loreen a year after her formidable Eurovision win.
The pair recently performed Requiem Solution acoustically at the Swedish Grammy Awards, but any fears that Kleerup has eschewed his usual electronic production are quickly allayed in the recorded version. Centred on a gently pulsing piano line, the haunting atmosphere is complimented by both moody strings and downbeat electronica, whilst Loreen delicately sings of "knocking on heaven's door" and being "touched by an angel".
Requiem Solution does lack a remarkable chorus and, as such, doesn't match Kleerup's previous work or Loreen's Euphoria. That said, the combination of these two indomitable forces is another weapon in the considerable armoury of Swedish pop.
Listen: Requiem Solution is available now.
Labels: Kleerup, Loreen, Music, Requiem Solution
Atoms for Peace - Amok
When Atoms for Peace released Default late last year, it essentially sounded like a Thom Yorke track. Now the supergroup - comprising of Thom Yorke, Nigel Godrich (long-time Radiohead producer), Flea (Red Hot Chili Peppers), Joey Waronker (previous drummer for REM) and Mauro Refosco (a Brazilian percussionist who worked with the Chili Peppers) – have released their debut album, 'Amok' and, like the debut single, this is Yorke all over.
Godrich is often cited as the sixth member of Radiohead, so his inclusion in Atoms for Peace is practically inevitable. But the others? Sure the bass is often dynamic, but these are hardly the funk basslines Flea is renowned for. And whilst much of the drumming is now live, Yorke has often played with the complex polyrhythms these drummer provide. Surely the point of a supergroup is that each member brings something different to the table, creating a musical concoction of styles and influences? Instead, 'Amok' is wholeheartedly within Yorke's electronic aesthetic.
It begs the question – how should this album be judged? Do we look at this as the supergroup it should be? Or simply as another Thom Yorke album?
Stuck Together Pieces is a prime example of Atoms for Peace fusing the styles of its members. The funk bass and layered percussion provide the grounding for Yorke's hushed warbling and electronic effects. It remains, however, an abstract and experimental piece. Album opener Before Your Very Eyes similarly feels collaborative, sounding almost like Californication-era Chili's. As a whole, 'Amok' has a cleaner, more 'live' quality than Yorke's solo work thanks to his bandmates, but they feel more like session musicians drafted in to heighten Yorke's imagination.
In comparison to Radiohead, the tracks lack distinction. Yorke's original band are finely tuned and have honed their craft over a series of albums each with their own personality, whereas 'Amok' is predominantly meandering experimentation. The most successful tracks are those that rely most heavily on Yorke's influence. Default presents an intricate web of jittering beats, shifting textures and weird sound bites; the beat of Dropped is infectious; and the ghostly vocal effects of the title track are truly haunting. That said, even the best tracks of 'Amok' lack the unique ingenuity of Yorke's 2006 album 'The Eraser'.
There's definitely potential here and perhaps in a live set the music will thrill more, but recorded this rarely rises above the level of interesting experimental side-project. As a Thom Yorke album this doesn't live up to his best work; as a supergroup this is neither a piece of teamwork, nor is it super.
Gizzle's Choice:
* Default
* Dropped
* Amok
Listen: 'Amok' is released on 25th February.
Labels: Amok, Atoms for Peace, Music, Thom Yorke
Yadi - The Blow
"Our youth is over, the bullet fills the hole, the pain has left me feeling love"
Is this an elaborate metaphor for losing your virginity, or do I just have a dirty mind?
Either way, London-based Yadi has delivered another superb pop track after last year's EP 'Guillotine'. The soaring guitars, the yearning vocal, the urgent drumming and unrelenting bassline - it all encapsulates the dizzying rush of young love. "Your love is like a gunshot in a bloody show", may seem a little violent (it's unlikely this would go down too well in the US), but this is an impassioned pop track from a talented performer who is definitely one to watch for 2013.
There's also a decent remix from Joe Goddard, if you're after a more dancey vibe.
Listen: 'The Blow' is available now.
Labels: Joe Goddard, Music, The Blow, Yadi
Jamie Lidell - Jamie Lidell
Funky as hell.
It's the only suitable way of describing this, the sixth full album from Cambridge-born Lidell who resides in Nashville. After working in the industry for over a decade and a half, it's only now that he has released an album that's self-titled - is this finally the definitive Lidell album?
Over the course of his output, Lidell has shifted between styles but always maintained his neo-soul sound. 'Jamie Lidell' is a modern distillation of his music, combined with the experimental techno of his work as part of electronic duo Super Collider. The result is an album that's so funky, it's practically obscene.
The 80s inspired electro-funk sound is of maximal proportions, sounding equally retro (with its dirty basslines) and futuristic (due to the otherworldly, processed vocals). Imagine Prince on heat meets 'Discovery' era Daft Punk. Lead single What A Shame previously set the tone on its release last year, a tone that the full album repeats across the eleven tracks. The instrumentation may be almost completely synthesised, but the overall effect is soulful and fiery.
The album may be a little one-dimensional, but Lidell still finds some room for variety. why_ya_why is an especially odd inclusion - a wonky jazz-funk fusion characterised by lumbering brass; whilst penultimate track Don't You Love Me is a much more laidback affair, offering a moment of respite before the album's suitably explosive ending of In Your Mind. The highlights, however, are the pure funk tracks like Do Yourself A Favour and You Naked, with their sexy melodic lines and dramatic, kitchen-sink production.
'Jamie Lidell' is so big and loud, it's easy to become immune to its charms and overwhelmed by the sheer volume of its layered effects. As a whole, though, it's almost impossible not to succumb to this utterly filthy tour de force.
* What A Shame
* Do Yourself A Favour
* You Naked
Listen: 'Jamie Lidell' is available now.
Labels: Jamie Lidell, Music
Kimberley Walsh - Centre Stage
Go back and listen to Girls Aloud's initial auditions for Popstars the Rivals. Not great eh? The girls may have formed the most successful talent show group in history with a string of excellent pop hits, but as solo artists their voices are pretty weak.
Now it's the turn of Kimberley Walsh to forge a solo career, after frequently unsubtly hinting expressing her love for musical theatre. Often, talent show hopefuls are told they'd be "perfect" for the West End stage when they fail at being a popstar. Why?! West End performers spend years training and perfecting their craft, only for a (very) minor celebrity to swoop in and steal the best roles. The disillusioned Walsh is a prime example, what with her turn in the dire Shrek The Musical, which did nothing but reveal her limp vocal.
'Centre Stage' is essentially an extended audition for Walsh's West End career – a career that, judging by this album, deserves to stay buried in the audition room. A quick look down the track list is enough to send musical theatre aficionados dizzy with fear – songs like On My Own, Defying Gravity and Somewhere are notoriously exposing and tough to sing. Is Walsh's voice really up to scratch?
The song choices are obvious crowd pleasers, many of which centre on an infamous 'big note'. Take Idina Menzel's richly belted performance of Defying Gravity from 'Wicked' – by comparison, Walsh's voice is a wispy shadow where every note is a struggle. Memory from 'Cats' is synonymous with Elaine Paige, a song of beautiful fragility. In Walsh's hands, it just sounds like a strangled cat. Anyone who's seen the recent film of 'Les Miserables' will be familiar with On My Own, here reduced to pop drivel. And Walsh's television performance of One Day I'll Fly Away did enough, in one fell swoop, to ensure nobody buys this album.
A major problem is that musical theatre numbers are inherently theatrical. On 'Centre Stage' many of the tracks have been reinterpreted as pop songs to accommodate Walsh's limited capabilities. There's no drama, no feeling, just a straight vocal meandering around the melody. Somewhere from 'West Side Story' is an incredibly tragic song, but on this album it's re-imagined as a crooning jazz number that sees Walsh doing her best Sinatra impression. Leonard Bernstein will be turning in his grave. As Long As He Needs Me is similarly crucified jazzified, sung with little to no sense of phrasing whatsoever. Falling Slowly is the newest song on the album, taken from the current Broadway smash 'Once'. Walsh is paired with Ronan Keating, together performing as a rather dull, emotionless duet. Thankfully Walsh is joined by West End star Louise Dearman for I Still Believe from 'Miss Saigon', the most dramatically produced song and in the most appropriate key for Walsh's voice. Even so, she's utterly out-sung by Dearman who showcases what a musical theatre voice should sound like.
Another issue is that of audience. It's unlikely that Girls Aloud fans will be interested in this little side project to the band, but equally fans of musicals have little reason to part with their cash when they can purchase the far superior cast recordings. We've already had Susan Boyle ruining I Dreamed A Dream, we don't need Walsh doing the same for other loved shows. It's no wonder 'Centre Stage' is currently plummeting down the charts.
It's difficult to justify any redeeming features of 'Centre Stage' beyond the attractive cover art. Far from bringing musical theatre to a new audience, Walsh has achieved the opposite with sickening interpretations of some beautiful songs. Perhaps the minimal album sales can be put towards some acting lessons – God knows she needs them.
* None.
Listen: If you must, 'Centre Stage' is available now.
