A match is scheduled for training ... Many come
Thursday, March 3, 2011
Washington Drivers License- Holograms?
Special training
A match is scheduled for training ... Many come
A match is scheduled for training ... Many come
Wednesday, March 2, 2011
North Face Breast Cancer
Evening ...
Saturday, March 5,
Roger invites players and leaders to come to the second part of his birthday party . We see all
Friday, if we find ourselves before the stadium, or if it goes directly to the village hall from 22.30 ... Thanks Roger
Saturday, March 5,
Roger invites players and leaders to come to the second part of his birthday party . We see all
Friday, if we find ourselves before the stadium, or if it goes directly to the village hall from 22.30 ... Thanks Roger
Sunday, February 27, 2011
How To You Play Pokemon Soul Silver Online
J17, Promotion 1st division: USSP fate of the red zone. Friday, March 25
Lescure / Mas 1-2 USSP II
Composition: Marcaillou Patrice Lacou William Jenjean Nicolas, Pédoussat Mathieu, Pascal Marcaillou, Bincoletto Damien Girabet Frederick Brych Pascal Castagner Mathieu, Arnaud Stéphane, Maxime Lacaze
Alternates: Lopes Alvaro Campos, Jérémy Soula
Scorers: Pascal Marcaillou (cf) - Lopes Alvaro Campos
Pass decisive Pascal Marcaillou 
Lescure / Mas 1-2 USSP II
Composition: Marcaillou Patrice Lacou William Jenjean Nicolas, Pédoussat Mathieu, Pascal Marcaillou, Bincoletto Damien Girabet Frederick Brych Pascal Castagner Mathieu, Arnaud Stéphane, Maxime Lacaze
Alternates: Lopes Alvaro Campos, Jérémy Soula
Scorers: Pascal Marcaillou (cf) - Lopes Alvaro Campos
Pass decisive Pascal Marcaillou
Friday, February 25, 2011
Lola Luftnagle Outfits
THE GROUNDHOGS 1975
"Everything here is unsurpassed of rage, darkness, anger, of damnation." 
The Groundhogs "UK Tour 76" 2004
I enjoy listening this disc when I have the balls. There are two reasons. First, because nobody knows the Groundhogs, let alone their album of 1975, "Crosscut Saw." Then because it is clear that Tony Mc Phee, guitarist-singer-composer-band leader and also the balls.
Yet when the group reformed in 1975 after only a few months of separation, McPhee feels it is because a new opportunity to develop his new music within a group, which is more again. Summarize a bit. Between 1970 and 1972, the class group of three magnificent albums heavy-blues tortured in the top 10 English. With "Hogwash," published in late 1972, the group's success declined. The solo album in 1973 McPhee knows little success, and therefore sees the man take the reins of his trio. "Solid", published in 1974, is one of the most depressing albums of rock history alongside the best recordings of Joy Division (not their official albums). The tour that followed saw McPhee spray Hate the band's repertoire of moves to guitar murders. The man, weakened by a difficult family situation, can take no more and decides to stop spending in early 1975. But
concerts Groundhogs leave traces, and the public, charred by both artistic brilliance, wanting more. Or almost. 1975 was a turning point: The punk edge gently dominates the glam, progressive s'ampoule, and hard-rock reigns supreme Loved giant concerts. It smells so
fir for Groundhogs, group attached to the roots blues, and fragile to compete in never having imposed in the U.S.. Linkages become Stray ties.
Yet since the start of the "Thanks Christ For The Bomb" in 1970, McPhee merges blues and progressive rock. Since 1972, the Mellotron made its debut in the musical horizons of the group. Yet, the blues is there, and most importantly, modesty and sobriety of soul gray any English because the group can take off to megalomaniacal delusions of his contemporaries.
And then in 1974, is the rupture. "Solid" is published this year, and disc is a wild, violent, harsh. It is propelled into a masterpiece and a complete break with the music business. The disc is already making many in terms of sensations, but that's not enough.
