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UFO UFO Discography 51 CD Releases 19702010

Apple's MacBook became a favorite laptop with its sleek design and simple interface. With the MacBook, users were able to access Twitter, a new social media site launched in 2006. The first "Borat" film and the show "Friday Night Lights," based on the movie and book of the same name, were notable Hollywood releases.

UFO UFO Discography 51 CD Releases 19702010

Elsewhere: Kiew Mission has been remixed three times: once in 1994 for the Tangents boxset, once in 2003 for Dream Mixes 4 (where it is called From Kiev With Love), and once again in 2009 for A Cage in Search of a Bird EP (where it finally reverted to its original title, Kiev Misson). Choronzon appears on a number of live releases and it also appears on the Dream Sequence sampler. Both Pilots of Purple Twilight and the title track appear as remixes on the Tangents boxset and the title track was also reinterpreted in 2010 as Flow Paths for Dream Mixes V. Remote Viewing was remixed for the Wavelength soundtrack (where it is called Sunset Drive). The influential dance duo Orbital included Network 23 on their rather good 'Back to Mine' compilation.

While I hesitate to use the words "more commercial" (after all, this was their last album to trouble the UK charts), there are the beginnings of a formula here that will prevail throughout the 1980s and beyond. Of particular note are the appearances of many trademark sounds that will resurface on a number of future releases (sequencers that sound like trains, percussion that sounds like someone flicking through a deck of cards, the distorted echoes of children laughing and many, many more) and it is impossible not to regard Tangram as an important turning point for Tangerine Dream.

Contents: Oral histories with early scholars in bioethics that were active during the 1960s and early 1970s and with two senators and a senate aid involved in the legislation that created the first federal bioethics commission (National Commission for the Protection of Human Subjects of Biomedical Research). Conducted by Benya as part of PhD studies project. Includes interviewee releases.

Contents: Transcripts and audio tapes of Dawley's dissertation interviews and others related to the early years of American College of Nurse Midwives and midwifery education. Contains releases for each interview.

Contents: Reprints, speeches, press releases, correspondence, photos. Rear Admiral Shaw directed the Indian Health Service from 1955-62. He conducted an early study showing the Service's poor funding, staffing, organization, and the inferior health status of American Indains and resolved to improve conditions. Shaw was driving force behind PL 85-568 "The Transfer Act" in 1954, which transferred health services from the Bureau of Indain Affairs to the PHS. After retiring Shaw helped establish the University of Arizona medical school while also serving on the faculty. He remained active in Indian health issues until his death in 2003.

It goes without saying that certain rock stars have the same mysterious allure as movie stars. One lesson these rock stars learned from movie stars is to seldom grant interviews, that is, they learned early on that the secret to success is to make it impossible to determine the fictive from the real. In the same way that "star power" often overcomes the dullness of a bad movie, there's more to great rock 'n' roll than actual music. The allure of The Residents, it seems to me, has always been in the way they went about establishing themselves as different. Like all those who have gone about forming counter-discourses, they exaggerated the power of their antagonist. Taking a cue from The Mothers of Invention's We're Only In It For the Money (1968), they challenged the legitimacy of rock 'n' roll by casting themselves as the dark double of the Beatles, as the anti-Beatles, as the cover of their first album reveals. At the beginning of their career, economics dictated they commit themselves to the medium of music (the manufacture and distribution of records), but as their later career has demonstrated, they were really interested in pursuing the Wagnerian idea of the Gesamtkunstwerk or "total work of art," an assemblage of music, painting, theater, poetry, and primitive architecture (Vileness Fats). In fact, "primitive" is the sound they sought: they went about making music that rendered the idea of influence extremely difficult to determine. They made records as if in a cultural vacuum and in total isolation, which is why their records sounded like nothing else. The very few live shows they did in the 1970s (they didn't begin to tour until the early 80s after the introduction of the Emulator) were short, cacophonous, and outrageous bursts of Guerilla Theatre, evoking nothing so much as Babel.I'd never heard of The Residents until the fall of 1979, in October or November of that year when Eskimo (1979) was getting a good deal of play on the stereo system at the record store I often visited. (Gone are the days spent in record stores listening to new music, at least for me.) An employee there who bought and and sold used records highly recommended the album to me. Not having a whole lot of money in my pocket at the time, I begged off, so he sold me instead a used copy of Not Available (released the previous year) for, if I remember correctly, the bargain price of $2.50. Although narratives of personal experience have become commonplace in cultural studies, I'm not convinced they are a particularly good idea, as they have always seemed to me to be too confessional, sounding too much like a religious conversion. So I'll stop there except to say that I began to listen, and to collect, The Residents, and have done so for over three decades now. I cannot speak for others, but for me it seems that the record that first prompted my interest in a band is the record I shall always hold in the highest regard. So it is with Not Available. Had The Residents, say, stopped recording after The Commercial Album (1980), the lukewarm critical response to which, as legend has it anyway, disappointed the band, Not Available would have assured their lasting fame, for in the history of popular music nothing like it has been recorded before or since. It is, as we once used to say, totally off the wall. Personally, I think Not Available and "Walter Westinghouse" are among their very finest moments.Hence I was very keen to put on the headphones and give a close listen to the latest re-issue of Not Available, released earlier this week on CD through MVDaudio, a version of the album which promised the restoration of 7 minutes edited out of the original (1978) version. In order to find out whether this claim were true, I selected at random three previous releases of the album on CD (those CD issues without any bonus tracks, of course) in order to assemble a representative sample from which to determine the album's running time. The results are as follows: Label Cat. No. Year No. Tracks Time East Side Digital ESD 81232 1997 5 35:35 Bomba BOM 22011 1997 5 35:35 Euro Ralph CD O34 2005 5 35:27 MVDaudio MVD5122A 2011 5 42:28 The MVDaudio CD reissue is indeed 7m longer, give or take a few seconds. Conveniently, each of the various CD releases has five tracks corresponding to the five parts or movements on the album, which makes it rather easy to determine in which parts material has been restored. The differences in track length are as follows, taken from the iTunes player on my MacBook Pro: Track ESD 81232 MVD5122A19:3410:562 10:02 10:043 6:36 10:114 7:01 8:545 2:22 2:22The restored version indicates that in its original form, Not Available was composed of four parts all of roughly equally length, between ten and eleven minutes long, with the fourth part eventually cut down with the additional fifth part forming the Epilogue. As can be seen, for the original LP release--reiterated on all CD reissues up to this time--most of the material was cut from tracks 3 ("Ship's A'Going Down") and 4 ("Never Known Questions"). The bulk of the material edited out is at the ending of Part Three and the beginning of Part Four, lyrical instrumental passages performed on a synthesizer (is that a Moog or Buchla synth?). Having listened to the MVDaudio release several times now, I think I prefer the longer version to the original (edited) release. After all, it's hard to listen to the previous versions knowing that material has been edited out, and I like the additional music.Happily, the Residents' website promises an April re-release by MVDaudio of the digitally enhanced stereo mix (43:44) of Meet the Residents from about twenty years ago. If time permits (things for me are pretty busy at that time) I'll post a blog on that reissue, but in the meantime I will continue to enjoy the gloriously restored version of Not Available.


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