Labels: Centre Stage, Girls Aloud, Kimberley Walsh, Music
The Bourne Legacy (2012) - Tony Gilroy
Back in 2002 with the release of The Bourne Identity, the Bourne films were seen as something of an anti-Bond - the antithesis of 007's gadgets, girls and fantasy plots. Yet since the Daniel Craig era of Bond, Bourne has had stiff competition. The Bourne Legacy, the fourth in the series, proves that Bourne still has some catching up to do in comparison to the triumphant Skyfall.
Bourne's focus on gritty realism is what set the series apart. However, this new film uses a twist in the original trilogy to allow for a new take on familiar themes and a seemingly plausible way to produce more films in the series without simply changing the lead actor. The focus is on the notion of reprogramming human genetics, a process achieved through simple pills. When field operative Aaron Cross (Jeremy Renner) uses up his supply of these "chems", he is set on the run with an innocent scientist (Rachel Weisz) to finally resolve his need to stay enhanced - a necessity to his survival.
Is this really in keeping with the Bourne series? The overall premise of the film is weak and descends too far into sci-fi. The plot has similarities to Blade Runner - just as the replicants seek to meet their maker, so too must Cross uncover the secrets of the CIA programme that made him. Cross's reasoning is so single-minded, Renner is left with little to do but robotic action in a fantasy plot that strays too far from the realism the original Bourne trilogy sought to portray.
The narrative speeds along at a frantic pace, jumping between action set-pieces in different time frames, whilst assuming a certain prior knowledge of the previous films. It's initially dizzying and takes too long for the puzzle pieces to fit into place, leaving us to simply admire the action, which itself is merely a facade to cover the weaknesses in the plot.
Still, the action is typical Bourne fair with rooftop chases, fight sequences and car chases, all filmed with hand camera for that extra "in the moment" touch. The final sequence in particular has a Terminator feel to its lengthy chase that's thoroughly gripping, whilst the musical score suitably ramps up the tension. Action fans will find plenty to enjoy here.
The ending arrives all too suddenly, failing to provide answers to many questions earlier posed - an open-ending that leaves the narrative limp and dissatisfying. It proves that The Bourne Legacy is little more than a shallow excuse to extend the series with even more inevitable sequels, albeit with some enjoyable action along the way.
Labels: Film, Jeremy Renner, The Bourne Legacy
Frankmusik - Far From Over
It's fair to say Vincent Turner aka Frankmusik's career hasn't quite gone to plan. His musical resumé includes production credits on Ellie Goulding's Lights and Erasure's 2011 album 'Tomorrow's World'; as a solo artist he's released dozens of remixes, plus his 2009 electro-pop album 'Complete Me'. Yet last year saw him parting ways with his record label, Island Records, likely due to the poor sales of the album and his descent into dreadful collaborations with the likes of Far East Movement (Do It In The AM).
But now he's back and seemingly on top of his game, releasing his music independently. This inevitably allows for creative freedom, leading to Turner writing, in his own words, "the best work I've ever done" in which he pushed himself "to make it sound as inventive and as dynamic as [he] could". This latest EP, fittingly titled 'Far From Over', is the fruit of his labour.
Unfortunately, despite his own optimism, this is neither Turner's best work, nor inventive. Opening track Captain is the main highlight: all neon synths and funk rhythms, it's very typical of Turner's style, though his pronunciation of "Cap-it-urn" is incredibly grating. Map is obviously directed at his former label - "I never wanna find my way back" - and is a declaration of his moving on. Musically, however, this is the same old Frankmusik, sadly reverting to a generic Europop beat in the chorus. The fizzing production of Thank You is technically proficient but, as with final track The Line, the songwriting lacks the catchy hooks Turner is capable of. The annoying spoken vocals in the latter track is yet another dig at his former label - subtlety really isn't in his vocabulary.
'Complete Me' is an under-appreciated pop gem, featuring the likes of In Step, When You're Around and the excellent 3 Little Words. Sadly, 'Far From Over' is far from Turner's best work and far from being in step with his contemporaries.
Listen: 'Far From Over' is available for free on Frankmusik's website.
Labels: Far From Over, Frankmusik, Map, Music
CHVRCHES - Recover
The Glaswegian electro-pop group are causing such a stir at the moment, it's hard to believe this is only their third release following Lies and The Mother We Share. It doesn't quite live up to the last release, but in a roundabout way that's a huge compliment when their overall output is so damn good.
I mean, more music from CHVRCHES is never a bad thing. An album is in the works, but until then we have the full 'Recover' EP from March to tied us over (pictured), from which Recover is, funnily enough, the lead single. This is sublime electro-pop: fizzing with synth hooks, girlish vocal melodies and lyrics tinged with sadness. "If I recover, will you be my comfort?", asks singer Laura Mayberry with heartbreaking fragility. If anything, CHVRCHES offer comfort to any pop fans disenchanted by the current charts.
Listen: Recover is available now, with the full EP released on 25th March.
Labels: Chvrches, Music, Recover
Foals - Holy Fire
Providence, the ninth track on Oxford band Foals' third album 'Holy Fire', marks a key moment on the record. It's a track that clearly harks back to their 2008 debut 'Antidotes', with obvious shades of lead single Cassius in its crunchy guitars and jerky rhythms. Equally it's a track that shows how far the band have come over the last few years, with richer instrumentation and textures, their sound expanding considerably with each record as bigger stadium performances beckon.
Where 'Antidotes' and the Mercury nominated 'Total Life Forever' are (arguably) fairly single-minded in their overall mood, 'Holy Fire' is a more multi-faceted album. Inhaler was the first single released, roaring onto the airwaves in a blaze of awesome riffage. The heavier feel is something of a departure for the band, though it does retain and develop their propensity for funk grooves, particularly in the syncopated basslines. This continues with My Number: undoubtedly Foals' most accessible track yet that will, deservedly, bring their music to a more mainstream audience. Similarly, rock ballad Bad Habit is an immediate hit with a sublime chorus. Later on the album comes Out Of The Woods, which has an almost Fleetwood Mac feel to it (Dreams especially), the autoharp and marimba adding a folky sense of ethereal mystery that's a step on from Spanish Sahara on 'Total Life Forever'. Furthermore, Spanish Sahara has provided the basis for much of the album, in particular with the slowly developing Milk & Black Spiders and Stepson. Rounding off the album is final track Moon that provides a meditative stillness juxtaposed with the preceding tracks, all guitar harmonics and evocative effects that shimmer with celestial serenity.
Unsurprisingly, album opener Prelude summarises this varied creativity – a largely instrumental track that rocks as much as it slowly blooms and unfurls. Yet through it all, 'Holy Fire' still sounds unmistakably like a Foals album. The band have distilled their sound and applied it to previously unexplored musical territory. This is a band willing to branch out, whilst remaining grounded in their own identity.
In between these obvious highlights, Foals settle into a midtempo groove. The remaining tracks are far from unaccomplished, but they lack the same personality and distinction. Part of this is to do with frontman Yannis Philippakis's vocal often being lower in the mix than usual, overpowered by the guitars, and used predominantly as simply another line within the overall textures. No doubt a conscious decision, this works fine for a texture-focused track like Moon, but the likes of Everytime and Late Night lack the immediacy of the album's better tracks and are diminished to filler.
Thankfully, the good far outweighs the not-so-good on 'Holy Fire'. Foals have grown into one of the UK's most preeminent rock bands and for good reason. 'Holy Fire' is an incredibly accomplished album that sees the band at the top of their game, an album that will appease old fans as well as draw in some new ones. Featuring some of the band's best work to date (besides Spanish Sahara), this album proves that when Foals hit their peak the results are pretty damn special.
* Inhaler
* My Number
* Moon
Listen: 'Holy Fire' is available now.
Watch: Foals are playing a series of sold out shows in March.
Labels: Foals, Holy Fire, Inhaler, Music, My Number
Haim - Falling
And so Haim continue to grow from strength-to-strength. Their ubiquitous sound has been cemented by the success of Don't Save Me, continuing with Falling. Evidently, the 'Sound of...' accolade has been richly deserved.
Funky and cool, Falling perfectly reflects their R&B and rock influences. It's got everything you could want from a Haim track. When played live, meanwhile, the track takes on a new lease of life. The guitar lines roar with extra bite; the bassline is funkier; the live drumming is more dynamic; and the synth glue that holds it all together is more prominent. The girls from LA can seemingly do no wrong.
The full EP of Falling will be released on April 1st (though it's basically a single with remixes).
Screw that, just release a full album already...
Listen: The single of Falling is available now, with the EP released on April 1st.
Labels: Falling, Haim, Music
James Blake - Retrograde
When Blake's self-titled debut album hit in 2011 it was met with a mixed response. Whilst his technical ability as a producer was never in doubt and certain tracks are imbued with touching heartbreak, his minimalist approach left some cold. The album may have earned the moniker 'blub-step', but it nevertheless received a Mercury prize nomination.