"Crosscut Saw" goes even further, and brings new comets Blues-Rock Night. The lineup consisted of McPhee on guitar and vocals, Martin Kent on bass, Dave Wellbove on guitar and Mick Cook on drums. John Cruishank, bassist survivor of the era "Thanks Christ ..." is more of the game.
Commercial success is gone. "Solid" is the latest record of Groundhogs ranked in the UK charts. The album also copiously murdered by the critics, could not bury the remains a group in trouble in his attempt to accept his choice of music against the winds of the sensation of the moment (Bowie, Roxy Music, ELP ....). It then remains
Groundhogs to the stage to demonstrate the power of his music on stage. Admirer indescribable "Solid" and "Crosscut Saw", I have long dreamed of a witness in a concert tour by the magic synthesis of these two albums. This disc brought it to me.
was often reduced to a group of Groundhogs Blues-Rock rough and rustic, light years away from the ambitions of the giants of progressive rock, from Led Zeppelin to Black Sabbath by way of Jethro Tull. Even Bowie is put it is you say.
Tony McPhee played the Blues forever. But he managed to inject a rare stroke of genius among the groups exceed the original composition to extract the absolute essence. Like Led Zeppelin. Like Deep Purple. Except that the Groundhogs always knew to stop before the megalomaniacal delusions that affected the two mentioned above. Here, no delusions solo ten minutes. Improvisation fetches the piece of tripe, it brings power, texture, emotion.
And it is here for all songs. Undoubtedly, the new Groundhogs are very high quality. Everything here is unsurpassed rage, darkness, anger, damnation.
We are at Kings Hall Derby March 24, 1976. Groundhogs are the new tour to promote the album released late 1975: "Crosscut Saw." Sales were modest, and the rooms also respects far experienced in 1971, the group's commercial heyday.
. Despite a large core of fans, the quartet must face the indifference of the English music press. It's probably a good, saw the outburst of bitterness which she showed to the release of "Solid". Sure, the Groundhogs began their slow decline into anonymity, accelerated by the arrival of punk in 1976 in Great Britain. Stray, Groundhogs, Chicken Shack and Savoy Brown still disappear into the limbo of oblivion general.
In terms of the band Tony McPhee, the struggle continues, putting everything he has in him to demonstrate the strength of his group.
This disc is a storm of fury and despair, where McPhee's guitar reaches heights rarely achieved. He is assisted by Dave Wellbove impressive unchecking some solos absolutely unstoppable.
The sequence of the first four titles is already an odyssey. The opening is on "Boogie Withus, snarling boogie in propelling Wall listener unwise. It follows the beautiful and desperate "Pormiscuity", also of "Crosscut Saw." McPhee's voice is hoarse, raspy. It is reminiscent of Lemmy Kilminster few years later in Motorhead. His guitar playing is absolutely stunning in any case. Then he cleared horizons hendrix much to early 70s, the notes here are tighter, the game less aggressive but more vicious. They are superb musical flights, pinnacles of each piece in terms of emotion.
"Corn Cob", excerpted from "Solid" is a false boogie ballad, and a real torrent of melancholy. It is one of those songs you whistle when things go wrong, just to restore some capacity in the mess. McPhee's solo is again superb, fluid.
One of the great peaks of this disc is undoubtedly the majestic "Eleventh Hour." Already prodigious in its studio version on "Crosscut Saw" by the Groundhogs cross the Rubicon of despair. From the first chords, the melody in the gut. The chorus of guitars are just terrifying sobs and cries of rage that is suffocating itself in order not to scream. Choking with grief, "Eleventh Hour" touch the stars with his solo and hooting electric larsen angry. McPhee's voice is dark, rough, ever more raucous, like a man one earth. The atmosphere lightens
just because "Crosscut Saw" with a melody lighter, more ethereal. But this is an illusion to the content of the lyrics. And the truce was short-lived, with diving into the depths of rage that are "fullfilment" and the terrifying "Light My Light". Their web forms a new high magic is not clear which one intact. McPhee is prodigious inventiveness, mastery of swirling, supported by a group square and powerful powerhouse.
order to meet the older The concert ends with two old saws that are antediluvian "Split Part 2" and "Cherry Red". Reworked, tortured, extended the urge, the juice that comes out is stiff, bitter, and sends to hell the previous versions.
