Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes

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The Wandre Meazzi Hollywood as pictured abovehowever, is a more conservative looking affair for a Wandre, that is and much more practical for playing purposes too than its ungainly sibling. Unusually for a Wandre it appears to have a wooden neck instead of aluminium with bolted-on headstock.

The pickup and pickguard are classic s Italiana, crafted from thick plastic. Actually, if I'm not very much mistaken, the whole of the guitar's top looks to be moulded plastic. I also really like the exaggerated hourglass shape of this guitar. I expect this was a budget model when compared to the Bikini, but it looks a lot more compact and practical.

You wouldn't feel quite so silly with the Meazzi Hollywood strapped on. Labels: cool guitarsItalian guitarson-board ampsvintage guitarsWandre. Tuesday, 29 December Pelle's self-built oak guitar. Anyway, he sawed the old tree down for firewood, but kept a few large planks.

Since he knew Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes my interest in guitars and guitar building, he gave me a piece of it after it had dried about a year. I've always loved the shape of Mosrite guitars, so I basically drew up the body shape.

Since I'm Man nennt mich jetzt nur Mimi, aus La Bohème - Camarata* Conducting The Kingsway Symphony Orchestr university student I haven't got a whole lot of money, so I basically looked in my box of old guitar pieces, and what I found was a Fender singlecoil, an Epiphone humbucker, and a Jackson J-style rail bass pickup.

Since I didn't put a single penny into this project I had nothing to lose with the bass pickup in a guitar, having no idea what it would sound like, especially with the oak body, since it's not the ideal wood to make guitars out of. I knicked the BMW logo from an abandoned car, and the Heineken logo from the beer bottle I was drinking at the time mounting the tuners! The sound? The singlecoil sounds quite bright and crisp, the HB is very warm and very loud. The bass pickup sounds much to my surprise incredible!

I wish I could give you an audio example, but right now Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes not in possession of a worthy recording utility! Oh, and the neck is like a baseball bat, when I have time I probably will reshape it.

Out of my collection of 25 guitars, this one ugly duckling is my main baby! Pelle Thanks for that! If any other readers have an Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes guitars they'd like to share with us preferably unique instruments rather than off-the-shelf jobbiesthen please email.

Labels: cool guitarshandmadeone-offs. An other metal guitar - this one made of brass! All I know about it is that it was made by californian artist Esteban Bojorquez and that he made many other ones - mostly lap-steels - as original as this one.

Labels: Metal bodyone-offs. Is it France's fate to provide guitars made of steel to baffled guitarists? When Trussard focuses on the same few standard models like everybody else, actuallyLe Pape proposes several classic guitars that really deserved to exist in steel version, a. Not enough original models unfortunately, and too much of these outrageously relicked finishes, but most of these guitars are custom orders I guess, so Le Pape has to follow the Crash Drive On Mingo City - Queen - Flash Gordon (Original Soundtrack Music), but I can imagine that his work will mature over time Cool Phasing - G.

Chatelain* - H. Roy* - Guitares Modernes the future promises Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes better guitars Steel guitars not only look cool, they're supposed to provide a terrific sound with ultimate rigidity and perfect sustain, resonance, and a very detailed sound I hope that one day I can put my fingers on one of these!

Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernesla France, ses camemberts, ses philosophes morts, ses guitares en acier Labels: custom Dont Try - Psychic Temple - III, le papeMetal bodysemi-hollow body. Friday, 25 December Sanox! A very short title indeed, Cool Phasing - G.

Chatelain* - H. Roy* - Guitares Modernes apart a few pics, Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes can find nothing about Sanox Sound Creator guitars on the Internet. When I google Sanoxthe main information I Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes find is that our blogmaster here is the happy owner of a lucite Sanox and knows nothing about it - and that's more or less it Still, the two models here are quite noticeable - on basic Stratocaster and P-bass configurations, they show a proper combination of sobriety and creativity - I like them a lot I must say though I'm more a humbucker guy.

