University of Derby Reimagining the Blues

Total Page:16

File Type:pdf, Size:1020Kb

University of Derby Reimagining the Blues UNIVERSITY OF DERBY REIMAGINING THE BLUES: A NEW NARRATIVE FOR 21ST CENTURY BLUES MUSIC Nigel James Martin Doctor of Philosophy 2019 Table of Contents Table of Contents................................................................................................................. i List of Figures .................................................................................................................... iv Declaration.......................................................................................................................... v Abstract .............................................................................................................................. vi Acknowledgements..........................................................................................................viii Introduction......................................................................................................................... 1 Aims and Objectives ................................................................................................... 1 Contribution ................................................................................................................ 2 A Note about Terminology ......................................................................................... 4 Chapter Outline........................................................................................................... 7 Contextual & Historical Framework......................................................................... 11 Chapter 1: Methodology ................................................................................................... 41 Ethnomusicology ...................................................................................................... 41 Ethnomusicology & Musicology .............................................................................. 44 Conceptual & Theoretical Frameworks .................................................................... 47 Cultural Identity, African-American Experience & Black Music ................ 47 Authenticity, Genre & The Commodification of Culture............................. 51 Semiotics, Intertextuality & Narratology...................................................... 56 Tradition & Music Revivalism ..................................................................... 62 Methods..................................................................................................................... 68 Online Ethnography ...................................................................................... 68 Live Listening Exercise (LLE) ..................................................................... 71 Interview ....................................................................................................... 76 Ethical Considerations .................................................................................. 79 Preliminary Studies....................................................................................... 79 Limitations & Scope ..................................................................................... 80 Chapter 2: Racial Politics and The Blues ......................................................................... 85 Introduction............................................................................................................... 85 A Brief Historical Overview of Racial Politics in America ..................................... 87 Orientalism, Power & Difference ............................................................................. 94 Cultural Memory, Identity & Diaspora..................................................................... 96 Nationalism, Transnationalism & Diaspora............................................................ 101 African-American Experience Today ..................................................................... 107 Black Music & Blackness....................................................................................... 109 The Blues ................................................................................................................ 114 Inventing, Searching and Collecting....................................................................... 116 White Blues?........................................................................................................... 122 Chapter 3: Blues Music and a Sense of Place in the 21st Century .................................. 127 Introduction............................................................................................................. 127 Anglo-American Tradition...................................................................................... 131 The Conflation of Anglo-American and African Traditions .................................. 132 Place in Categorisation and Stylistic Labelling ...................................................... 139 A Sense of Place - Origin, Displacement, and Authenticity................................... 144 i Place in Society....................................................................................................... 150 Chapter 4: Reimagining Popular Sound ......................................................................... 155 Introduction............................................................................................................. 155 Instrumentation ....................................................................................................... 159 Recording, Editing & Mixing ................................................................................. 166 Formats ................................................................................................................... 174 Distribution ............................................................................................................. 184 Chapter 5: De Stijl & Blues Authenticity ....................................................................... 189 Introduction............................................................................................................. 189 Authenticity of Expression ..................................................................................... 191 Instrumentation ............................................................................................... 192 Performance .................................................................................................... 194 Recording Techniques .................................................................................... 197 Authenticity of Experience ..................................................................................... 198 Authenticity of Execution ....................................................................................... 201 Chapter 6: Reimagining the Blues in Cleveland............................................................. 205 Introduction............................................................................................................. 205 General Features ..................................................................................................... 210 Form............................................................................................................ 210 Texture ........................................................................................................ 211 Tempo ......................................................................................................... 212 Harmony ..................................................................................................... 212 Audio Production & Mastering................................................................... 213 Musical Analysis..................................................................................................... 214 Lyrical Analysis ...................................................................................................... 225 Interphonography.................................................................................................... 232 Paraphonography & Metaphonography.................................................................. 234 The Intended Message ................................................................................ 235 Chapter 7: Reimagining Perceptions of the Blues in the 21st Century ........................... 239 Introduction............................................................................................................. 239 Response to Cleveland............................................................................................ 241 Contemporary Music and ‘The Blues’.................................................................... 250 I Only Lie When I Love You............................................................................ 250 Freedom .......................................................................................................... 252 Alabama .......................................................................................................... 256 Mad Man Blues ............................................................................................... 259 Blues Definitions in the 21st Century...................................................................... 262 YouTube & Prosthetic Memory.............................................................................. 266 Streaming ...............................................................................................................