Despite the naysayers, Blake has returned doing what he does best: dub-step inspired electronic minimalism, where each small musical evolution has monumental impact. As with The Wilhelm Scream, Retrograde takes the form of an extended crescendo. Beginning with a gently hummed vocal melody, Blake layers on a deeply penetrating bassline, a siren-esque synth drone and ghostly vocals that slowly creep up on you. It's all held together by a hand-clap beat that's as pitiful as Blake's haunting, cracking voice.
Alongside the skeletal production comes a bleak, apocalyptic video. Retrograde may not be new territory for Blake, but it's a return to form from such a unique artist.
Listen: Retrograde is released today.
Labels: James Blake, Music, Retrograde
Plan B @ London O2 Arena
Ben Drew, aka Plan B, is a man of dualities - and not least because he has two names. Musically, he has straddled both hip hop and soul, most prominently with his critically acclaimed albums 'The Defamation of Strickland Banks' (2010) and 'iLL Manors' (2012). And with iLL Manors came Drew the film director, followed by his leading role in the 2012 remake of The Sweeney.
With this, his first stadium tour, Drew has drawn together the two sides of his personality. It's a gig that, suitably enough, comes in two halves, each taking the form of a short film introduced with a BBFC certificate and the Twentieth Century Fox introduction ("Plan B Presents"). And, of course, his collaboration with Chase & Status, End Credits, was played as the encore. At the half way point was an incredible beatboxer who somewhat stole the show. Behind the band were projections of his music videos: the 'Strickland Banks' section loosely telling a story; the 'iLL Manors' section following the narrative of the film. For the latter especially, the music is so tightly connected to the film that the visuals were a welcome addition. The concept as a whole was well implemented, but more integration between the two halves would have provided a more complete, rather than fragmented, performance.
As a performer, Drew morphed from one half to the next. 'Strickland Banks' eased the audience into the music, but suited and booted, Drew appeared a little static. With the change to 'iLL Manors', Drew entered in hoodie and leather jacket and was immediately more comfortable. His soul album may have expanded his audience, but it's clear that hip-hop is his passion.
This was at its most recognisable with the title track to 'iLL Manors', played twice. A protest song against Cameron's "broken Britain", it's rare for popular music to be enriched with such social commentary and to be performed with such angst and bite. Loosened up and rage-filled, Drew was accompanied by an on-stage riot in the most dynamic song of the gig. With the crowd roaring back in spiteful agreement, this song alone proved, amongst all the cinematography, the lyrical power of Drew's music.
Labels: Ben Drew, iLL Manors, Music, O2, Plan B, Strickland Banks
Wreck It Ralph (2013) - Rich Moore
Video Games often get a bad reputation in the media. From Mortal Kombat back in 1992 to the likes of Grand Theft Auto and Call of Duty being blamed for gun crime in America, gaming is something of an easy target. It's thanks to the talented folk at Disney that Wreck-It Ralph shows video games in the positive light they deserve.
After all, for many, gaming began as child's play. Wreck-It Ralph brings us back to a time before endless shooting games, a time of gaming innocence. Mixing the best talents from both Disney and Pixar, this is a vibrant, colourful CGI world full of charm. As with gaming itself, the film takes us from the mundane real world into an escapist fantasy realm where anything is possible. The 3D effect is a subtle one as each carefully differentiated game comes to life - the candy cane world of 'Sugar Rush', where the majority of the film takes place, is stunningly rendered.
It's the characters and cameos that fill this world that make Wreck-It Ralph such a great film. For starters, the ape-like main character (John C. Reilly) stars in the Donkey Kong-esque game 'Fix-It Felix Jnr'. From there, we have the Halo-esque 'Hero Duty' where we meet Jane Lynch's butch Sergeant Calhoun and the Japanese kawaii style Mario Kart clone 'Sugar Rush', complete with anime style characters and J-pop soundtrack. It's here that we meet Vanellope, voiced in suitably comedic fashion by Sarah Silverman in a role that's miles away from her comedy sketches. Licensed-in characters from the likes of Sonic the Hedgehog, Street Fighter and Pacman provide authenticity, lovingly portrayed in humorous yet faithful fashion, with some even voiced by their original voice actors. The support group for gaming villains is particularly well depicted. From the 8bit, jerky animations and pixellated effects to the chirpy chip-tune music, Wreck-It Ralph displays reverence to its source that fans will appreciate, without losing any Disney charm.
The links to Toy Story are clear. As with Pixar's series, this is a film about the private life of toys - in this case electronic avatars. Wreck-It Ralph, however, is less concerned with the characters' interaction with humans. This ultimately is the downfall of the film, which is consumed with its own world and lacks the humanity of Pixar's best. What it does do is provide an escapist fantasy of fast-paced, kinetic action and a narrative with a surprising number of sub-plots and plenty of heart. There's a lot here for the whole family to enjoy.
It must also be noted that, in typical Pixar fashion, Wreck-It Ralph is preceded by short animation Paperman. In just a few short minutes, Disney prove why they're such accomplished storytellers - no dialogue required, just stunningly drawn characters.
Video games may still be young in media terms, but they're a universal medium. No longer are consoles hidden away in the bedrooms of teenagers, they've become the centrepiece beneath the family television and games are readily available in the hands of every smart phone user. Now, with Wreck-It Ralph, gaming has a suitable film that celebrates the medium, rather than holding it to blame.
Labels: Disney, Film, Pixar, Wreck-It Ralph
Tegan and Sara - Heartthrob
It's no myth that the pop charts have become staid. We live in a musical climate where songs like Scream & Shout and Thrift Shop are currently riding high at the top of the charts; a climate saturated with endless dance tracks about drinking and shagging produced by robots; a climate where artists are more concerned with one hit single than creating a full album.
Enter Tegan and Sara. These twins are unequivocally the best thing to come out of Canada and the best thing to happen to pop music in a long while.
The girls have fourteen years of experience behind them, 'Heartthrob' being their seventh album since 1999. Their beginnings were rooted in angst-ridden pop-rock, reaching a pinnacle with the emo album 'Sainthood'. For this new album, they are harking back to their youth but with a change of style to pure power pop, losing none of their angst in the process. 'Heartthrob' is concerned with falling both in and out of love - as Love They Say explains, "there's nothing love can't do". The album's title is directed less at a single figure and more at the passionate emotions that love can inspire, both positive and negative. Like the best pop songs, the lyrics are direct and simple, masking a wealth of earnest feeling – easily understood, easily relatable and highly emotive.
And with these love songs, Tegan and Sara have crafted a series of pop tracks that adhere to old-fashioned rules but, in this day and age, appear fresh. Sure, the girls have worked with some of the top pop producers of the moment (including Greg Kurstin and Rob Cavallo) and the production bubbles and fizzes with contemporary style. But 'Heartthrob' is tightly focused into ten three minute bundles, each one crammed with catchy hooks and sing-along choruses. This might be frothy pop, but a hell of a lot of care and love has gone into its creation. It's youthful and vibrant, playful even, but there's equally a maturity and a confidence here.
'Heartthrob' does work within a limited sonicscape, with its own definite style, but what's so impressive is the album's consistency. There is not one bad track, a feat that's initially overwhelming. Keep listening and each track's charms become more apparent. It's almost impossible to choose a favourite from such an accomplished selection of songs. So keep your finger hovering over that repeat button – resistance is futile.
* Every track. No really.
Listen: 'Heartthrob' is released on 11th February. Listen to a preview at PopJustice.
Labels: Heartthrob, Music, Tegan and Sara
Darkstar - News From Nowhere
'News From Nowhere', the second album from Darkstar, is the sort of album that easily falls under the radar. Far from the mainstream and lacking in immediacy, for the most part this is an abstruse record that takes time to sink in – but are the results worth it?
In a step away from the obviously dance influenced debut 'North', 'News From Nowhere' is a wash of electronic minimalism. Initially, like clutching a pool of water, the music shimmers and glistens but slips through the fingers. For some this will be a turn off, but for others more inclined to a challenge, this will demand repeated listening.
That's not to say there aren't stand out tracks. Timeaway is a beautiful piece of ethereal electronica, softly blooming into clouds of synth pads and arpeggiated droplets from which emerges a ghostly vocal. The track has immediate appeal in its own right, despite being previously released as the album's lead single. Amplified Ease features a repeated vocal hook that's an obvious earworm, whilst subsequent track You Don't Need A Weatherman focuses on a cyclical descending bassline that provides a secure grounding, atop which the production gradually and atmospherically evolves. As a whole, the tracks eschew typical pop structures for something more experimental.
