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older | 1 | .... | 1875 | 1876 | (Page 1877) | 1878 | 1879 | .... | 2467 | newer

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    a1635111767_16.jpg320 kbps | 90 MB | LINKS

    “When you travel, a souvenir is something you bring back to remember the trip. Each of these songs represents a journey we’ve taken with our collaborators, each one a result of a collaborative composition process. All the lyricists and vocalists we work with shape the sketches in their own way. It often starts with recording improvisations that we play with and further develop, so that what you hear in the final track is actually the sound of us composing the song.”

    – Wauwatosa


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    Chris Isaak (1985) Silvertone

    Performer: Chris Isaak
    Location: USA
    Album: Silvertone
    Label: Ⓟ & Ⓒ 1985 Warner Bros. Records (Made in USA)
    Catalog: 9 25156-2
    Barcode: 0 7599-25156-2 7
    Genre/ Style: Pop, Rock, Rockabilly, Surf Rock
    Total time: 00:39:37
    Format: .flac level 8 (image + .cue + .log)
    Covers: full artwork ".jpg" 600 dpi included
    Amount of tracks: 13 Tracks
    Dynamic Range: 12
    Total size RAR: 306.27 MB
    Upload: MEDIAFIRE
    Scans & Rip by Capivara JR

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  • 06/21/18--00:37: Chris Isaak (1987)
  • Chris Isaak (1987)

    Performer: Chris Isaak
    Location: USA
    Album: Chris Isaak
    Label: Ⓟ & Ⓒ 1987 Warner Bros. Records (Made in USA)
    Catalog: 9 25536-2
    Barcode: 0 7599-25536-2 7
    Genre/ Style: Pop, Rock, Rockabilly, Surf Rock
    Total time: 00:36:17
    Format: .flac level 8 (image + .cue + .log)
    Covers: full artwork ".jpg" 600 dpi included
    Amount of tracks: 11 Tracks
    Dynamic Range: 13
    Total size RAR: 306.27 MB
    Upload: MEDIAFIRE
    Scans & Rip by Capivara JR

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    Chris Isaak (1989) Heart Shaped World

    Performer: Chris Isaak
    Location: USA
    Album: Heart Shaped World
    Label: Ⓟ & Ⓒ 1989 Reprise Records (Made in Japan)
    Catalog: WPCP-4198
    Barcode: ??
    Genre/ Style: Pop, Rock, Rockabilly, Surf Rock
    Total time: 00:46:12
    Format: .flac level 8 (image + .cue + .log)
    Covers: full artwork ".jpg" 600 dpi included (Obi was lost)
    Amount of tracks: 11 Tracks
    Dynamic Range: 13
    Total size RAR: 453.96 MB
    Upload: MEDIAFIRE
    Scans & Rip by Capivara JR

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    1970 Barclay James Harvest
    4-Disc Deluxe Box Set 2018


    Barclay James Harvest: 1970 Barclay James Harvest 4-Disc Deluxe Box Set 2018


    Performer:
    Barclay James Harvest
    Box Set / Albums:
    1970 Barclay James Harvest
    (3CD + DVD Box Set Cherry Red Records 2018)
    Info:
    Esoteric Recordings / Cherry Red Records
    Deluxe Limited Edition Box
    CD / DVD / Stereo / Multichannel
    Catalog Box/ Discs: PECLEC42627
    Made in EU
    Dynamic Range: 10 / 10 / 9
    Genre / Style: Rock / Art Rock / Progressive Rock
    Released Year: 1970/2018
    Format:
    CD: FLAC / Level 8 (img + *cue / *cue with ISRC + EAC log, AccurateRip)
    DVD: DVD Decrypter (ISO + *mds + log) ? DVD Audio Extractor FLAC Stereo (5.1 Surround) 24/96 (24/48) (img + *cue)
    Covers: format PNG 300dpi, full scans
    Upload: GigaPeta / TurboBit

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    Monster Magnet - Dopes To Infinity (1995) [2CD Deluxe Edit. 2015]

    ???????????: Monster Magnet
    ??????: USA
    ??????: Dopes To Infinity
    ????: Hard Rock / Stoner
    ??? ??????: 1995 / 2015
    ??????: FLAC (tracks+.cue, log, scans)
    ??????: 774 ??
    ??: katfile/uploadboy/turbobit/gigapeta