Recommended publications
  • ANNUAL REPORT 2019 Revellers at New Year’S Eve 2018 – the Night Is Yours
    AUSTRALIAN BROADCASTING CORPORATION ANNUAL REPORT 2019 Revellers at New Year’s Eve 2018 – The Night is Yours. Image: Jared Leibowtiz Cover: Dianne Appleby, Yawuru Cultural Leader, and her grandson Zeke 11 September 2019 The Hon Paul Fletcher MP Minister for Communications, Cyber Safety and the Arts Parliament House Canberra ACT 2600 Dear Minister The Board of the Australian Broadcasting Corporation is pleased to present its Annual Report for the year ended 30 June 2019. The report was prepared for section 46 of the Public Governance, Performance and Accountability Act 2013, in accordance with the requirements of that Act and the Australian Broadcasting Corporation Act 1983. It was approved by the Board on 11 September 2019 and provides a comprehensive review of the ABC’s performance and delivery in line with its Charter remit. The ABC continues to be the home and source of Australian stories, told across the nation and to the world. The Corporation’s commitment to innovation in both storytelling and broadcast delivery is stronger than ever, as the needs of its audiences rapidly evolve in line with technological change. Australians expect an independent, accessible public broadcasting service which produces quality drama, comedy and specialist content, entertaining and educational children’s programming, stories of local lives and issues, and news and current affairs coverage that holds power to account and contributes to a healthy democratic process. The ABC is proud to provide such a service. The ABC is truly Yours. Sincerely, Ita Buttrose AC OBE Chair Letter to the Minister iii ABC Radio Melbourne Drive presenter Raf Epstein.
    [Show full text]
  • Emily Portman Trio Uli Jon Roth Kim Richey
    JUNE 2015 MAY 2015 Xander Promotions presents... Fri 1 Tue 2 THE PARADIMES ULI JON ROTH £9adv £11otd • plus Part Of The Problem, Yoji Munuo and The Heath £15adv £17otd • plus The Ali Clinton Band Robinson String Band Lead-guitarist and one of the main songwriters for German No. 1 The Paradimes were formed in 2011 by members of ska band El rock band Scorpions, Uli Jon Roth is a true multi-instrumentalist Pussycat, The Specials and former members of reggae band Stiff who writes his own musical scores and arrangements. Widely Naked Fools. The band play all original songs, with skanking one recognized as perhaps the single most important protagonist of drop rhythms, gospel vocal harmonies and killer brass lines and neo-classical guitar playing, Uli is seen by many as a trend-setter are heavily influenced by old skool legends such as Toots & The who has often been considerably ahead of his time. Maytals, Bob Marley and Prince Buster. Since 2011, the Paradimes ulijonroth.com have played shows including London’s 100 Club, Brixton’s Hootananny, The Summer Sundae Festival and the Half Moon Greenbird Promotions presents... in Putney as well as countless shows around their home town Wed 3 Leicester and Birmingham. KIM RICHEY facebook.com/the.paradimes £11 • plus Steve Folk Forty Tenth Promotions presents... An overdue return to Leicester for one of the finest singer- Sun 3 songwriters out there. As well as having songs covered by SERPENTYNE performers like Trisha Yearwood and Patty Loveless Kim Richey £10adv £12otd • no support has released eight “uniformly excellent” (Boston Globe) albums Serpentyne create a wild fusion of world rhythms, medieval and of “beautiful melodies and lyrical accuracy” (Allmusic).
    [Show full text]
  • Videogame Music: Chiptunes Byte Back?
    Videogame Music: chiptunes byte back? Grethe Mitchell Andrew Clarke University of East London Unaffiliated Researcher and Institute of Education 78 West Kensington Court, University of East London, Docklands Campus Edith Villas, 4-6 University Way, London E16 2RD London W14 9AB [email protected] [email protected] ABSTRACT Musicians and sonic artists who use videogames as their This paper will explore the sonic subcultures of videogame medium or raw material have, however, received art and videogame-related fan art. It will look at the work of comparatively little interest. This mirrors the situation in art videogame musicians – not those producing the music for as a whole where sonic artists are similarly neglected and commercial games – but artists and hobbyists who produce the emphasis is likewise on the visual art/artists.1 music by hacking and reprogramming videogame hardware, or by sampling in-game sound effects and music for use in It was curious to us that most (if not all) of the writing their own compositions. It will discuss the motivations and about videogame art had ignored videogame music - methodologies behind some of this work. It will explore the especially given the overlap between the two communities tools that are used and the communities that have grown up of artists and the parallels between them. For example, two around these tools. It will also examine differences between of the major videogame artists – Tobias Bernstrup and Cory the videogame music community and those which exist Archangel – have both produced music in addition to their around other videogame-related practices such as modding gallery-oriented work, but this area of their activity has or machinima.