Yet this is where the album falls short. Beneath the layers of clever technique, the spectral hazes of electronica, the songwriting is a little lacking – particularly around the mid-point of the album. Working within such minimal frameworks, the tracks fade into the background and fail to grab the listener's attention. Final track Hold Me Down is a prime example of this. At its best, this is a mesmeric, hypnotic and pensieve record, but elsewhere, as penultimate track Bed Music – North View implies, this is music to drift away to.
Gizzle's Choice
* Timeaway
* Amplified Ease
* You Don't Need A Weatherman
Listen: 'News From Nowhere' is available now.
Labels: Darkstar, Music, News From Nowhere, Timeaway
Wednesday, 6 February 2013
Midnight Tango @ The Phoenix Theatre, West End.
Strictly Come Dancing has become something of an institution in this country, but it's only fair that "the professionals" get a chance to shine in their own separate realm of dance. And so it is that Vincent Simone and Flavia Cacace have created Midnight Tango, a production that sees the championship winning pair performing together on the West End stage. Even for someone whose only knowledge of Argentine tango comes from the BBC programme, this is a spectacular show.
Essentially a ballet in tango, the show takes place inside an Argentinian bar, wonderfully designed by Morgan Large. The shabby interior is littered with detail (the set is even used as percussion at one point) and includes space for the excellent on-stage band (Tango Siempre) and singer Miguel Angel. The bar is owned by an older couple, whose humorously bickering relationship plays out like a slapstick silent movie, providing a suitable counterpoint to the intense love affair of the principal dancers. Although Russell Grant sadly was unable to perform as the bar owner through injury, his inclusion may have spoilt the illusion of Latin authenticity the production as a whole strives to achieve.
As is typical of the genre, Midnight Tango oozes sweat, passion and sensuality. Argentine tango is the principal style of dance throughout, characterised by sharp intertwining leg movements, impressive lifts and lashings of Latino fire, accompanied by music from the likes of Astor Piazolla. With such a busy stage it's easy to get distracted, but our attention is always guided by the lighting. The ensemble are immensely talented, gliding effortlessly across the floor, but even they pale in comparison to the obvious stars – Vincent and Flavia. Regularly pulling focus, their dancing is tighter, sharper and faster than the others – a partnership that is truly a sight to behold.
Whilst the first half lacks a little variety, the second half offers more distinct and dramatic dances. In particular, the climax of the production sees Vincent and Flavia perform a virtuosic rumba-esque romantic duet, their bodies intertwining in harmonious union – a simply stunning routine. Beforehand an all-male dance cleverly subverts the typical couple as the men fight to outperform one another in peacockish bravura. The finale, meanwhile, is a long sequence of routines that feature a magnificent display of skilful technique, strength and passion for dance. The production may be on the short-side, but the stamina and, moreover, trust in one another that the dancers exhibit is astonishing.
As Midnight Tango replicates, the best place to see tango performed would be a small bar in a backstreet of Buenos Aires under a heady, starlit sky. But for most of us, this is the closest we'll ever get.
Watch: Midnight Tango returns to the West End at the Phoenix Theatre London until 2nd March, before touring the UK throughout the summer.
Labels: Flavia Cacace, Midnight Tango, Phoenix Theatre, Strictly Come Dancing, Theatre, Vincent Simone
The Strokes - One Way Trigger
For many, The Strokes's 2001 album 'Is This It' marks the pinnacle of 00's indie rock. Most recently, the band released 'Angles' in 2011 which modernised their sound, but largely saw the band on autopilot. Guitarist Nick Valensi even offered that making 'Angles' "was just awful".
So why return? 2013 will see the release of a new album in March, 'Comedown Machine' (pictured), from which One Way Trigger is taken. It certainly marks a departure for the band. If anything, it sounds like a more frenzied version of A-Ha's Take On Me, with its spiky synth melodies and frontman Julian Casablancas's emphasis on falsetto. It lends the track a poppier feel which could see them back in the mainstream.
Yet, whilst it undeniably feels like a Strokes track, you can't help but feel the band are losing their way. Where 'Is This It' felt effortlessly cool, One Way Trigger is a forced effort from the band to stay relevant. It's not an utter travesty, but it's far from their best.
Listen: 'Comedown Machine' is released on March 25th.
Labels: Comedown Machine, Music, One Way Trigger, The Strokes
Monday, 4 February 2013
Fall Out Boy - My Songs Know What You Did In The Dark (Light Em Up)
With their last album released in 2008, the fall out boys have been on hiatus ever since. That's not to say they haven't been busy beavering away on various side projects, though if you can name one without checking Wikipedia I'd be impressed.
Perhaps that's why the boys have teamed up again for a new album, amusingly titled 'Save Rock and Roll', from which this typically ludicrously named track is the first single. The band are clearly seeking to hit a moodier, more serious tone with this track that differs from their past pop punk efforts, in a quest to make music "that matters to us". It's certainly more edgy than frothy, but it remains firmly in pop territory. Despite an initially intriguing sound, the chorus sadly falls flat, even with its "I'm on FIRE" vocal.
This isn't likely to save rock and roll, but the hiatus has benefitted the band, returning with a decent slice of pop-rock.
Listen: My Songs Know What You Did In The Dark features on new album 'Save Rock and Roll' to be released in May.
Watch: The band will tour in February, including playing at London's Underworld on the 25th.
Labels: Fall Out Boy, Music, My Songs Know What You Did In The Dark, Save Rock and Roll
The Raid (2012) - Gareth Evans
The title might be dull, but this Indonesian film is far from boring. This isn't just a raid, this is the raid.
The plot is a simple one - a young, fresh-faced police squad are sent into a high rise block to kill its ruling crimelord. But who is behind this operation? And once inside, will the squad be able to escape?
This twists and turns aren't complicated or particularly satisfying, but it's the action rather than the narrative that thrills. The Raid is jam-packed with brutal violence: thugs and policeman are shot, stabbed, thrown and battled in a flurry of kung-fu. The fight choreography is impressive for its fluidity and speed as well as its inventiveness - with no CGI involved, this is pure human skill. Evans's dynamic camerawork swoops and shifts with every blow, every axe swing and every slow-motion bullet piercing flesh and skull, creating one hell of a visceral experience.
The high-rise flat is a suitably hellish environment - at first seemingly desolate and deserted, thugs soon crawl out of every room and hallway like ants awaiting a deathly end. The dusty, dilapidated interior is merely a blank canvas for the sweat and blood that splatters onto every surface, hitting our ears as much as our eyes with each grunt, slice and bang. A techno soundtrack accompanies the fights to ramp up the excitement, but elsewhere the film is drenched in deafening silence that truly heightens the tension.
If you're after an intelligent thriller, you won't find it here. Instead, The Raid is an intense, awesome masterclass in action.
Labels: Film, Gareth Evans, The Raid
Twelfth Night or What You Will @ Guildhall School of Music & Drama
"If music be the food of love, play on". So begins what for many is Shakespeare's greatest comedy. With so much music involved, it makes a suitable piece for the students at Guildhall, complete with piano and string accompaniment.
Mark Simmonds' modern set evokes Grecian architecture with its geometric designs. Most impressively, the curtains part to the side of the audience (sat in traverse) revealing an insinuated oceanic vista. The storm scene, in particular, unveils spectacularly. With such a sparse set, the costumes notably stand out – largely for their mix of minimalism and extravagance that lacks cohesion.
As expected under the eminent direction of Patsy Rodenburg, Shakespeare's verse is spoken eloquently throughout, with some members of the cast revelling a little too much. The result is a mostly solid ensemble, though some scenes do drag.
The pace picks up with the colourful members of Olivia's household, setting up the comic subplot. The cross-dressing comic device is furthered by having Feste played by a female: Eva Feiler's fool sings beautifully self-accompanied on the accordion. On the other hand, Tom Lincoln's Orsino shows great presence and authority and Jessica Madsen's Viola/Cesario is charming and articulate, with range of expression. The casting of Madsen and Rob Callender as twin brother Sebastian is unusually realistic, lending believability to the dramatic climax.
Malvolio remains the most intriguing character and here, played by Stefan Adegbola, his depiction as a victim is highlighted. Beginning as a statuesque butler, the infamous 'yellow stocking' scene is heightened with Adegbola emerging dressed in full yellow leotard and self-flagellating in a hilarious act of bondage. Quickly he is reduced to a madman in a lunatic asylum, strapped to a wheelchair - a brave move that emphasizes the tragic elements of the comedy. As the denouement unfolds, Adegbola delivers the lines with stoic poise for a suitably grave and poignant ending.
Watch: Twelfth Night runs from 31st January to 5th February at the Silk Street Theatre.
Labels: Guildhall School, Theatre, Twelfth Night
What You're Reading...
Big: The Musical @ The Dominion Theatre
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redpajama_set_name: RedPajamaCommonCrawl