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    a3004909620_16.jpg320 kbps | 90 MB | LINKS

    On Shadowlands, veteran troubadour Matt Epp embarks on a journey through the geographies of darkness within him, sending back transmissions of lush, haunted Americana that embrace the dualities of this human thing—love, light, and the absence of each. He traverses spiritual and physical worlds deftly, conjuring the twilight wilderness of his home with hazy, transcendental psychedelia (“North Country”), chasing muses on his road-worn Honda Shadow amidst incendiary roots rock (“Runaway”), floating through ghostly, glowing folk alongside mystical guides (“Uncharted Waters”), and raging against social and environmental injustice on the acerbic battle cry “Unnatural,” recalling Neil Young’s pointed activist anthems. Epp’s 10th album represents his first steps over the threshold in this odyssey, and its piano-led curtain closer, “In a Flash,” is a promise to continue fearlessly navigating the gathering tempests and crises of faith that define its world.


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    Monkey Business - Why Be In When You Could Be Out (2000)

    Artist: Monkey Business
    Title Of Album: Why Be In When You Could Be Out
    Year Of Release: 2000
    Label (Catalog#): Columbia [497518 2]
    Country: Czech Republic
    Genre: Electro Funk
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 50:36
    Full Size: 348 mb
    Upload: Turbobit