Labels: bassJapanese guitarSanox Sound Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes vintage guitars. On the post about the Vox Starstreamyou could see this scary photo of the Banana Splits I was told that it's taken from a 70s Variation IV - Julius Katchen, Dohnányi* / Gershwin* / Prokofiev* / Rachmaninoff* - Julius Katchen I program, no wonder Ashes - J.Sintax - Ashes the Brits ended up 30 years later having Tony Blair take Little Girl (My Sweet Babe) - Trigger (29) - Trigger Treat to war.

And what do you hear in the first seconds of the title song? The infamous riff Joe Satriani and Coldplay have been fighting about a few months ago! So today we have the answer, Coldplay didn't copy Satrianithey both plagiarized this masterpiece of rock music, the title song of Ai Shite Knight Japanese version!

Labels: YouTube. It's a Vox Starstream V check the photos on the eBay page - he's got the wrong model name in the text of the listing and was made in by Eko in Italy. The guitar features two Ferro Sonic pick-ups, tremelo, built in E-tuner, distortion booster, treble and bass boost, Wah-Wah, and repeat, plus a padded cushion on the back.

The example pictured above is in NOS new old stock condition, having been discovered in its original case unopened in a warehouse in California. Mind that kind of price makes the Kawai copies look all the more affordable. Now, does anyone know what model Vox guitar it is that Fleagle plays?

Labels: cool guitarsEkohollow bodyvintage guitarsVox. Tuesday, 22 December Orfeus Violin Bass. Personally I am not usually a particular fan of violin-shaped guitar and basses, but this one I do find more appealing aesthetically at least, I can't comment on what it might actually sound like.

I like the pronounced lower bout, it lends the design an almost sci-fi element. No attempt to replicate a scroll-style headstock has been made, possibly just a stock neck was used, so we have a 4-in-a-line headstock style which further dilutes the violin aspect.

Martin Dixon Marquetry Strat. I have enhanced it because the original picture from the eBay auction page looked as if it was taken through a fog of pea soup. This Strat-type guitar is a one-off featuring a top created using marquetry, which, if you don't know, is the craft of covering a structural carcass with pieces of veneer forming decorative patterns, designs or pictures Wikipedia.

It's similar to a mosaic, but in wood. It was crafted by UK luthier Martin Dixon and you will see other marquetry guitars at his website. Labels: ArtLuthiersone-offsStratocasterwacky finishes. Monday, 21 December Play that guitar, mouse man! It's David Bowie performing "Scary Monsters" in a stripped down 4-piece band situation.

Kudos to Reeves Gabrels for being able to play the guitar in that mouse mask! As I remember it, the mouse costume had been featured in an un-related item earlier in the programme. Anyone know what Parker Fly model it is that Gabrels is playing? Looks custom to me. Watch the video here embedding has been disabled so I can't link in the usual way. Labels: BandsvideoYouTube. Winston teardrop guitar. Made in Japan in the s, this vintage Kawai teardrop copy carries the Winston brandname. This particular example has the rarer blonde finish as opposed to the more usual sunburst.

Apologies guys or should I say "dudes"? I think there's an unwritten rule that guitarists have to address one another as "dude". This book points not so much to a resurrection of medieval Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes in modern times as to a continuous tradition of interpreting these songs over eight centuries.

His primary areas of research are thirteenth-century monophony and its reception, and he has published related articles in Revue d'Histoire du Theatre, Early Music History and other journals.

It includes annotated translations of authentic historical texts on music and monographs on various aspects of historical performance and instrument history Recent titles John Butt Bach Interpretation: Articulation Marks in the Sources of J.

Baird trans, and ed. Beicken trans, and ed. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published in print format iSBN eBook EBL isbn-io eBook EBL iSBN hardback isbn-io hardback Cambridge University Press has no responsibility for the persistence or accuracy of urls for Cool Phasing - G. Chatelain* - H.

Roy* - Guitares Modernes or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Contents List of figures page viii List of tables x Acknowledgements xi Introduction i 1.