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Statham's Quarry, auch Darling Range Quarry und nach dem Jahre 1920 Perth City Council's Darling Range Quarry genannt, ist ein Steinbruch in Western Australia, in dem das Hartgestein Diabas gewonnen wurde. Er befindet sich innerhalb des kleinen Gooseberry-Hill-Nationalparks auf der südlichen Seite des Austritts des Tal des Helena Rivers in die Swan Coastal Plain in Gooseberry Hill, einem Vorort von Perth. Der Steinbruch, der von der Ridge Hill Road aus zu sehen ist, liegt im größten Diabas-Vorkommen dieses Gebiets.

Geschichte
Der Steinbruch wurde von Thomas Statham und William Burton von 1894 bis zum Tode von Statham im Jahre 1920 betrieben. Anschließend übernahm das Perth City Council den Betrieb des Steinbruchs.

Der Statham-Steinbruch bildet ein seltenes Beispiel für einen historischen Steinbruchs in Western Australia. Erhalten geblieben sind die Spuren der australischen Steingewinnung des ersten Quartals im 20. Jahrhundert. Verwendet wurde das Diabasgestein für Pflaster und Bordsteine in den Straßen von Perth. Ebenso stammen die Steine am City Beach von hier. Zum Steinbruch führte früher die Kalamunda Zig Zag, ein Nebenstrang der Upper Darling Range Railway, die 1949 den Betrieb einstellte.