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    Τον δίσκο με τα ανέκδοτα tracks του Κυριάκου Σφέτσα και της Greek Fusion Orchestra τον είχαμε προαναγγείλει τον Μάρτιο που πέρασε κι εκεί είχαμε σημειώσει τα ακόλουθα:
    Όσοι έχουν ακούσει το άλμπουμ του Κυριάκου Σφέτσα και της Greek Fusion Orchestra «Χωρίς Σύνορα» [Columbia, 1980] υποπτεύονται ή ξέρουν για το τι ακριβώς θα μιλήσουμε. Ξέρουν, εννοώ, τι σημαίνει το να ανασύρονται ανέκδοτες εγγραφές αυτής της ορχήστρας από το δεύτερο μισό της δεκαετίας του ’70 (το κάνει η Τεράνγκα Μπιτ), οι οποίες, σε συνδυασμό με την ακεραιότητα της ηχητικής κατάστασής τους, δεν μπορεί παρά να πλασάρονται μεταξύ των κορυφαίων της εγχώριας τζαζ. Ή μάλλον της… ελληνικής τζαζ. Γιατί αν ο όρος «ελληνική τζαζ» έχει ένα νόημα βαθύτερο, τότε οι εγγραφές της Greek Fusion Orchestra του Κυριάκου Σφέτσα είναι σίγουρο πως τον καλύπτουν 100%.
    Είναι το ίδιο που συμβαίνει και με το ελληνικό ροκ.
    Γενικώς, ελληνικό ροκ είναι το ροκ που παίζεται από έλληνες μουσικούς, αλλά ειδικότερα και βαθύτερα είναι το ροκ, που… μιλάει ελληνικά, εμφανίζοντας στοιχεία της μουσικής παράδοσής μας (δημοτικό, ρεμπέτικο, λαϊκό...) στο ηχητικό κομμάτι του. Έτσι κάπως απέκτησε νόημα και ουσία ο όρος στις αρχές του ’70, μέσα από τις εγγραφές των Σαββόπουλου, Ρωμανού, Γκαϊφύλλια, Κωχ, Μπουρμπουλιών, Λήδας-Σπύρου κ.ά.
    Κάτι ανάλογο, λοιπόν, δεν μπορεί παρά να συμβαίνει και με την τζαζ, την ελληνική τζαζ. Αν ο Γεράσιμος Λαβράνος και ο Μίμης Πλέσσας άνοιξαν το δρόμο με τις «ρεμπετο-νόβες» του ο πρώτος και με το καθοριστικό, αλλά μέχρι πρότινος άφαντο για χρόνια, “Greece Goes Modern” ο δεύτερος, είναι ο Κυριάκος Σφέτσας με την Greek Fusion Orchestraεκείνος ο οποίος, μετά τα μέσα του ’70 και την επιστροφή του στη χώρα (από τη Γαλλία), θα θέσει σε κίνηση το συγκεκριμένο project, που βρήκε καλή διέξοδο στην τηλεόραση της εποχής, βεβαίως στο ραδιόφωνο και ακόμη στη δισκογραφία, μ’ εκείνο το LP του 1980.
    ajazz%2Bsfetsas.jpg
    Τα έξι tracks τής Greek Fusion Orchestra, υπό τον Κυριάκο Σφέτσα, που ακούγονται στο “Vol.1” τής Τεράνγκα Μπιτ, είναι ηχογραφημένα το 1977 από τον Γιάννη Συγλέτο. Πρόκειται για συνθέσεις καθαρής world jazz, αν θέλουμε να τις αντιμετωπίσουμε με γνεικότερους όρους – μιας και ως τέτοιες, ως τζαζ συνθέσεις εννοώ, λογαριάζονται και όχι ως και-rock ή κάπως-rock (επειδή ακούγονται κι αυτά το σημειώνω), όπως εκείνες του Πλέσσα ή του Λαβράνου από τα χρόνια του ’60.
    Ο Σφέτσας οργανώνει και αναπτύσσει τις συνθέσεις του προσανατολισμένος προς την jazz, έχοντας ως γνώμονα τις δημοτικές μελωδίες φυσικά, και ακόμη… πολύ συγκεκριμένους ήχους στ’ αυτιά του (ήχους των πανηγυριών της εποχής), όπως και ανάλογες απόψεις, όσον αφορά στο ρόλο των οργάνων. Και αναφέρομαι τόσο στον σολιστικό ρόλο του λαϊκού κλαρίνου βασικά, όσο και στον ρυθμικό της κιθάρας, προσδίδοντας στο πιάνο κατ’ αρχάς, μα και στα σαξόφωνα δευτερευόντως, ρόλο καθοδηγητικό όσον αφορά στην τζαζ περιήγηση. Χοντρικά, και ενορχηστρωτικά, κάπως έτσι έχουν τα πράγματα στο σύνολό τους, με τα υπόλοιπα όργανα (φλάουτο, τσέμπαλο, λαούτο…) να προσφέρουν επιμέρους και μόνο σε επίπεδο ηχοχρωμάτων.
    Τα πρώτα δύο tracks, για παράδειγμα, το «Γύφτικο μοτίβο» και οι «Πρωινές προσδοκίες», είναι αποδειχτικά εκείνου που λέμε και περιγράφουμε παραπάνω. Και φυσικά η ίδια πάνω-κάτω συνταγή ακολουθείται και στα υπόλοιπα (τέσσερα).
    Εκείνο, πάντως, που αναδεικνύει τις εγγραφές τής Τεράνγκα Μπιτ δεν είναι μόνον οι πρωτοποριακές για την εποχή (και όσον αφορά στην Ελλάδα) αντιλήψεις του Σφέτσα, γύρω από το πώς μπορεί να ηχεί η παράδοση μέσα σ’ ένα τζαζ περιβάλλον, αλλά και η άρτια ηχητική απόδοσή τους. Αναφερόμαστε σε μπομπίνες 40 ετών, που έφθασαν μέχρι τις μέρες μας πλήρεις και «γεμάτες», ικανές να δώσουν, εν προκειμένω, ένα ακόμη πιο άψογο master. Ο συνδυασμός αυτών των δύο, του έξοχου πρωτότυπου συνθετικού υλικού και της τεχνικής αρτιότητάς του (αφού μιλάμε για εγγραφές αρχείου), είναι υπεύθυνος για το τελικό αισθητικό αποτέλεσμα. Κάθε στιγμή τού “Vol.1” είναι και κάτι ξεχωριστό – με τη δεύτερη πλευρά να κινείται σε πολύ υψηλά επίπεδα, όντας εφάμιλλη με τα ωραιότερα jazz oriented fusions του καιρού. Και το λέω τούτο έχοντας στο νου μου τους κοντινούς προς εμάς ήχους τού balkanκαι τού oriental fusion, που εξυφαίνονταν την ίδια περίοδο από τους Γιουγκοσλάβους (Dusko Goykovich, Lala Kovačev, Bosko Petrovic…) ή και από τους τούρκους masters (Okay Temiz, Maffy Falay, Salih Baysal…).
    Και το προφανές. Τίποτα δεν θα ηχούσε όπως ηχεί σ’ αυτόν τον πρώτο τόμο με τ’ ανέκδοτα της Greek Fusion Orchestra, αν ο Κυριάκος Σφέτσας δεν είχε δίπλα του μερικούς από τους καλύτερους και πιο ανοιχτόμυαλους μουσικούς της εποχής του – τον Μάνθο Χαλκιά σε κλαρίνο, άλτο σαξόφωνο και φλάουτο, τον Γιώργο Μανίκα σε τενόρο σαξόφωνο και φλάουτο, τον Νίκο Τάτση σε κιθάρα και λαούτο, τον προσφάτως εκλιπόντα Γιάννη Τερεζάκη σε πιάνο, τσέμπαλο, τον Γιώργο Θεοδωρίδη στο μπάσο και τον Δημήτρη Μαρινάκη στα ντραμς και τα κρουστά.
    Κι ένα τελευταίο. Η, όπως πάντα, gatefold έκδοση της Τεράνγκα Μπιτ συνοδεύεται κι από το γνωστό innersleeve, με τις αφηγήσεις εδώ των Δημήτρη Μαρινάκη και Γιάννη Τερεζάκη, που θα ενδιαφέρουν, με το πληροφοριακό υλικό τους (περί Blue Rocks, Soul Brothers, ProperSea, Πελόμα Μποκιού, Solistes, Μανώλη Μικέλη κ.λπ.), όλους τους φίλους της ελληνικής τζαζ και του ελληνικού ροκ.
    Έξοχες μουσικές, εξαιρετική έκδοση!
    Επαφή: www.terangabeat.bandcamp.com/album/greek-fusion-orchestra-vol-1


