Stanley Clarke stretches his muscles and comes up with a mostly impressive, polystylistic, star-studded double album (now on one CD) that gravitates ever closer to the R&B mainstream. Clarke's writing remains strong and his tastes remain unpredictable, veering into rock, electronic music, acoustic jazz, even reggae in tandem with British rocker Jeff Beck. Clarke's excursion into disco, "Just a Feeling," is surprisingly and infectiously successful, thanks to a good bridge and George Duke's galvanizingly funky work on the Yamaha electric grand piano (his finest moment with Clarke by far). The brief "Blues for Mingus," a wry salute from one master bassist to another (Mingus died about six months before this album's release), is a cool acoustic breather for piano trio, and the eloquent Stan Getz can be detected, though nearly buried under the garish vocals and rock-style mix, on "The Streets of Philadelphia."
Richard Stephen Sinclair is an English progressive rock bassist, guitarist, and vocalist who has been a member of several bands of the Canterbury scene (Caravan, Camel, Hatfield and the North, Camel…). Caravan of Dreams were a British progressive rock band from the Canterbury scene. On their first album, Caravan of Dreams (1992), the band consisted of Richard Sinclair (guitar, vocals, bass on studio tracks), Dave Sinclair (keyboards), Jimmy Hastings (flute, saxophone), Andy Ward (drums), Rick Biddulph (live bass), Michael Heupel (flute) and Alan Clarke (harmonica).
FRONTLINE presents the extraordinary saga of FBI special agent John O'Neill. As the bureau's top counterterrorism agent, O'Neill–who investigated the bombings of the U.S. embassies in Africa and the attack on the USS Cole–joined then national security counterterrorism co-coordinator Richard Clarke in believing that the United States should kill Osama bin Laden before Al Qaeda launched a devastating attack on America. Richard Clarke, then speaking in his first major interview, talks about O'Neill's battles with the FBI top brass who found O'Neill's James Bond style an anathema. Forced out of the job he loved, O'Neill took a new position in the private sector–as head of security at the World Trade Center, where he was killed on September 11. The story of O'Neill's life and death provides a rare glimpse inside the FBI and helps answer the question: What did the government know?
The subject of the first lesson in this video is flowers in a glass; in it we’ll be using all eight of our colors. Remembering to “Have Some More Fun” we’ll start with a dark background this time and learn about painting flowers. With tips about painting back to front and how to paint glass- It’s easier than you think! Lastly we discover a trick from the “littlest room in the house”. In the second lesson we go the Irelands Balanchine Castle to a beautiful scene of a tree lined country lane and a flower filled meadow. We also learn a short history lesson about the names of the colors we’re using.
Watching The Dark contains 3 CDs with 23 live, rare and unreleased tracks spanning the years 1969-1992. Also included is a 24-page booklet with photos, a complete biography and a selected discography. Includes liner notes by Greil Marcus, Joe Boyd and Leslie Berman. This three-disc set contains too many rarities and flouts chronology too blatantly to function as a simple best-of. Rather, it's an eclectic overview that dips deep enough into the archives to appeal to the hardcore fans that make up most of Thompson's audience while featuring enough classics to operate as a de facto "Greatest Hits" for those unfamiliar with the unjustly hitless guitarist/singer/songwriter. Previously unreleased live cuts display Thompson's unrivaled way with his axe ("Can't Win," "Calvary Cross"). Fans of Thompson's folkier side will delight at never-before heard traditional tunes like "Bogie's Bonnie Belle" and "Poor Wee Jockey Clarke." There are even some previously unheard Fairport tracks for those who've been in on Thompson's special gift from the very beginning. If you love Thompson, you must own this.