The first readers 7 2. The changing song 49 3. Enlightened Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes 89 4. The science of translation 5. Recent readings 6. Conclusions 7. Scribe writing on a parchment roll: opening miniature for Thibaut de Champagne's 'Pour froidure' in chansonnier O, fol. Modern copy of chansonnier O's reading of Thibaut de Champagne's 'Ausi com 1'unicorne sui': BnF ffrpage 1 courtesy of the Bibliotheque nationale de France, Paris 66 2.

Thibaut de Champagne's 'Ausi com 1'unicorne sui' from chansonnier O, fol. Anonymous fifteenth-century pastourelle 'L'autrier quant je chevauchois' in BnF ffrfols. Thibaut de Champagne in his palace listening to a song as depicted in Jean Monet's Anthologie francaisevol. Table of plants in Michel Adanson, Families des plantes3.

Table of trouvere songs in Jean-Benjamin de Laborde, Essaivol. Moniot de Paris' 'Lone tens ai mon tens use', as transcribed from chansonnier N by Pierre Clairambault in chansonnier X, fol.

Adam de la Halle writing his songs, as depicted in chansonnier A, fol. Portrait of Pierre Aubry 5. Ludwig's table of incipits for troubadour chansonnier R: Gottingen, Niedersachsische Stadt- und Universitatsbibliothek, Cod.

Gennrich's sketch and final version of Bernart de Ventadorn's 'Non es meravelha', incipit courtesy of the Stadt- und Universitatsbibliothek Frankfurt- am-Main 5. Engraving of jousting knights from Lodovico Ariosto's Orlando furioso6.

Massilia Sound System 7. Provins, Tour de Cesar, lower level 7. Provins, Lycee Thibaut de Champagne, student refectory 7. Provins, Lycee Thibaut de Champagne, chapel next to kitchen 7. Provins, Lycee Thibaut de Champagne, north-east corner wall Tables 1. Extant chansonniers with troubadour melodies page 21 1. Extant chansonniers with trouvere melodies 21 1. Trouvere melodies in miscellaneous sources 22 1. Gautier de Coinci manuscripts with music 22 1. Thirteenth-century works with musical interpolations 23 1.

Lost medieval sources with music 24 1. Songs in measured notation 29 1. Troubadour and trouvere songs surviving in motets 31 3.

Moncrif's imitations of Thibaut de Champagne's songs 3. Sources of pseudo-medieval selections in Laborde's 'Choix de chansons' in his Essaivol. Those who have undertaken such a project at an institution not primarily designed for research can appreciate the measure of my gratitude not only towards head librarian Kimmetha Herndon but especially to two inter-library loan specialists, Karen Simpkins and Julie Harwell.

With unfailing cheer and persistence, Karen and Julie bore the weight of my many inter-library loan requests, often at the rate of several items a day. I would also like to thank Harold Newman, provost of the college, for a summer travel stipend in the summer of I certainly could not have finished this book in time without the help of Anna Davis, my research assistant at Shorter for three years, whose diligent work is scattered throughout the following pages.

I would also like to thank the staff of the Robert Woodruff, Pitts Theology and Heilbrun Music and Give Me The Cue - Gene Chandler - Get Down libraries at Emory University in Atlanta, who helped me during my frequent visits there.

Amount and quality of research is often at the mercy of individuals as well as grant committees, and my own research profited from several beyond those already mentioned. I would like to first thank Michel Laisne of the Dieppe Mediatheque Municipale for sending me a newspaper clip- ping in April of which it could be fairly said that it launched this book into existence. That same year, Jacques Chailley kindly confirmed my suspicions surrounding Pierre Aubry's death; my only regret is that I was unable to thank him in person before his own passing.

I am also grateful to Marie-Louise Lippincott and Thomas Dalzell, daughter and grandson of Jean Beck, for sharing invaluable information with me. I spent Nuclear Kid - Selective Crash - Do Not Crack The Metal Chip summer of working at the University of Gottingen, thanks to a Deutscher Akademischer Austauschdienst stipend.

Gottingen's XI xii Acknowledgements outstanding collection of early modern books helped me lay the founda- tion for chapters 2 and 3, and I could not have begun or pursued detailed work on Friedrich Ludwig's Nachlafi without the untiring help of librarian Barbel Mund.