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    VA - 111 More Classic Tracks [6CD Box Set] (2010)

    Artist: Various Artists
    Title Of Album: 111 More Classic Tracks
    Year Of Release: 2010
    Label (Catalog#): Deutsche Grammophon [4779235]
    Genre: Classical, Miscellaneous
    Quality: FLAC (tracks +.cue,log,scans)
    Bitrate: Lossless
    Time: 6:57:49
    Full Size: 1.77 gb
    Upload: Turbobit

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  • 06/21/18--04:51: Dawes – Passwords (2018)
  • 51cifj64D-L.jpg320 kbps | 120 MB | LINKS

    Folk rock outfit Dawes have announced a new album, their first since 2016’s We’re All Gonna Die. Called Passwords, it’s due out on June 22nd via the band’s own HUB Records.

    Passwords is described as an album “for and about the modern age” in a press release. “We’re living in such a unique moment in history,” said lead singer Taylor Goldsmith. “Many of these songs are an attempt to come to terms with the modern world, while always trying to consider both sides of the story.”

    “At the same time,” he added, “I’m also writing about the shifts in my own life, including getting married. Together, the songs process some dark moments – paranoia, anxiety, the wreckage of what you might’ve done in the past – and arrive at some sort of hopeful resolution. I’m hoping it’s our first step into adulthood as a band.”

    For the record, Dawes reunited with producer Jonathan Wilson, with whom the band recorded its first two albums. “Part of the DNA of Dawes was shaped by Jonathan, much like your first serious girlfriend dictates how you approach relationships for the rest of your life,” Taylor said. “Those first two Dawes records have a certain essence to them. We were figuring out who we were. When it came time to produce our sixth album, why not go back to the guy who started it all with us?”

    Full band performances, as well as Taylor’s vocal takes, were tracked live during recording in an effort to emulate the energy of their live performances. They also tease a “spacier, experimental approach” on a few songs due to the integration of keyboardist Lee Pardini, who joined the band in 2015.

    Taylor also said there’s a “slight political implication” buried in the album’s titled, emphasizing “the idea that something so seemingly innocuous and frivolous can potentially shift the direction of a life or even a country.”

    He added, “But more broadly than that, a password – this series of numbers, letters and figures – serves as a thin veil between a world you can see and understand, and one you can’t. That means songs can be passwords, too, because they’re a means of giving access to someone else’s perspective, thereby elaborating your own. Songs can unlock something in you, change something, tighten something, enlighten some-thing, or gain access into deeper corners, and that idea makes referring to a collection of songs as Passwords feel really good.”