This album has become for me a complete reference. She confirmed all the good that I thought of "Crosscut Saw" and its predecessor "Solid". I remained as to whether the Groundhogs were able to get the most lethal venom. This live album is brilliant proof, and will no doubt drive the bedside of your darkest nights. All Rights
Reserved
The Groundhogs "UK Tour 76" 2004 I enjoy listening this disc when I have the balls. There are two reasons. First, because nobody knows the Groundhogs, let alone their album of 1975, "Crosscut Saw." Then because it is clear that Tony Mc Phee, guitarist-singer-composer-band leader and also the balls.
Yet when the group reformed in 1975 after only a few months of separation, McPhee feels it is because a new opportunity to develop his new music within a group, which is more again. Summarize a bit. Between 1970 and 1972, the class group of three magnificent albums heavy-blues tortured in the top 10 English. With "Hogwash," published in late 1972, the group's success declined. The solo album in 1973 McPhee knows little success, and therefore sees the man take the reins of his trio. "Solid", published in 1974, is one of the most depressing albums of rock history alongside the best recordings of Joy Division (not their official albums). The tour that followed saw McPhee spray Hate the band's repertoire of moves to guitar murders. The man, weakened by a difficult family situation, can take no more and decides to stop spending in early 1975. But concerts Groundhogs leave traces, and the public, charred by both artistic brilliance, wanting more. Or almost. 1975 was a turning point: The punk edge gently dominates the glam, progressive s'ampoule, and hard-rock reigns supreme Loved giant concerts. It smells so fir for Groundhogs, group attached to the roots blues, and fragile to compete in never having imposed in the U.S.. Linkages become Stray ties.
Yet since the start of the "Thanks Christ For The Bomb" in 1970, McPhee merges blues and progressive rock. Since 1972, the Mellotron made its debut in the musical horizons of the group. Yet, the blues is there, and most importantly, modesty and sobriety of soul gray any English because the group can take off to megalomaniacal delusions of his contemporaries.
And then in 1974, is the rupture. "Solid" is published this year, and disc is a wild, violent, harsh. It is propelled into a masterpiece and a complete break with the music business. The disc is already making many in terms of sensations, but that's not enough. "Crosscut Saw" goes even further, and brings new comets Blues-Rock Night. The lineup consisted of McPhee on guitar and vocals, Martin Kent on bass, Dave Wellbove on guitar and Mick Cook on drums. John Cruishank, bassist survivor of the era "Thanks Christ ..." is more of the game.
Commercial success is gone. "Solid" is the latest record of Groundhogs ranked in the UK charts. The album also copiously murdered by the critics, could not bury the remains a group in trouble in his attempt to accept his choice of music against the winds of the sensation of the moment (Bowie, Roxy Music, ELP ....). It then remains
Groundhogs to the stage to demonstrate the power of his music on stage. Admirer indescribable "Solid" and "Crosscut Saw", I have long dreamed of a witness in a concert tour by the magic synthesis of these two albums. This disc brought it to me.
was often reduced to a group of Groundhogs Blues-Rock rough and rustic, light years away from the ambitions of the giants of progressive rock, from Led Zeppelin to Black Sabbath by way of Jethro Tull. Even Bowie is put it is you say. Tony McPhee played the Blues forever. But he managed to inject a rare stroke of genius among the groups exceed the original composition to extract the absolute essence. Like Led Zeppelin. Like Deep Purple. Except that the Groundhogs always knew to stop before the megalomaniacal delusions that affected the two mentioned above. Here, no delusions solo ten minutes. Improvisation fetches the piece of tripe, it brings power, texture, emotion.
