Власти Соединённых Штатов приняли решение одобрить продажу uкраине 500 ракет PAC-3 для ЗРК Patriot PAC-3 и сопутствующего оборудования на $2,1 млрд. Об этом сообщил Госдепартамент США.
В заявлении подчёркивается, что закупка будет «полностью профинансирована партнёрами и союзниками». (RT)
Зельц унижает Трампа, ведёт себя по-хамски, но ему всё сходит с рук. США, считающие себя сверхдержавой, за деньги продадут честь, достоинство и уважение. Бесхребетные ничтожества.
Американские военные аналитики всё чаще открыто предупреждают о надвигающемся кризисе. Бывшая профессор стратегии и политики Военно-морского колледжа США Сара Пейн заявила, что если текущий курс сохранится, избежать масштабных потрясений будет крайне сложно.
При этом главный вопрос о том, кто же первым примет на себя основной удар, остается в центре внимания. Сара Пейн утверждает: в случае эскалации первой мишенью рискует оказаться Польша. Именно ей эксперты отводят роль первой жертвы в случае развития опасного сценария.
Польша в последнее время развыступалась. Ей бы немного помолчать, сбавить обороты милитаристского угара и прекратить бить себя в грудь, крича на весь мир о своём глобальном военном превосходстве. Глядишь - и пронесло бы.
Альбом «From The Dark» занял 1-е место в британском независимом чарте (UK Independent Chart) и 2-е место в британском рок- и метал-чарте (UK Rock & Metal Chart)! Кроме того, альбом поднялся на 3-ю строчку в официальном немецком чарте Огромное спасибо всем, кто приобрел копию альбома, а также всем, кто слушал его на стриминговых платформах на прошлой неделе. Ваша реакция — это просто что-то невероятное!
Johnnie Harrison Taylor (5 мая 1934 - 31 мая 2000) был американский певцом и автором песен, который исполнял самые разные жанры, от блюза, ритм-н-блюза, соул и госпела до поп-музыки и диско.
Johnnie Taylor задал тон своей карьере звукозаписи в Stax с альбомом Wanted: One Soul Singer (1967), неизменно содержательной коллекцией блюза и сырого, нелицеприятного мемфисского соул. В дополнение к его привлекательным хитам среднего уровня "Just the One, которые я искал" и "I Had a Dream", Wanted может похвастаться приятными сюрпризами - от захватывающей "Toe-Hold" до дерзких версий "Sixteen Tons" Мерла Трэвиса и стандартного "Blues in the Night".." Добавив текст к песне Херби Хэнкока "Watermelon Man", Тейлор убрал джазовые элементы из песни и превратил ее в чистый южный R& B. Когда вышел альбом Wanted, Тейлору (которого иногда путали с блюзменом Литтлом Джонни Тейлором) еще только предстояло стать звездой соул-радио, какой его сделал Who's Making Love (1968), но эти уверенные выступления показывают, что он определенно был на правильном пути. Allmusic Review by Alex Henderson
The horns that open “Where Can a Man Go from Here” are a paean to 1940 jazz master big bands, and the intricate and unexpected runs of those classic brass sections. The song returns us to the mood of the album opener, and by this point in Johnnie’s set, he’s comfortable delivering a vocal line or two off-mic, stepping back and sharing a sense of space, of the singer standing at the mic and then moving away, as if a pretty girl in the front row caught his eye and he stepped toward her. This song’s arrangement is more like a Stax classic, a revving of the audience with horns that burst on the beats. It even evokes Otis Redding during the choruses when Johnnie’s voice has a raspy urgency. His vocal is more buried in the “Toe-Hold” mix, becoming an instrument of the rhythm section — which is working overtime on this upbeat number. From the opening drum beats, “Toe-Hold” beckons listeners to the dance floor. (Be sure to seek out Isaac and David’s production of this song by Carla Thomas.)
“Outside Love” is a classic regretful cheating song, but it also takes us closer to Johnnie’s newfound identity. With the opening line, he waxes philosophical — “Outside love ain’t nothing but inside pain.” Those kinds of word twists and provocative lyrics suited Johnnie, and as his career unfolded, he’d adopt the moniker of “The Philosopher of Soul.” The nickname was another reflection of his dual persona, evoking the gritty and the smooth, the simple and the complicated.