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    51NSkwcS5tL._SS500.jpg320 kbps | 90 MB | LINKS

    David Eugene Edwards (Wovenhand) and Alexander Hacke (Einsturzende Neubauten) will release their first collaboration album entitled ‘Risha’ June 22nd via Glitterhouse Records. Both have known each other for ages. They have a connection since the early days of 16 Horsepower and collaborated on the reunion album ‘American Twilight’ by Australian Indie Rock outfit Crime & The City Solution (2013). Finally they found the time to record this astonishing piece of an album: “”David and I have been admirers of each others work for some time. We first got to play together for The Glasshouse, a movie project initiated by my wife Danielle de Picciotto and during the brief resurrection of Crime & the City Solution all three of us were involved with. Shortly after I worked on Wovenhand’s Laughing Stalk album as a mixing engineer. We became close friends during these very diverse collaborations and started talking about creating music together, which would combine electronics with ethnical instruments and overdriven guitars with oriental rhythms and scales”” Hacke says. Over the last two decades, Edwards’ prolific work in both bands, 16 Hosepower and Wovenhand has influenced and inspired a generation of musicians. His music has always had an unparalleled intensity. His rich, billowing and emotive voice is always the driving force of his music. “”What I love about David is his approach to words and music, which to me seems to be all about tapping into a divine source of inspiration and to leave all profane concerns and conventions behind in order to create some true and truly great art.”” Alexander Hacke, a musician from the start, is primarily known as a longtime member of German industrial music group Einstürzende Neubauten and one of Germany’s most influential experimental artists. “”Alexander Hacke has been a part of my life for so many years, long before I ever had the pleasure to meet him. I am a fan to say the least. He has been more than an inspiration to me. He is a true talent and I have the utmost respect and admiration for him as a person and a musician and all that he has been a part of. I have listened to religiously and learned so much from. When we finally did meet the image I had of him was only made greater, in person he is so kind and patient and generous, intelligent and such an all around bad ass”” David says. Almost impossible to resist such an exotic and amazing pairing. David Eugene Edwards recorded all vocals, guitars and string instruments; Alexander Hacke played keyboards, bass, drums and electronics. Together they created an astonishing and hypnotical soundscape and atmosphere on their first full length LP. ‘Risha’ cannot be described in traditional terms. This sound is a sweeping tapestry of Americana, Neo-Folk, Industrial, Ambient, Electronic and Arabic Music.


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    51cQalSB6wL.jpg320 kbps | 71 MB | LINKS

    Former Supergrass drummer and songwriter Danny Goffey is back with his new solo album ‘Schtick’. Check out the video for first single ‘Buzzkiller’ on NME first below.

    The follow-up to 2015’s ‘Vangoffey’, ‘Schtick’ was co-produced by Simon Byrt and features cameos from Suede’s Brett Anderson, Rialto’s Louis Eliot and Insecure Men’s Marley Mackey.


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    The Tiger Lillies
    Corrido De La Sangre
    (Misery Guts Records, 2018)
    more details


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    51FT9iWWndL._SX425_.jpg320 kbps | 78 MB | LINKS

    Following the austere electricity of the critically acclaimed 2015 album, Salt As Wolves (“A country plea, a blues reach for facts beyond sound… scary in the bend of the first note” – Greil Marcus), Jeffrey Foucault delivers Blood Brothers, a collection of reveries, interlacing memory with the present tense to examine the indelible connections of love across time and distance. The title track is an aching ballad of lost love, written with drummer Billy Conway and embroidered with the impossibly soft and near-transparent lilt of Iowa’s Pieta Brown. Blood Brothers is out June 22 via Blueblade Records.

    New York, NY (April 18, 2018) – Following the austere electricity of the critically acclaimed 2015 album, Salt As Wolves (“A country plea, a blues reach for facts beyond sound… scary in the bend of the first note” – Greil Marcus), Jeffrey Foucault delivers Blood Brothers, a collection of reveries, interlacing memory with the present tense to examine the indelible connections of love across time and distance. The title track is an aching ballad of lost love, written with drummer Billy Conway and embroidered with the impossibly soft and near-transparent lilt of Iowa’s Pieta Brown. Blood Brothers is out June 22 via Blueblade Records.

    A departure from the darkness of his last outing, Blood Brothers sets blues aside to pull together strands of country, R&B, gospel, rock’n’roll, and folk in a series of delicate small-canvas portraits. There’s a touch more light coming through the window, a certain gentleness in play, with layers of backing vocals sung by women – including Foucault’s wife Kris Delmhorst, as well as the various partners of the band – adding hue and shade.