And it is here for all songs. Undoubtedly, the new Groundhogs are very high quality. Everything here is unsurpassed rage, darkness, anger, damnation. We are at Kings Hall Derby March 24, 1976. Groundhogs are the new tour to promote the album released late 1975: "Crosscut Saw." Sales were modest, and the rooms also respects far experienced in 1971, the group's commercial heyday.
. Despite a large core of fans, the quartet must face the indifference of the English music press. It's probably a good, saw the outburst of bitterness which she showed to the release of "Solid". Sure, the Groundhogs began their slow decline into anonymity, accelerated by the arrival of punk in 1976 in Great Britain. Stray, Groundhogs, Chicken Shack and Savoy Brown still disappear into the limbo of oblivion general.
In terms of the band Tony McPhee, the struggle continues, putting everything he has in him to demonstrate the strength of his group.
This disc is a storm of fury and despair, where McPhee's guitar reaches heights rarely achieved. He is assisted by Dave Wellbove impressive unchecking some solos absolutely unstoppable. The sequence of the first four titles is already an odyssey. The opening is on "Boogie Withus, snarling boogie in propelling Wall listener unwise. It follows the beautiful and desperate "Pormiscuity", also of "Crosscut Saw." McPhee's voice is hoarse, raspy. It is reminiscent of Lemmy Kilminster few years later in Motorhead. His guitar playing is absolutely stunning in any case. Then he cleared horizons hendrix much to early 70s, the notes here are tighter, the game less aggressive but more vicious. They are superb musical flights, pinnacles of each piece in terms of emotion.
"Corn Cob", excerpted from "Solid" is a false boogie ballad, and a real torrent of melancholy. It is one of those songs you whistle when things go wrong, just to restore some capacity in the mess. McPhee's solo is again superb, fluid.
One of the great peaks of this disc is undoubtedly the majestic "Eleventh Hour." Already prodigious in its studio version on "Crosscut Saw" by the Groundhogs cross the Rubicon of despair. From the first chords, the melody in the gut. The chorus of guitars are just terrifying sobs and cries of rage that is suffocating itself in order not to scream. Choking with grief, "Eleventh Hour" touch the stars with his solo and hooting electric larsen angry. McPhee's voice is dark, rough, ever more raucous, like a man one earth. The atmosphere lightens just because "Crosscut Saw" with a melody lighter, more ethereal. But this is an illusion to the content of the lyrics. And the truce was short-lived, with diving into the depths of rage that are "fullfilment" and the terrifying "Light My Light". Their web forms a new high magic is not clear which one intact. McPhee is prodigious inventiveness, mastery of swirling, supported by a group square and powerful powerhouse.
order to meet the older The concert ends with two old saws that are antediluvian "Split Part 2" and "Cherry Red". Reworked, tortured, extended the urge, the juice that comes out is stiff, bitter, and sends to hell the previous versions.
This album has become for me a complete reference. She confirmed all the good that I thought of "Crosscut Saw" and its predecessor "Solid". I remained as to whether the Groundhogs were able to get the most lethal venom. This live album is brilliant proof, and will no doubt drive the bedside of your darkest nights. All Rights
Reserved Thursday, February 24, 2011
Texasdriverslicences.com
MESSAGE FROM DISTRICT
· Match No. 12611792: ES J.du Falga St 2 / St Paul 1 U.S.
20/02/2011 - 1st Division District
After have read:
1. In the Match of the meeting,
2. Mail sent by the club's St John ES Falga
The meeting St. John's ES Falga 2 / St Paul 1 U.S. failed to achieve the regulatory period
(match stopped at 55 minutes due to injury of the referee)
is given to replay the Commission is now scheduled for:
Sunday, March 27, 2011 to 15 h
on the stage of St. John's Falga.
Tuesday, February 22, 2011
Budget Adventure Honeymoons
Thank you all for bringing back lots, a few or lots ...
your participation is important to have a poster with lots of attractive and
many people as possible on the day of the lottery.