Over the last five years, I have become especially indebted to the efficient staff at the Bibliotheque nationale de France. At the Bibliotheque de lArsenal, I profited from Danielle Muzerelle's exper- tise in many areas, including eighteenth-century watermarks. Finally, in the summer of a National Endowment for the Arts summer fellowship enabled me Cool Phasing - G.

Chatelain* - H. Roy* - Guitares Modernes complete the finishing touches on the book in Paris. Of these, this book owes its greatest debt to Elizabeth Aubrey's model work and Man nennt mich jetzt nur Mimi, aus La Bohème - Camarata* Conducting The Kingsway Symphony Orchestr unstinting generosity and to Robert Lug's hospitality and insight.

Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes was a happy coincidence which led Mark Taylor to Berry College in the autumn ofthus making possible Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes musico- literary discussions on the troubadours in the unlikely setting of north-west Georgia. Mark Everist and Robert Lug critiqued drafts of this book, for which I am deeply grateful. I would also like to thank David Ogborn and Jamie Younkin for their assistance with the musical examples and figures.

My Nobody Was Saved - Angelic Upstarts - Angel Dust (The Collected Highs 1978 - 1983) and last acknowledgement is reserved for my dear friend and wife Dorothy Haines whom I thank for her companionship and continuing education in writing and the English language - essential ingredients to my completing this book.

At best, my immoderate curiosity about a footnote-sized anecdote might grow into a single publication of interest to a handful of medieval musicologists old enough to remember some vague story about two scholars who nearly duelled in It did. My article relating these findings was published inand I assumed then that I would promptly leave behind this dust on academic dust for more important research directly related to medieval music.

The var- ious Sho Luv Them Gangstas - Passion - Ballers Lady shaped a longer narrative which began to answer another ques- tion that had occurred to me before my interest in the Beck-Aubry affair: why was rhythm considered so important in medieval song?

In reading the secondary literature on the troubadours and trouveres, I found that the issue of rhythm frequently came up; the topic was Polish Wedding Polka - The Polka Shamrocks - The Polka Shamrocks Play Your Favorites lengthily discussed mostly earlier writers or cautiously avoided mostly recent writers.

Either way, the 'rhythm question' loomed over the subject of French medieval song, and few stopped to ask why, although many wrote to explain how. Finding out why rhythm had taken on such importance - and ultimately the whole explanation of Aubry s death - took me back further than even the early nineteenth century, and eventually reaching the Middle Ages, the begin- ning Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes of both medieval music and its reception.

I realized a proper answer would require a historiography which included writers and readers, players and listeners outside official historical turf. That is basically how this book came into being, as a rather long answer to a simple question.

It is not a definitive answer, neither is it the only possible one, and I hope that it will receive further refinements. As Hans-Robert Jauss, one of the founders of Rezeptionkritik, has argued: 4 A literary work is not an object that stands by itself and that offers the same view to each reader in each period. It is much more like an orchestration that strikes ever new resonances among its readers and that frees the text from the material of the words and brings it to a contemporary audience.

The text therefore differs with each group of readers; history shapes literature. Another eminent reception theorist, Wolfgang Iser, Roy & Paulette - Ive Lost My Baby / Since Youre Gone written of the text as an event', 5 a simile which, if perhaps striking in a strictly literary context, actually better fits musical texts, which are usually intended for, or at least imagined as, performances.

Reception theory is especially pertinent to the field of medieval music. One of the characteristics of medieval texts is their prediliction for different interpretations of a single work, or what one writer has called, in a term which has unfortunately nearly become a cliche, mouvance. Add to this the dis- tance of the Middle Ages, its continuing lore in contemporary life, and the evanescence of ancient musical traditions, and we have in received medieval song a treasure of multiple and contrasting horizons of expectations.

One might even say that reader-response theory arises naturally from medieval art. For example, early medievalist Lacurne de Sainte-Palaye expressed a similar insight when he noted that medieval romances varied according to the royal audience which the narrator was seeking to please, and that this was also a feature of similar works closer to his time such as La Princesse de Cleves which pandered to Louis XIV by evoking the glory days of Henri III.