Ein weiterer Diabas-Steinbruch ist der Government Quarry bei Boya, der heute Hudman Road Quarry genannt wird und an der Grenze zu Darlington liegt. Ein im Glen Forrest liegendes Vorkommen aus Ton wird ebenso Statham genannt. Der Ton dieses Vorkommens wurde zur Herstellung von Mauersteinen verwendet. Das Steinbruchgebiet wird häufig von Buschfeuern heimgesucht.

Heutige Nutzung
Heute wird der Steinbruch sportlich für Kletter- und im Abseilübungen genutzt und hierzu vom Department of Environment and Conservation unterhalten. Der Steinbruch in unmittelbarer Nähe von Perth ist bekannt als sicherer und gut zu erreichender Klettergarten.

Literatur
 Mansfield Frank (2004): Statham's Quarry Gooseberry Hill, W.A. : F. Mansfield

Weblinks

 Klettersteige im Stratham's Quarry (PDF; 3,5 MB)

Einzelnachweise

Geographie (Western Australia)
Steinbruch in Australien

redpajama_set_name: RedPajamaWikipedia


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Mermaid Madness is an action-adventure game developed by Soft Design and published by Electric Dreams Software for the Amstrad CPC, Commodore 64, and ZX Spectrum in 1986.

Gameplay

The player takes on the role of a 112 year old mermaid called Myrtle. Myrtle is on a quest to rescue Gordon, a deep sea diver who she has taken a romantic interest in. As Gordon has become trapped in a small cave, Myrtle must find a way to free him before his air runs out. As she travels around the sea bed Myrtle can collect and use a variety of objects. She must also avoid fish and other creatures which can sap her energy. However, energy can be replenished by picking up bottles of stout.

Reception
Mermaid Madness received mostly positive reviews, including scores of 70% from Amstrad Action, 37/40 from ASM, 7/10 from Commodore User, 27/40 from Computer & Video Games, 15/20 from Computer Gamer, 66% from Crash, and 78% from Zzap!64. However, it also received some negative reviews such as 46% from Happy Computer and only one star out of five from Sinclair User.

References

External links

Mermaid Madness at World of Spectrum

1986 video games
Action-adventure games
Amstrad CPC games
Commodore 64 games
Fiction about mermaids
Puzzle video games
Single-player video games
Video games developed in the United Kingdom
Video games featuring female protagonists
Video games scored by Fred Gray
Video games with underwater settings
ZX Spectrum games


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NRA Points To Texas Case To Bolster Challenge To Florida Gun Law
Jim Saunders - News Service Of Florida August 31, 2022
The National Rifle Association is pointing to a Texas case to try to bolster its constitutional challenge to a 2018 Florida law that prevents people under age 21 from buying guns.
An attorney for the NRA filed documents Monday at the 11th U.S. Circuit Court of Appeals after a federal judge last week issued an injunction against a Texas law that bars people under 21 from carrying handguns outside their homes for self-defense.
While the details of the Florida and Texas laws are different, the NRA contends that they involve similar underlying issues about gun restrictions on young adults.
"The (Texas) court's opinion confirmed that young adults come within the Second Amendment's protections, and that banning young adults' right to purchase (or carry) a firearm is inconsistent with this nation's historical tradition of firearm regulation," NRA attorney John Parker Sweeney wrote in a filing known as supplemental authority.
A panel of the 11th U.S. Circuit Court of Appeals heard arguments in May about the Florida law, which the Legislature and then-Gov. Rick Scott approved after a mass shooting at Parkland's Marjory Stoneman Douglas High School that killed 17 people. The gunman, former Marjory Stoneman Douglas student Nikolas Cruz, was 19 at the time of the shooting.
In the news: Police In Florida Warn Parents About Drugs Disguised As Candy, Sometimes Fatal
The law banned sales of rifles and other types of long guns to people ages 18 to 20. Federal law already barred sales of handguns to people under 21.
The NRA challenged the Florida law, but Chief U.S. District Judge Mark Walker upheld the measure's constitutionality. That prompted the NRA to go to the Atlanta-based appeals court, where the case remains pending.
Walker, in part, focused on a landmark 2008 U.S. Supreme Court decision known as District of Columbia v. Heller. While the Heller case is broadly considered a major victory for gun-rights supporters, it also said certain "longstanding prohibitions" about guns do not violate the Second Amendment, according to Walker's ruling.
The Heller case cited prohibitions on such things as felons and mentally ill people possessing guns, Walker concluded that restrictions on 18-to-20-year-old people buying guns were "analogous" to the restrictions cited in the Heller case.
"In short, Heller's listed regulations are similar to restrictions on the purchase of firearms by 18-to-20-year-olds; all target specific groups that are thought to be especially dangerous with firearms," he wrote.
But the NRA has fought that conclusion and cited the ruling last week by U.S. District Judge Mark Pittman in the Texas case to try to bolster its arguments.
In the news: Man Found Dead On Side Of Florida Highway, FHP Seeking Tips
Pittman wrote that the "longstanding prohibitions regarding felons and the mentally ill were based on an individualized determination that allowing the person in question unfettered access to firearms would pose a threat to public safety. Texas's statutory scheme does the opposite. The scheme starts by prohibiting 18-to-20-year-olds from carrying a handgun for self-defense outside the home. Only if a rare exception applies may an 18-to-20-year-old seek to obtain a license to carry. And rather than determining that a person in question is a threat to public safety, certain exceptions require an individualized determination before allowing a person to exercise their Second Amendment rights."
The Fort Worth-based judge also wrote that the Second Amendment does not "mention any sort of age restriction."
"With this guidance, the court asks a simple question: Are law-abiding 18-to-20-year-olds properly considered members of the political community and a part of the national community?" Pittman wrote. "The answer is yes. And based on that answer, the court concludes that law-abiding 18-to-20-year-olds are a part of 'the people' referenced in the Second Amendment."
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To send flowers to the family of Margaret Ellen Brown, please visit our Heartfelt Sympathies Store.
In Memory of Marg Brown, a truly amazing lady who lived her life with grace, love & kindness.
My friendship to Marg and her lovely family is dear to me and I will always savor my memories of that friendship .
We are thinking of all of you and hope you are coping okay. Auntie was a wonderful person and will be missed by all who knew her.
We will miss you Auntie Margaret, your wonderful presence and beautiful soul. Hope you are enjoying reuniting with all your loved ones who passed before you. We will keep your loving family in our thoughts and prayers.
Dear Trudy, please accept my sincere condolences on the passing of your mom. I have very fond memories of your family and our time as roommates in Calgary.
Dear family, Please accept my sincere condolences. Although I didn't know her well I remember her from meeting at Bowden United Church and of course our children all attended Bowden School. She was a lovely person. I wish all the family peace at this sad time.