FYI: The lottery contributes greatly to the reimbursement of fines and costs the club's annual
Sunday, February 20, 2011
Bridge Building Flash Game
Black Book:
Again bereaved, the club and players want to give their support to the family of Frederick, our current president, following the death of his grandmother.
Results of WE:
- Caumont 1-1 USSP II
(scorer Stéphane Arnaud)
- St John's II Falga 1-1 USSP I -> match abandoned at 55me minute after the referee blowing
I Made My Husband Wear A Girdle
J16, Promotion 1st Division: Match zero caumont.
Caumont 1 - 1 USSP II
Purpose: Arnaud S.
Warnings: Moiola N. Girabet and F.
Team: 
Caumont 1 - 1 USSP II
Purpose: Arnaud S.
Warnings: Moiola N. Girabet and F.
Team:
Thursday, February 17, 2011
Open Mma Tournaments Oklahoma
Click on the link:
to view all photos Mercus:
teams, goal, stopping Toto and many big shots in the effort ...
Sunday, February 13, 2011
Price List For Hair Straightener
J16, 1st Division: Victory of the blue and white Mercus
EOMercus 0 - 1 U.S. . St Paul I
This beautiful sunny Sunday was under the spirit of sharing ...
Share a memorable moment of solidarity in the memory of Francis ... Elan Solidarity led by Captain Mercusien day Christophe Gonçalves , which is the symbol of the division succeeded in part of this agreement.
EOMercus 0 - 1 U.S. . St Paul I
Composition: Anthony Forte , Rougé David , Delrieu Florian , Philippe Augé , Girabet Frederick Queiroz José , Karim , Vézinet Jerome, Chaubet Patrick , Walheim Fabrice , Costeceque Yoan
Alternates: Stéphane Arnaud (45 ') Bruno Pereira (45 ') and Mathieu Pédoussat (not back)
Goalscorer: Patrick Chaubet
Treader: Walheim F.
Expulsion : Chaubet P.
This beautiful sunny Sunday was under the spirit of sharing ... Sharing youth teams with the agreement SP.AM since the beginning of the year ...
Share a memorable moment of solidarity in the memory of Francis ... Elan Solidarity led by Captain Mercusien day Christophe Gonçalves , which is the symbol of the division succeeded in part of this agreement. But sharing the points was not to go, right from the whistle of the referee Jean-Michel Dasilva , competition resumed its rights.
In the first half, goals Saint-Paul are displayed and that PAT will mark the winning goal shortly before the arrival of his supporters Cop ULTRAS!
few other opportunities will come to shake the local ... without relying on them to shine on a beautiful TOTO free kick low to the far post.
Half-time is whistled and fans flocked trust their players to step up the advance.
But the recovery, the star mercusienne glow brighter and longer carries the danger cons. On a share, a red and black penetrates into the pin and mark regardless of the whistle prior to a foul on a defender. Then the game is balanced again and St Paul creates new opportunities.
On a challenge, the referee take out a second yellow card in Patrick calling for a penalty probably deserved ... Anyway, the referee is the master of the game and he holds the cards ... (Or rather boxes ...) and challenges we are more harm than good ...
The end of the game hurts the fans who remember a few derbies where Mercus scored late in the game ... but fortunately it will not happen in this beautiful sunny Sunday.
Photos above
Angelina like to thank again all the marks of affection that made it through the plate offered by the club, flowers Mercus or messages of bloggers ...
Thursday, February 10, 2011
Everyday Minerals Best Concealer
Draw cutting Ariège 2: Another derby!
The Fossat ES III - III CF-Mirepoix Lavelanet
Foix FC III - USSP II
Our 1 / 2 final will be played at Varilhes 
The Fossat ES III - III CF-Mirepoix Lavelanet Foix FC III - USSP II
Our 1 / 2 final will be played at Varilhes
priori the April 3 at 14:00
(date to be determined by the district)
Sunday, February 6, 2011
Creative Titles Media And Eating Disorders
J15, Promotion first division without a derby winner.