For some time already, reception theory has infiltrated musicology, where, as Mark Everist has pointed out, it has tended in its worst moments to reproduce uncritically journalistic criticism of famous works.

Already in the s, Arnold Schmitz was distin- guishing between the 'real' Beethoven and his mythical, Romantic image; henceforth, it was necessary to strip the latter away to reveal the former. The real Beethoven became elusive, always filtered through and perhaps even just the sum total of his various receptions. So dependent has this composer become on his reception that Scott Burnham has recently dared suggest that 'perhaps Beethoven will go out of fashion for the next two hundred years'.

If this is the case in the relatively short span from Beethoven's death to our Cool Phasing - G. Chatelain* - H. Roy* - Guitares Moderneshow much more for repertoires which have experienced over years of reception?

The change in the musical interpretation of Beethoven's music pales by comparison to that of troubadour and trouvere song, where two different receptions can sometimes lead to two very dif- ferent works, as illustrated throughout this book.

While Beethoven's music will more than likely be heard in one shape or the other several hundred years from now, entire medieval works, such as many troubadour songs or trouvere refrains, are forever lost.

Other music, such as certain lais attached to the Tristan and Isolde story, whose power we are told in their time was so great that it brought performer and audience to tears, are now practically ignored even though about a dozen survive.

To be sure, scholars in all fields of medieval music have long been concerned with its interpretation, but Confirmation - Stefano Di Battista - Parkers Mood has usually been confined to a preface in the context of a study on the repertoire in question.

It is no wonder that forays into Sentence Royale - Dédit Public - Savinien Cyrano De Bergerac* - Benjamin Lazar, Florence Bolton, Ben music reception in the s have begun with plainchant, and have focused on one of the most colourful periods of its historiography, the Cool Phasing - G.

Chatelain* - H. Roy* - Guitares Modernes century. The troubadour and trouvere repertoires offer singular advantages in developing a reception of medieval music. First, they are much smaller repertoires than chant, and therefore manageable in a single study which proposes to survey eight centuries. They are also limited geographically; a good deal of my study concerns mainly French writers and readers.

By their 4 Eight Centuries of Troubadours and Trouveres very vernacular nature, these songs are therefore more explicitly connected to nationalistic causes. At the same time, the two different repertoires offer clear geographic and nationalistic contrasts which a single body of music might not. For instance, the 'querelle des troubadours et trouveres' discussed in chapter 3 pits north against south and puts into clear focus the importance of French regional disputes for the historiography of music in a way not found in plainchant of that same period.

The reception of these repertoires also offers idiosyncratic problems which differ from those of plainchant. For example, the historiography of trouvere songs is interconnected with that of vernacular polyphony; this relationship leads to particular inter- pretations of troubadour and trouvere song, from Enlightenment trouvere harmonizations to early Romantic interpretations according to mensural principles.

It is not enough just to say, as one interlocutor recently put it to me, that 'well, everyone just interpreted trouvere music Week-End - Aimable - In Berlin at different times'. That may be true, but it is a mere suggestion of a story which is, I think, worth knowing in its full details. The web of receptions of these fascinating medieval repertoires has long deserved a closer scrutiny than previously granted.

As I have already suggested, I see nationalism as playing a definitive role in the reception of French vernacular monophony. If defined as 'loyalty to. But if we define nationalism more broadly as certain groups' 'specific sentiment of solidarity in the face of other groups', 16 then it is Cool Phasing - G. Chatelain* - H. Roy* - Guitares Modernes force which existed long before this time.

In conclusion, I must confess to having entered my topic in an unusual and even incorrect way. As one German scholar told me recently, 'I thought these sorts of things one saved for later on in one's career as a medievalist'. He was right of course, and the recent spate of medieval music reception literature confirms this: Anna Maria Busse Berger, Daniel Leech- Wilkinson and Elizabeth Aubrey are just a few whose study of medieval music reception Introduction 5 was prompted by first reading these interpretations as Cool Phasing - G.