    Cut live to tape in three days at Pachyderm Studios in rural Minnesota, Blood Brothers reconvenes Salt As Wolves’s all-star ensemble: Foucault’s longtime tour partner Billy Conway (Morphine) on drums, Bo Ramsey (Lucinda Williams) on electric guitars, and Jeremy Moses Curtis (Booker T) on bass, joined this time by pedal steel great Eric Heywood (Pretenders) to unite in the studio both iterations of the band with which Foucault has toured and recorded for over a decade. Charting a vision of American music without cheap imitation or self-conscious irony, the ensemble deploys an instinctive restraint and use of negative space, an economy of phrase and raw simplicity that complement perfectly Foucault’s elegant lines and weather-beaten drawl.


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    91LfAm22EpL._SL1200_.jpg320 kbps | 115 MB | LINKS

    Drag City have announced the release of a live recording of the late John Renbourn at a Kyoto coffee house in 1978. Live In Kyoto 1978 is set for release on June 22nd featuring 13 tracks.

    Given John Renbourn’s extensive catalog, the forthcoming Live in Kyoto 1978 might seem like an addition that only a true Renbourn-head could appreciate, but we are here to tell you that things are not what they seem to be. Or at least, that little factoid of fake isn’t! Regardless of whether or not you consider yourself a newbie or an old guard in the world of John Renbourn, Live in Kyoto 1978 showcases the talent and magnetism of a celebrated legend in the midst of his prime on a particularly hot night a long way from home.

    John’s stunning rendition of the oft-covered English trad number, “The Cuckoo”, proves this point fantastically. His swift finger-picking sounds as if the guitar is playing itself and renders the packed crowd absolutely speechless – a singular effect of Renbourn’s gift. On this night (as on many others, we assume), the audience and performer were united as one. This live version of “The Cuckoo” could be one of Renbourn’s most enchanting performances ever! Now aren’t you glad there’s another John Renbourn live set available?


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    Taylor Swift / Look What You Made Me Do (Barry Harris Club Mix Version 2) Жанр : Dance-pop, Electropop Носитель : WEB Год издания : 2017 Страна исполнителя (группы) : USA Аудиокодек : FLAC (*.

    Тема на форуме



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    Small Jackets - Play At High Level (2004)

    ???????????: Small Jackets
    ??????: Play At High Level
    ????: Hard Rock / Southern Rock
    ??? ??????: 2004
    ????????: APE (image+.cue, log, covers)
    ????????: Lossless
    ??????: 262 Mb
    ??: gigapeta/katfile/uploadboy/depositfile

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  • 06/21/18--08:15: Alanis Obomsawin Bush Lady
  • Alanis Obomsawin
    Bush Lady
    (Constellation, 2018)
    more details


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    81IThpSppOL._SL1400_.jpg320 kbps | 182 MB | LINKS

    A personally selected and sequenced compilation by Martin Simpson. This new addition to Topic’s series of introductory overviews of the label’s most renowned artists includes an exclusively recorded track by Martin, a wonderful solo acoustic version of Leon Rosselson’s ‘Palaces of Gold’ from his classic 1968 album A Laugh, A Song and a Hand Grenade. It’s remarkable to think that Martin Simpson is now celebrating some 45 years as a professional musician since, unlike so many of the Topic greats, Simpson was not part of the 50s folk revival or the more expansive contemporary folk scene of the 60s. Effectively, Martin Simpson has spearheaded the generation of folk musicians who only began recording in the mid-70s and is now readily acknowledged as one of the most original and skillful folk guitarists currently playing on the British and American folk scene. It was as a defining instrumentalist and interpreter of predominantly traditional British and American folk material that Simpson first established himself. Yet, as this new selection amply testifies, he has become a highly gifted songwriter. He first made a significant mark as a songwriter on 2003’s Righteousness & Humidity with a handful of songs that included the evocative truck stop epic ‘Love Never Dies’. Since then he has continued to deliver powerful compositions, none more poignant than the remarkable ‘Banjo Bill’ (from 2011’s Purpose & Grace), based upon the words of Banjo Bill Cornett of Hindman, Kentucky, which testifies to the breadth and scope of Simpson’s writing.


older | 1 | .... | 1875 | 1876 | (Page 1877) | 1878 | 1879 | .... | 2467 | newer