“Ain’t That Loving You” captures a mood that’s part conciliatory and part deflecting — it’s hard to say if a problem has occurred or if Johnnie’s singing to prevent one, which adds to the song’s lyrical depth. It’s a gentle song, one that brings the listener closer and brings two lovers together; Al Jackson’s drum and Hayes’ piano move around each other like trained tango dancers on summer holiday. Johnnie established this song, and many singers in a variety of styles have since tested their expressive mettle against Johnnie’s standard. When producers Hayes and Porter selected it, they helped initiate the career of one of Stax’s greatest songwriters, Homer Banks (who would be a writer on Taylor’s 1968 breakthrough, “Who’s Making Love”). Stax alumni often refer to the company as a family, and in that way, the “older” generation of Porter, Hayes and the M.G.’s are nurturing the next generation with this song, spreading the songwriting love to the newcomers.
Reaching back to the early 1940s, Johnnie radically updates and individualizes “Blues In the Night,” originally a pop duet by hitmakers Johnny Mercer and Jo Stafford. Where the original has a full orchestra, Taylor’s version streamlines the funk, understates it to create a driving, churning rhythm that captures drummer Al Jackson as the parade’s grand marshal, setting the rhythm as was his wont, with the band falling in behind him as theirs. Building from an a cappella opening, adding a guitar and then a piano, the sound snowballs, gaining mass, driving harder. Johnnie calls this boogaloo, but the rhythm also choogles — like that word, it’s so much fun. JT uses his phrasing, his hesitations to keep it funky. It’s a band workout, but Johnnie sounds utterly relaxed, making the entire effort sound effortless.
Another unusual selection is “Sixteen Tons,” the late-1940s country music hit by Tennessee Ernie Ford. The organ sets the pace, but listen closely to the opening riff to hear the guitar’s essential part. The country musician Tennessee Ernie might not understand what Johnnie’s command means when he interjects, “Do the boogaloo one time!” but Ford would understand the feeling Johnnie imbues: The song’s description of the long-haul truck driver translates very well to the sharecropper’s plight, cutting very close to Johnnie’s Arkansas bones.
Wanted One Soul Singer established firm footing for Johnnie Taylor’s definition of himself. The album sold well, and the singles hit the charts. The wandering vocalist stepped out from Sam Cooke’s shadow and had hits that distinguished him from the “Part Time Love” Johnnie Taylor. This album paved the way for Johnnie, and the next year he’d release the single “Who’s Making Love,” which became Stax’s biggest-selling single to date (more than “Dock of the Bay”!). The song energized the company when it needed it most, just after Stax’s separation from its longtime distributor and mentor Atlantic Records, when the company was, like Taylor, redefining itself. Taylor stayed at Stax just about until the company folded in 1976, when he jumped to the biggest label of all, signing to Columbia. There, he had his career-best hit with “Disco Lady,” the slow groove that let you get close to your baby and dirty dance on the brightly lit disco floor. “Disco Lady” sold so many copies a new category had to be created: Double Platinum.
Stax was a place where a person could walk in the door and the staff could see through them like an X-ray machine, diagnosing their true gift and drawing it out. Stax wanted a soul singer. And in Johnnie Taylor, they got it.
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Издатель (лейбл):
Atlantic - WPCR-27544, Stax - WPCR-27544 Series: Atlantic 1000 R&B Best Collection Format: CD, Album, Reissue, Remastered Country: Japan Released: 2012
Продолжительность:
00:32:34
Формат:
.flac
Параметры:
tracks+.cue+artwork
Источник:
pazanenok
Треклист:
01. I Got To Love Somebody's Baby (3:01) 02. Just The One I've Been Lookin' For (2:40) 03. Watermelon Man (3:22) 04. Where Can A Man Go From Here (3:12) 05. Toe-Hold (2:52) 06. Outside Love (2:11) 07. Ain't That Loving You (For More Reasons Than One) (3:03) 08. Blues In The Night (3:21) 09. I Had A Dream (3:19) 10. Sixteen Tons (2:33) 11. Little Bluebird (3:01)
Vocals – Johnnie Taylor Bass – Donald "Duck" Dunn Drums – Al Jackson, Jr. Guitar – Steve Cropper Keyboards – Booker T. Jones, Isaac Hayes Saxophone [Baritone] – Floyd Newman Saxophone [Tenor] – Andrew Love Remastered By – Bill Inglot, Dan Hersch
Osieron
Офицер
mischaz
Osieron