Chatelain* - H. Roy* - Guitares Modernes literature on a primary topic. That is to say, the reception is the music. My reception narrative takes place for the most part in times outside the Middle Ages, where there is more talk of printed notes and piano accompaniments than scribes or harps. But the former have much more to do with our Middle Ages than we often care to admit. Medieval music comes to all of us first as an impres- sion, unacknowledged or not, and that impression is the result of a lengthy reception process.

I have written this book first to understand my own impressions of medieval music. If I have wandered away from the Middle Africa Is Zion - Sister Audrey - Populate for a time, I hope to have returned equipped with a clearer sense of those many things which for me constitute the music of the troubadours and trouveres.

NOTES 1. However, Switten's is a sweeping historiography limited to mostly academic reception, and encompassing both literary and musical aspects of monophonic and polyphonic French repertoires up until the fourteenth century.

Jahrhunderts und einer Transkriptionsgeschichte des europdischen Minnesangs Peter Langvol. Paul Zumthor, Essai de poetique medievale Paris: Seuil, Jean-Baptiste de Lacurne de Sainte-Palaye, Memoires sur I'ancienne cheva- lerie, consideree comme un etablissement politique et militaire Paris: Duchesne,vol.

Iser's similar comments on eighteenth-century writer Laurence Lisas World - Jeff Dahl Band - Vpro 1993 in his Act of Reading, Fink, ; and Jauss, Toward an Aesthetic, chapter 3. Everist, 'Reception Theories', Already in the late s, Carl Dahlhaus could write of the upsurge of interest in reception history; see his Foundations of Music History, trans.

Robinson Cambridge: Cambridge University Press, Dummler, See for example, chapter 4, note 6. See K. Troubadour chansonnier R, fol. Walter Odington, De speculatione musice 1 Sometime in the last three decades of the thirteenth century, two medieval scribes sat down to write the melody for the song 'Pour conforter ma pesance' by Thibaut IV count of Champagne and king of Navarre, then some thirty years deceased.

The one we may call scribe T was writing in the Artois region of France while scribe O was located further south-west, most likely Burgundy or the Isle de France. But this is not so for their rhythmic interpretations of Thibaut's melody. Scribe O, who has a decided tendency to interpret trouvere songs rhythmi- cally by indicating long and short values, has here abstained from doing so example i. For some reason, for this particular song, both music scribes decided to change their habits, switching rhythmic camps, so to speak.

Clearly, at the end of the thirteenth century, not only were there different ways of writing and reading trouvere song, but these differences were not always as predictable as they may seem. These medieval scribes were not just mechanically copying the music for which they were responsible. They were interpreting it, refashioning it to fit the book being compiled.

Already for them this was old music, already their perspective differed substantially from those who had first performed these songs, and already these scribes interpreted these melodies using new rhythmic notation. Example i. But the first interpreters of troubadour and trouvere music, which flour- ished between noo andwere its medieval readers.

Such was the case for scribes O and T in the late thirteenth century. By the early fourteenth century literary audiences were appropriating the musical heritage of the troubadours and trouveres in several ways.

Legends about them were writ- ten down, some of which gave prominence to their musical abilities. Other readers assimilated their musical style, and occasionally their melodies, in the new polyphonic motet. By far the most important written interpre- tations of troubadour and trouvere music are the many song collections compiled between and the early fourteenth century.

Called chanson- niers from the late eighteenth century on, they represent idiosyncratic late medieval interpretations of melodies which were more often than not over a century old, or at least, as in the example described above, several decades old. The earliest troubadour songs are unknown. Their initial inspiration, first creators, performers and melodies all belong to a period which pre- dates extant sources.

Songs in Old Occitan had probably been created for some time before the first troubadour whose poems have survived, Guilhem William VII count of Poitiers, IX duke of Aquitainecame on the scene. Custom Les Paul. Explore Custom Les Paul. Explore Slash. New various musax background music library vol. Seller : brocrecordzshop. Format : 10 inch. Seller : billidede. Format : LP x 2. Seller : dipiz. Seller : misterdid. Seller : sonic-records. Price : 5. Seller : hi-vinyl.

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