    [Show full text]
  • February 2012 Page 1
    February 2012 Page 1 stage at the Borough Blues Club, sings like an This Month at the BBC – 4th Feb 2012 angel, and has the most amazing personality to “Doctors Orders” boot. Back after huge demand this Bradford plus “Borough Blues Workshop Band” lass is not far off selling out, so get your tickets quickly if you want them! DOCTOR'S ORDER'S were formed in 2005 with the aim of playing good time bouncing blues, The support comes from Cwmbran’s rising star and the result is just that. Lauren Balaam. Younger even than Chantel, Doctor's Orders' music, while it could broadly Lauren’s acoustic playing might not be as be described as blues, is an eclectic mix within bluesy or rocky as Chantel’s but she will endear that genre, combining funk, rock, blues, herself to our members just the same. A rhythm & blues, jazz and swing to produce a double bill of guitar-wielding blondes you will varied, up-tempo set. Many of the covered not want to miss! artists are familiar; ZZ Top, Dr. Feelgood, Fleetwood Mac, Johnny Winter, The Blues rd Band, Them, The Allman Brothers Band, Garry Next Month at the BBC – 3 March 2012 Moore, and many more, but Doctor's Orders “King King” generally tend to avoid the more obvious "done to death" numbers in favour of songs which, “Softly softly” is not a although well-known are perhaps not heard as maxim that King King are often. familiar with. Since surging into life two years ago they The set includes a spattering of instrumentals have barely stopped for featuring excellent guitar work from Jon breath, their electrifying Bridger and Martyn Davies which, while sound and scorching live delivered with great flair and skill never fall shows have generated into the trap of self-indulgence.
    [Show full text]
  • Annual Financial Report 30 June 2020
    Australasian Performing Right Association Limited (a company limited by guarantee) and its controlled entity ABN 42 000 016 099 Annual Financial Report 30 June 2020 Australasian Performing Right Association Limited and its controlled entity Annual Report 30 June 2020 Directors’ report For the year ended 30 June 2020 The Directors present their report together with the financial statements of the consolidated entity, being the Australasian Performing Right Association Limited (Company) and its controlled entity, for the financial year ended 30 June and the independent auditor’s report thereon. Directors The Directors of the Company at any time during or since the financial year are: Jenny Morris OAM, MNZM Non-executive Writer Director since 1995 and Chair of the Board A writer member of APRA since 1983, Jenny has been a music writer, performer and recording artist since 1980 with three top 5 and four top 20 singles in Australia and similar success in New Zealand. Jenny has recorded nine albums gaining gold, platinum and multi-platinum status in the process and won back to back ARIA awards for best female vocalist. Jenny was inducted into the NZ Music Hall of Fame in 2018. Jenny is also a non-executive director and passionate supporter of Nordoff Robbins Music Therapy Australia. Jenny presents their biennial ‘Art of Music’ gala event, which raises significant and much needed funds for the charity. Bob Aird Non-executive Publisher Director from 1989 to 2019 Bob recently retired from his position as Managing Director of Universal Music Publishing Pty Limited, Universal Music Publishing Group Pty Ltd, Universal/MCA Publishing Pty Limited, Essex Music of Australia Pty Limited and Cromwell Music of Australia Pty Limited which he held for 16 years.