USSP II 2-2 FC FOIX III
Goals: S. Arnaud (X2)
Smugglers:
Team: Marcaillou Pat., Lacou G., Jeanjean D., M. Pédoussat ,???, Bincoletto D. Escure B., P. Brych, Arnaud S., Walheim F., Soula J.
Warning: Escure B.
USSP II 2-2 FC FOIX III
Goals: S. Arnaud (X2)
Smugglers:
Team: Marcaillou Pat., Lacou G., Jeanjean D., M. Pédoussat ,???, Bincoletto D. Escure B., P. Brych, Arnaud S., Walheim F., Soula J.
Warning: Escure B.
Why Do I Always Get Stomach Cramps
J15, 1st Division: A belated awakening.
USSP 1-2 AS Plantaurel
Purpose: Delrieu B.
Treader:
Warnings: Girabet F., Auger P. Abdelkarim and B.
Alternates: Costeseque Y., Da Cunha C. 
USSP 1-2 AS Plantaurel
Purpose: Delrieu B.
Treader:
Warnings: Girabet F., Auger P. Abdelkarim and B.
Alternates: Costeseque Y., Da Cunha C. Sunday, January 30, 2011
Reptile Respiration At 10 C
ARIEGE CUP 2: SPSU offers the semifinals Francois SANCHEZ!
Saverdun 0-0 USSP II (3-4 on pens)
Shooters:
Saverdun 0-0 USSP II (3-4 on pens)
Composition: 1. Stéphane Arnaud - 2. Lacou Guillaume - 3. Soula Jérény - 4. Philippe Augé - 5. Marcaillou Pascal - 6. David Formosa - 7. Maxime Lacaze - 8. Brych Pascal - 9. Walheim Fabrice - 10. Vézinet Jerome - 11. Matthew Castanier
Alternates: Monié Benamin - Nicolas Jeanjean - Pierre Milesi
Red Card: David Formosa
Alternates: Monié Benamin - Nicolas Jeanjean - Pierre Milesi
Red Card: David Formosa
The penalty shoot-on:
Shooters:
Vézinet Jerome - Brych Pascal - Fabrice Walheim - Castanier Matthew - Philippe Augé
thank you to the many supporters who made the trip ...
Also qualified: Lavelanet-Mirepoix 3 / Fossat 3 / 3 Foix
Friday, January 28, 2011
Simple Design For A Wooden Computer Desk
ROD STEWART
"There are beautiful drives."
ROD STEWART: "An Old Raincoat Won ' t Ever Let You Down "1969
The sea rumbles under the gray sky with the colors of lead. The waves crashing on the pier, burying large rocks mossy brown algae Couvet. Small houses with slate roofs blend into the stormy sky, dark and clowns.
Pines and Oak Hill, which closes the port lie down under the onslaught of the wind. They did nothing wrong, they have already taken shape, battered throughout the year by the onshore winds that feel the salt spray.
I cast a last glance at the skyline. I can not help but find this tortured landscape yet rainy and wonderful. There is something magical, mysterious in these Celtic countries steeped in history and legend. Ankou, the sea, fishermen, druids, travel.
There, he yal'océan and the continent where they still say that everything is still possible. This is America, USA. And closer is the big sister, Great Britain, the perfidious Albion.
I love this land. I could walk there for days, his head in my thoughts. But I must return to the bourgeois Burgundy, the wines, these castles, Dukes, and that something magical, pagan, that does not exist here.
I am sometimes asked what disk could be the most fantastic dream vehicle for Celtic. He who breathes most heath Breton or Welsh, as the sweat and grime of the docks and factories of these workers, proud of the engine life of a country. Songs, simple walks along the sea or in the forest, the pints of beer with friends, the smiles of pretty redheads dancing and warm the heart of these men gruff but tender. I never found
Celtic music representative of these horizons. What we deign to offer us much that is fair based honky-tonk of beer. The Chieftains, or the Pogues (with tweezers), but also Alan Stivell, have done much to make me love this music. Festival Interceltique, the Corrs and a lot less.