Recorded at John Cipollina's home's studio, Mill Valley, California.
This is exactly the copy of the original John's notes reported on his reel.
This is a rare recording. Copperhead's story is long, but in a few words: first Copperhead attempt in this, John tried to shopthis at various record companies with no luck. Two years later his father Gino paid for the recording of a demo that finally was sold to CBS (= First Lp).
A year later the second album was ready to release, but Columbia stopped the project because the first one sold nothing. Columbia still have the masters of the 2nd lp. John's brother Mario tried to rebuy it from them to release it, but did not get a reply from any Columbia executive.
John Cipollina - lead guitar, hawaian steel guitar, steel guitar.
Musically, their style had already evolved from progressive rock to soft-rock, but it then moved towards a pop style. They changed their name to "The O Band" and released a 12" EP Look to the Left, Look to the Right in 1977. before recording their final album The Knife, from which the single "Almost Saturday Night"/"Love Ain't A Keeper" was taken, also in 1977. Shortly before a planned change of management, Pix Pickford decided to leave for a solo career. The O Band later disbanded at the end of 1977.
I saw this band three times on the UK college circuit (at UCW Aberystwyth in the mid-70s) and they sounded almost exactly as they do on this album: wonderfully melodic very tight musicianship led by Pix on lead guitar; West Coast US inspired, but nevertheless 'English sounding'. Pix is still playing with a band called Racket: he is better than Mark Knopfler, but having just as distinctive a signature sound. Pix was from the Channel Islands. A picture of him shows him playing a strat and still looking in good health. There is a telephone number given on which you can book gigs, by Racket, that is, but sadly not by The O Band.
The band used to be obsessed about getting the sound-engineering just right on stage and would keep us waiting for 10 to 15 minutes, playing to an empty, locked auditorium while the engineer made fine adjustments on the desk. You could watch through the windows in the doors. The wait was always worth it. The band were fine vocalists as well as great players. When I saw them they were first called Oasis! I do not know why they changed name. I remember Pix played with a slightly distracted look of concentration and absorption by the music. He used to look above the heads of the audience, apparantly studying the wall behind us, but seeing nothing I guess. He took his picking really seriously.
So to the album. Each track has a complimentary momentum and feel so that the overall effect is very coherent. The last track is a kind of gentle 'goodbye'. Smile is a Diamond seems to be the most highly regarded track, but I find them all equally good.
If you want a benchmark, I would place Crosby Stills Nash and Young 'Deja Vu' and The Band 'Stagefright' slightly ahead of this album. In other words Within Reach by The O Band is World Class Country Rock and an essential album for any blissed-out soft rocker. I love it.
Dear Pix: any chance of an O Band reunion gig? You'd find me in the front row and before that, trying to get in just to enjoy the sound check. Dig your style! How did you develop it and what set up did you use back then? Stay in good health: too many rockers die young!!
(By Dr. S. L. Smith "Steve Smith"
In 1975, they released their second album, Oasis. They had one track "There Ain't Nothing I Wouldn't Do" on a single to promote their tour with Sassafras and Randy Pie as the "Hot On The Tracks" package. Musically it found the group teamed with producer Nicky Graham. Clearly interested in courting a larger audience, material like the funky 'Amovin'', 'Foolin' Round' and 'Fine White Wine' found the band working in a more commercial mid-1970s AOR genre. With all five members and producer Graham contributing to the writing chores, the set wasn't bad. Powered by some nice lead vocals from Pickford, the collection was tuneful and occasionally fun (check out 'Bird of Paradise'). Powered by some jumpy synthesizers the group composition 'Take Your Time' showcased a mild progressive feel. Similarly. complete with a pretty melody and weird reggae mid-section 'Sleeping' offered up a nod to their progressive roots and was probably the most atypical of the ten songs.
A Band Called O were a band from Jersey, Channel Islands. Originally known as "The Parlour Band", playing progressive rock, they renamed to "A Band Called O" for two albums on CBS/Epic and later to "The O Band" for a further albums with UA. Despite issuing five albums, on three major labels, and being championed by John Peel, for whom they recorded four Peel Sessions, they had no chart success; but were a popular live act, who toured Britain and Europe.
Formed in Jersey, Channel Islands, circa 1970, as "The Parlour Band", the early line up comprised brothers Mark Anders (bass and vocals) and Craig Anders (lead guitar and vocals) with Peter Filleul (keyboards and vocals) formerly of the Climax Blues Band , John "Pix" Pickford (guitar and vocals) and Jerry Robbins (drums). Released in 1972, The Parlour Band's only album Is a Friend?, was produced by Nick Tauber in a melodic progressive rock style, sounding like a "more mainstream, less art-rock-inclined Yes" with strong keyboard and guitar parts.The Parlour Band toured supporting Caravan and Steve Hillage's Khan.
They relocated from Jersey to Leicester, changed their name to "A Band Called O", and their drummer to Derek Ballard. This line-up released their first album on the Epic label, produced by Ben Sidran of the Steve Miller Band, and Chris White of the Zombies. A Band Called O (1974) and, despite being an album orientated band, a single "Rock and Roll Clown"/"Red Light Mama Red Hot" was released in Germany while they recorded the first of four Peel Sessions on 24 September 1974. They recorded their second Peel Session on 18 March 1975, before touring with Man and John Cipollina. Later that year, they released their second album, Oasis. They had one track "There Ain't Nothing I Wouldn't Do" on a single to promote their tour with Sassafras and Randy Pie as the "Hot On The Tracks" package.
Filleul left and was replaced by Ian Lynne, after about 6 months he was also replaced by Jeff Bannister, formerly with the John Barry Seven, The Alan Bown Set and Jess Roden's Bronco. The band changed label from CBS/Epic to United Artists, played their third Peel Session on 23 March 1976 and released their third album Within Reach later that year. A promotional single "Excerpts from Within Reach" was issued in the UK whilst two singles were taken from the album: "A Smile Is Diamond" / "Coasting" was issued in Germany, and "Don't cha Wanna" /"Coasting" in the UK. They played their fourth and final Peel Session on 22 February 1977.
Hard fuzz trio featuring the blazing leads of Zippy Caplan (ex-Litter). The band was less garagy and more pounding hardrock than the Litter. "Under the Screaming Double Eagle" collects studio tracks from 1969. White Lightning was a slang term for LSD at the time (and bootleg whiskey prior to that). The group added two new members and shortened their name to Lightning. They continued in the hardrock mode but now with dual leads. "Lightning" is another excellent effort, just missing the certain magic they possessed as a power trio.
"White Lightning" was formed in Minneapolis, Minnesota in 1968 by ex-"Litter" guitarist "Zippy" Caplan and bassist Woody Woodrich. The two musicians had been jamming together for close to a year before they decided to become a group.
The name "White Lightning" was picked by "Zip" Caplan and Woody Woodrich during their drive back from the "Litter's" filming of "Medium Cool" because it was another name for acid.
"White Lightning's" original drummer, Garr Johnson, quit the group after only a months rehearsals because he didn't believe a three-piece act could make it in Minneapolis. Mick Stanhope was immediately brought in from Chicago by Ronn Roberts to fill the empty drummer's chair.
BTO recorded live at the Agora in Cleveland between the 2nd and 3rd LP's. "Not Fragile" was released in August of '74 and considering that all songs come from the first 2 releases this would lead one to believe early 1974 is the ballpark date.