    [Show full text]
  • Sam Phillips: Producing the Sounds of a Changing South Overview
    SAM PHILLIPS: PRODUCING THE SOUNDS OF A CHANGING SOUTH OVERVIEW ESSENTIAL QUESTION How did the recordings Sam Phillips produced at Sun Records, including Elvis Presley’s early work, reflect trends of urbanization and integration in the 1950s American South? OVERVIEW As the U.S. recording industry grew in the first half of the 20th century, so too did the roles of those involved in producing recordings. A “producer” became one or more of many things: talent scout, studio owner, record label owner, repertoire selector, sound engineer, arranger, coach and more. Throughout the 1950s, producer Sam Phillips embodied several of these roles, choosing which artists to record at his Memphis studio and often helping select the material they would play. Phillips released some of the recordings on his Sun Records label, and sold other recordings to labels such as Chess in Chicago. Though Memphis was segregated in the 1950s, Phillips’ studio was not. He was enamored with black music and, as he states in Soundbreaking Episode One, wished to work specifically with black musicians. Phillips attributed his attitude, which was progressive for the time, to his parents’ strong feelings about the need for racial equality and the years he spent working alongside African Americans at a North Alabama farm. Phillips quickly established his studio as a hub of Southern African-American Blues, recording and producing albums for artists such as Howlin’ Wolf and B.B. King and releasing what many consider the first ever Rock and Roll single, “Rocket 88” by Jackie Breston and His Delta Cats. But Phillips was aware of the obstacles African-American artists of the 1950’s faced; regardless of his enthusiasm for their music, he knew those recordings would likely never “crossover” and be heard or bought by most white listeners.
    [Show full text]
  • Chris Connor Songlist Anita Oʼday Songlist
    Please find below the extensive songlist that Kathy Kosins utilizes when selecting the repertoire for the “Ladies of Cool” show. ANITA OʼDAY SONGLIST PICK YOURSELF UP SWEET GEORGIA BROWN...PICK YOURSELF UP (1956) BUDDY BREGMAN HONEY SUCKLE ROSE NO MOON AT ALL...THIS IS ANITA...NORM GRANTZ (1955) AS LONG AS I LIVE TENDERLY WEʼLL BE TOGETHER AGAIN...ANITA SWINGS THE MOST (1957) WORLD ON A STRING…BAND...(HERB ELLIS/RAY BROWN/OSCAR PETERSON/JOHN POOLE) WHISPER NOT...DIVA SERIES (1955-1962) (VERVE) FOUR BODY AND SOUL…ANITA SINGS THE WINNERS (1958) IT COULD HAPPEN TO YOU…INCOMPBRABLE (1960) I HEAR MUSIC LOVER COME BACK TO ME…TRAVLIN LIGHT (1961) TRIBUTE TO BILLIE GREEN DOLPHIN ST…BREAKFAST SHOW (1964) LIVE AT THE BASIN ST. WEST IN A MELLOW TONE MORE THAN YOU KNOW DO NOTHIN TILL YOU HEAR FROM ME…ALL THE SAD YOUNG MEN (1961) YOUʼD BE SO NICE TO COME HOME TO DONʼT MEAN A THING STREET OF DREAMS…VINE ST. LIVE (1991) CHRIS CONNOR SONGLIST ALL I NEED IS YOU...CHRIS CRAFT (1956) ALL ABOUT RONNIE...(1954) RELEASE (LATER OTHER RECORDINGS) LULLABY OF BIRDLAND (1953) ALONE TOGETHER (all from Portrait of Chris-1960) IF I SHOULD LOSE YOU HEREʼS THAT RAINY DAY IM GLAD THERE IS YOU I WISHED ON THE MOON (from Haunted Heart-----2001..@ Rudy Van Gelders) THEY ALL LAUGHED WITCHCRAFT COME RAIN OR SHINE (all from the two box set...” I Miss You So..1956 and Witchcraft 1959) All THE THINGS YOU ARE (FROM MAYNARD AND CHRIS…DOUBLE EXPOSURE) SATURDAY IS THE LONLIEST NIGHT OF THE WEEK (FROM NEW AGAIN...1987) ALL THE WAY..
