World Passion was recorded in Los Angeles with Ben Wendel (sax), Francois Moutin (bass), Ari Hoenig (drums) and Rouben Hairapetyan (duduk & zurna, traditional Armenian instruments).

Ian Curtis' death prompted a flood of bootlegs and similar "tributes," likely motivated more by profit than anything else. Seeking to trump this problem – though arguably coming from much the same standpoint – Factory issued Still in 1981, a haphazard if still useful collection of odds, ends, and more. Considering that the band's many singles weren't properly compiled until much later on Substance, Still makes only partial sense – the studio cuts were mostly outtakes, while the live songs had their own problems. Of the studio takes, only two tracks had seen formal release beforehand – the mesmerizing post-punk meets R&B groove of "Glass" and the searing "Dead Souls," certainly both worthy of even more listens. Beyond that, things were more hit and miss, with strong instrumental performances given to slightly indifferent songs and vice versa.

The Pretenders' debut album was such a powerful, monumental record that its sequel was bound to be a bit of a disappointment, and Pretenders II is. Essentially, this album is an unabashed sequel, offering more of the same sound, attitude, and swagger, including titles that seem like rips on their predecessors and another Ray Davies cover. This gives the record a bit too much of a pat feeling, especially since the band seems to have a lost a bit of momentum — they don't rock as hard, Chrissie Hynde's songwriting isn't as consistent, James Honeyman-Scott isn't as inventive or clever. These all are disappointments, yet this first incarnation of the Pretenders was a tremendous band, and even if they offer diminished returns, it's still diminished returns on good material, and much of Pretenders II is quite enjoyable. Yes, it's a little slicker and more stylized than its predecessor, and, yes, there's a little bit of filler, yet any album where rockers as tough as "Message of Love" and "The Adultress" are balanced by a pop tune as lovely as "Talk of the Town" is hard to resist. And when you realize that this fantastic band only recorded two albums, you take that second album, warts and all, because the teaming of Hynde and Honeyman-Scott was one of the great pairs, and it's utterly thrilling to hear them together, even when the material isn't quite up to the high standards they set the first time around.

Johann Schop and his contemporaries: The Hanseatic violin school in the 17th century
Schop - Baltzar - Brade - Scheidemann - Bleyer - Sidon
Classical, Baroque | 1 CD | EAC | FLAC, CUE, LOG | Scans | 328 MB | RS
Recorded: 10-12/9 1998, Johanniskirche, Johannishögl, Piding, Germany
Released: 2000 | Label: Musicaphon M 56830 | TT: 62:07
Annegret Siedel - baroque violin | Barbara Maria Willi - harpsichord & organ
Hubert Hoffmann - theorbo

[…] If you like virtuosic playing, you will be wowed by Annegret Siedel's fabulous fiddling. A lot is added also by the robust continuo work of her two partners […] This program is an illuminating exploration of a neglected area of North-German early-baroque music, as well as a revelation of the fact that genuine violin virtuosity in German-speaking lands did not begin only in the late 17th Century with Biber. (Barker, American Record Guide)

Ο οσιολογιώτατος Ιερομόναχος Ιερόθεος Τσονάκας κατάγεται εκ Πατρών Αχαιας, μονάζει εις την Ιεράν Μονήν Φιλοθέου Αγ. Ορους από του 1974.
Υπηρετει τήν Βυζαντινήν Μουσικήν Τέχνην και καταγράφει τήν Βνζαντινήν Μουσικήν Παράδοσιν και μάλιστα τήν Αγιορειτικήν.
Καρπός αυτής της Διακονίας είναι η συγγραφή καί η έκδοσις της γνωστής δωδεκατόμου σειράς: «ΑΘΩΝΙΚΗ ΜΟΥΣΙΚΗ ΑΝΘΟΔΕΣΜΗ».
Η απόδοσις των βυζαντινών `Υμνων του παρόντος CD αποτελεί προσωπικήν επιλογήν του 'Ιδίου εκ προηγουμένων ηχογραφήσεων.
Ο οσιολογιώτατος 'Ιερομ. 'Ιερόθεος συνεχίζει την Διακονία του εις τόν χώρον τής Βυζαντινής Μουσικής Τέχνης μέ τήν χάριν του Θεού xαί τής Εφόρου του 'Αγίου 'Ορους Κυρίας Θεοτόκον.