text:
Wincenty z Szamotuł herbu Nałęcz (zm. 24 czerwca 1332) – wojewoda poznański (1328–1332), starosta generalny Wielkopolski (1329–1331).

W roku 1329 z polecenia króla Władysława Łokietka zawarł rozejm z Brandenburgią trwający do roku 1332. Brał udział w wojnie z Krzyżakami uczestnicząc 27 września 1331 w bitwie pod Płowcami (jako dowódca straży przedniej wojsk Władysława Łokietka), a wcześniej także w bitwie pod Koninem oraz w bitwie pod Pyzdrami.

Bibliografia

Ludzie związani z Szamotułami
Nałęcze
Wojewodowie poznańscy (Zjednoczone Królestwo Polskie)
Starostowie generalni Wielkopolski (Zjednoczone Królestwo Polskie)
Uczestnicy wojny polsko-krzyżackiej 1327–1332 (strona polska)
Zmarli w 1332


This course is called Civics and Government. The course provides an overview of the structure and functions of the U.S. government and political institutions, and examines constitutional principles, the concepts of rights and responsibilities, the role of political parties and interest groups, and the importance of civic participation in the democratic process. This course will mostly focus on the national government, but will also examine the structure and function of state and local government.
The major purpose of this course is to help students gain and display an understanding of American government and politics and the processes of government that help shape our public policies. It is also to prepare students for the Common Assessments in preparation for the Keystone Exam.
There will also be Common Assessments that ALL Civics students in all classes will be taking at the end of each marking period. The Common Assessments will help prepare students for the Keystone Exam.
It is strongly recommended that you keep a notebook (or folder or binder) which will greatly assist you in achieving satisfactory grades. Notebooks will NOT be collected or graded and are YOUR responsibility to keep organized and bring to class. Your notebook should contain lecture notes, quizzes, tests and assignments, which will help you when participating in class activities, preparing for tests or the final exam.
McClenaghan, William A. American Government. Prentice Hall, 2006.


Have you ever found yourself wandering though life just getting by ?
I have been there. I found myself getting into new books and looking for something new that would bring on some relaxation and excitement to my life. I found it in stand up paddleboarding.
I drove two hours and over a draw bridge passing all sorts of places I could try this for the first time and finally arrived at one of my favorite places , Chincoteague Island, Va.
Its a gorgeous place with a long stretch of clean beach surrounded by marshland filled with the famous ponies and other varieties of wild life.
It is the perfect spot to visit with the oh so helpful and pleasant staff of Big Papa SUP. Check them out !!
Finding your balance is key but I can tell you from my minimal SUP experience that it is the most gratifying thing to be able to maneuver through the water, taking in all of the wonders of nature that surround you.
There is something about it you just have to experience for yourself . A task requiring little equipment and a little gumption.
What new thing have you added to your life ? Have you done paddleboarding before? Where are some of your favorite spots to go ?
I recently tried paddle board yoga, that was tough for me!
I don't think I am balanced enough to attempt yoga on a paddle board ! I will have to make it a goal though it sounds like a good time !
It was and the board is extra big so not too tippy!


text:
Ang Lee Zeroes in on BILLY LYNN Lead; Will Shoot in Ultra-HFR 3D
by Adam Chitwood February 5, 2015
Since winning the Best Director Oscar for Life of Pi, filmmaker Ang Lee has been taking his time in mulling over his next project. For a while it seemed like a boxing drama was going to be next, but then an adaptation of the Iraq War satire Billy Lynn's Long Halftime Walk took first position. Lee was planning to use a variety of new technological advances to shoot the boxing pic, and now it appears that he still aims to take a cutting-edge approach to Billy Lynn.
For those unfamiliar, the film is based on the novel of the same name by Ben Fountain and takes place in Texas, following the surviving members of a squad of soldiers who embark on a media-intensive "Victory Tour" at Texas Stadium as they prepare to return to Iraq. Much of the story takes place during this one day, with flashbacks revealing what happened overseas.
Per Deadline, Lee will be using the Sony F65 camera and will shoot in native 3D, high-resolution with an ultra high frame rate in order to "create a different cinematic syntax in service of the story." The report says Lee aims to make a new way for audiences to experience drama, giving them the "heightened sensation" that soldiers feel on the battlefield and on the homefront. Lee's use of 3D and CGI in Life of Pi was stunning, and while I'm not a massive fan of HFR, I'm incredibly curious to see what he puts together for Billy Lynn's Long Halftime Walk.
And with regards to the people in front of the camera, Deadline reports that Lee has narrowed the shortlist of the actors to play the lead to four names: Taron Egerton (Kingsman: The Secret Service), Jack Reynor (Transformers: Age of Extinction), Joe Cole (Peaky Blinders), and Billy Howle (Glue). Filming is set to begin in April, so expect this final decision to come down soon.
Atlanta Readers: Win Passes to See KINGSMAN: THE SECRET SERVICE
NBC Renews THE BLACKLIST, GRIMM, and Three Other Dramas
• Ang Lee • Billy Howle • Billy Lynn's Long Halftime Walk • Jack Reynor • Joe Cole • Movie News • Taron Egerton