    [Show full text]
  • Whose Blues?" with Author Adam Gussow November 14, 5Pm ET on TBS Facebook Page
    November 2020 www.torontobluessociety.com Published by the TORONTO BLUES SOCIETY since 1985 [email protected] Vol 36, No 11 Sugar Brown (aka Ken Kawashima) will discuss "Whose Blues?" with author Adam Gussow November 14, 5pm ET on TBS Facebook Page CANADIAN PUBLICATIONS MAIL AGREEMENT #40011871 MBA Nominees Announced Loose Blues News Whose Blues? Blues Reviews Remembering John Valenteyn Blues Events TORONTO BLUES SOCIETY 910 Queen St. W. Ste. B04 Toronto, Canada M6J 1G6 Tel. (416) 538-3885 Toll-free 1-866-871-9457 Email: [email protected] Website: www.torontobluessociety.com MapleBlues is published monthly by the Toronto Blues Society ISSN 0827-0597 2020 BOARD OF DIRECTORS Derek Andrews (President), Janet Alilovic, Jon Arnold, Ron Clarkin (Treasurer), Lucie Dufault (Vice-President), Carol Flett (Secretary), Sarah French, Lori Murray, Ed Parsons, Jordan Safer (Executive), Paul Sanderson, Mike Smith Musicians Advisory Council: Brian Blain, Alana Bridgewater, Jay Douglas, Ken Kawashima, Gary Kendall, Dan McKinnon, Lily Sazz, Mark Stafford, Dione Taylor, Julian Taylor, Jenie Thai, Suzie Vinnick,Ken Whiteley Volunteer & Membership Committee: Lucie Dufault, Rose Ker, Mike Smith, Ed Parsons, Carol Flett Grants Officer: Barbara Isherwood Office Manager: Hüma Üster Marketing & Social Media Manager: Meg McNabb Publisher/Editor-in-Chief: Derek Andrews Many thanks to Betty Jackson and Geoff Virag for their help at the Managing Editor: Brian Blain Toronto Blues Society Talent Search. [email protected] Contributing Editors: Janet Alilovic, Hüma Üster, Carol Flett Listings Coordinator: Janet Alilovic Attention TBS Members! Mailing and Distribution: Ed Parsons Due to COVID-19 pandemic, TBS is unable to deliver a physical Advertising: Dougal Bichan [email protected] copy of the MapleBlues November issue.
    [Show full text]
  • Selective Tradition and Structure of Feeling in the 2008 Presidential Election: a Genealogy of “Yes We Can Can”
    Selective Tradition and Structure of Feeling in the 2008 Presidential Election: A Genealogy of “Yes We Can Can” BRUCE CURTIS Abstract I examine Raymond Williams’s concepts “structure of feeling” and “selective tradition” in an engagement with the novel technical-musical-cultural politics of the 2008 Barack Obama presidential election campaign. Williams hoped structure of feeling could be used to reveal the existence of pre-emergent, counter-hegemonic cultural forces, forces marginalized through selective tradition. In a genealogy of the Allen Toussaint composition, “Yes We Can Can,” which echoed a key campaign slogan and chant, I detail Toussaint’s ambiguous role in the gentrification of music and dance that descended from New Orleans’s commerce in pleasure. I show that pleasure commerce and struggles against racial segregation were intimately connected. I argue that Toussaint defanged rough subaltern music, but he also promoted a shift in the denotative and connotative uses of language and in the assignments of bodily energy, which Williams held to be evidence of a change in structure of feeling. It is the question of the counter-hegemonic potential of subaltern musical practice that joins Raymond Williams’s theoretical concerns and the implication of Allen Toussaint’s musical work in cultural politics. My address to the question is suggestive and interrogative rather than declarative and definitive. Barack Obama’s 2008 American presidential election and the post-election celebrations were the first to be conducted under the conditions of “web 2.0,” whose rapid spread from the mid-2000s is a historic “cultural break” similar in magnitude and consequence to the earlier generalization of print culture.1 In Stuart Hall’s terms, such breaks are moments in which the cultural conditions of political hegemony change.2 They are underpinned by changes in technological forces, in relations of production and communication.
    [Show full text]
  • RCA/Legacy Set to Release Elvis Presley - a Boy from Tupelo: the Complete 1953-1955 Recordings on Friday, July 28
    RCA/Legacy Set to Release Elvis Presley - A Boy From Tupelo: The Complete 1953-1955 Recordings on Friday, July 28 Most Comprehensive Early Elvis Library Ever Assembled, 3CD (Physical or Digital) Set Includes Every Known Sun Records Master and Outtake, Live Performances, Radio Recordings, Elvis' Self-Financed First Acetates, A Newly Discovered Previously Unreleased Recording and More Deluxe Package Includes 120-page Book Featuring Many Rare Photos & Memorabilia, Detailed Calendar and Essays Tracking Elvis in 1954-1955 A Boy From Tupelo - The Complete 1953-55 Recordings is produced, researched and written by Ernst Mikael Jørgensen. Elvis Presley - A Boy From Tupelo: The Sun Masters To Be Released on 12" Vinyl Single Disc # # # # # Legacy Recordings, the catalog division of Sony Music Entertainment, and RCA Records will release Elvis Presley - A Boy From Tupelo - The Complete 1953-1955 Recordings on Friday, July 28. Available as a 3CD deluxe box set and a digital collection, A Boy From Tupelo - The Complete 1953-1955 Recordings is the most comprehensive collection of early Elvis recordings ever assembled, with many tracks becoming available for the first time as part of this package and one performance--a newly discovered recording of "I Forgot To Remember To Forget" (from the Louisiana Hayride, Shreveport, Louisiana, October 29, 1955)--being officially released for the first time ever. A Boy From Tupelo – The Complete 1953-1955 Recordings includes--for the first time in one collection--every known Elvis Presley Sun Records master and outtake, plus the mythical Memphis Recording Service Acetates--"My Happiness"/"That's When Your Heartaches Begin" (recorded July 1953) and "I'll Never Stand in Your Way"/"It Wouldn't Be the Same (Without You)" (recorded January 4, 1954)--the four songs Elvis paid his own money to record before signing with Sun.
    [Show full text]
  • “THEY WASN't MAKIN' MY KINDA MUSIC”: HIP-HOP, SCHOOLING, and MUSIC EDUCATION by Adam J. Kruse a DISSERTATION Submitted T
    “THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2014 ABSTRACT “THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse With the ambition of informing place consciousness in music education by better understanding the social contexts of hip-hop music education and illuminating potential applications of hip-hop to school music settings, the purpose of this research is to explore the sociocultural aspects of hip-hop musicians’ experiences in music education and music schooling. In particular, this study is informed by the following questions: 1. How do sociocultural contexts (particularly issues of race, space, place, and class) impact hip-hop musicians and their music? 2. What are hip-hop musicians’ perceptions of school and schooling? 3. Where, when, how, and with whom do hip-hop musicians develop and explore their musical skills and understandings? The use of an emergent design in this work allowed for the application of ethnographic techniques within the framework of a multiple case study. One case is an amateur hip-hop musician named Terrence (pseudonym), and the other is myself (previously inexperienced as a hip-hop musician) acting as participant observer. By placing Terrence and myself within our various contexts and exploring these contexts’ influences on our roles as hip-hop musicians, it is possible to understand better who we are, where and when our musical experiences exist(ed), and the complex relationships between our contexts, our experiences, and our perceptions.
    [Show full text]
  • Putumayo-Catalog Winter2017.Pdf
    CHRISTMAS CHRISTMAS/HANNUKAH ATIN HRISTMAS L C ACOUSTIC CHRISTMAS Spice up the holiday season with festive Latin and Brazilian Beautiful voices and classic English language Christmas songs rhythms. ¡Feliz Navidad! bring the season alive. PUT 363 • ISBN 9781587593956 PUT 340 • ISBN 9781587593512 FRENCH CHRISTMAS NEW ORLEANS CHRISTMAS Experience the beauty of the season with classic and Deck the halls with blues, jazz and swing holiday classics from the contemporary songs from Marseille to Montreal. Big Easy. Joyeux Noel! PUT 256 • ISBN 1587591685 PUT 349 • ISBN 9781587593628 AZZ LUES HRISTMAS J & B C A JEWISH CELEBRATION Swing into the holiday season with this festive collection of Celebrate Hanukkah and other festive holidays with this toe-tapping jazz and blues Christmas songs! medley of klezmer, reggae, ska and more from the Jewish PUT 285 • ISBN 9781587592287 diaspora. L’chaim! PUT 325 • ISBN 9781587593161 HOLIDAY DISPLAYS CELTIC CHRISTMAS Beautiful Irish and Scottish voices, entrancing Celtic instrumentation and classic Christmas carols provide an uplifting soundtrack for the holiday season. PUT 314 • ISBN 9781587592935 Christmas Display (DRS-XMAS) One Title Display (DLC-GEN) Displays 4 titles, 4 of each Displays 10 Cds 6.25”wide x 9”deep x 11.25”high 5.5”wide x 4”deep x 8.25”high 15 cm x 22 cm x 28 cm 14 cm x 10 cm x 21 cm 2 3 NEW RELEASES YOGA NEW! INDIAN GROOVE Traditional Indian flavors meet electronica on this fascinating ACOUSTIC YOGA musical masala! A peaceful musical journey that will soothe your mind and PUT 368 • ISBN 9781587594045 ease your soul.
    [Show full text]