In fact, one who has always represented the best that soul, these images I had in mind was none other than .... Rod Stewart.
Scream, eructation of Breton pride, insult Irish stung. Rod Stewart. You're right, my friends, to lift the Joux. Him? This clown disco? This horn FM peroxide which had only one major role in the 80's: Grunge with a trigger resentment redoubled at the sight of his videos on MTV lame suit and pink girls in bikinis at the pool? This nerdy ultra-violet which is taken for the new Frank Sinatra a few years by publishing no fewer than six volumes of song-books useless and devoid of any soul.
Yes, my friends, Rod Stewart. I love Rod Stewart. I love Rod Stewart! But until 1974. Ah. Yes, because you imagine that the man was excellent during a dozen years. An absolute genius itself. More importantly, a voice, the voice of all the proles.
Rod, Blues singer forced to type all the galleys, the simple mods, the groups who made no tomorrow yet sparks in clubs, and then the miracle: the Jeff Beck Group. The boy corsa
of his voice hoarse exceptional two drives wonderful, tasty limits and without end: "Truth" in 1968 and "Beck Ola" in 1969. The quartet should have to kneel to the public of the Woodstock Festival, charring Ten Years After, The Who, Mountain, Jimi Hendrix and many others by the quintessence of Heavy-Blues. But the quartet separated three weeks, destroying all hope. Rod is a loser? Jeff Beck is surely a sacred head cunt. The result is undoubtedly the failure of a great group, and one of two solo careers that would have a different appearance with such prestige. But whatever.
Rod Stewart in London in 1969. Sacred year. The Hippies are dying in their graves dope, completed by Satanic Majesties at Altamont in December. The Stooges and MC5 were fucking on fire in Detroit. Led Zeppelin burn wild lands of his Ha rd-Blues glow.
Experience Jeff Beck Group nearly wanted to continue when Beck found a supergroup with the rhythm section of Vanilla Fudge, Tim Bogert is on bass and Carmine Appice on drums. Stewart should be in the game, but he could not stand the climate that prevailed weighing with Beck. The singer admits to not watching the guitarist in the eyes of two and a half years, for fear of crossing his hard eyes and inquisitive. Not cool enough, not enough fun. He much preferred the company of his buddy Ron Wood met in 1964 in a pub, and bassist Jeff Beck Group's first draft. It was not necessarily the best musician in the world, but at least he could play. When Lou
Reizner, head of Mercury, offers a solo artist contract Rod after hearing the first album the Jeff Beck Group, "Truth" in 1968, the blond Scottish seized his opportunity. Nevertheless, in July 1969 it will have to wait to enjoy it, the blame to other commitments Discographical exclusive.
He then engages his side a group of friends, not the least talented. Ron Wood is the game, on guitar and bass, of course. Other returning from the Jeff Beck Group, Mick Waller, drummer on the first album, and percussionist underestimated but absolutely stunning. Other fellow travelers miraculous join this little gang. One can also observe the presence of Martin Pugh, guitarist Mysterioso the formidable maestro-Steamhammer (but you already know). Ian MacLagan is on keyboards. He is a former pianist of the Small Faces, Faces and Future, a group that brings together former Small Faces Steve Marriott left except in Humble Pie. MacLagan, Kenney Jones and Ronnie Lane will become the faces with the arrival of ... Rod Stewart on vocals and Ron Wood on guitar.
When I say it's a bunch of friends! There is also Quittenton Martin on acoustic guitar, prodigy of English Folk-Blues at the time. It is particularly pre-Steamhammer guitarist of 71, and is co-author of the song "Maggie May" by Rod.
This disc is superb. Because is a simplicity, a humility that makes listening pleasure with this little treasure for the little guy, that neither hip nor the it-girls, will never listen because it's written This album, and Rod Stewart Blues period will never be fashionable, all-time forever. Write it, workers of the world: this disc is yours forever, that one, and then the next three, which we will surely. Let's be frank
: Rod Stewart is a composer too. He writes here with Wood half of the disc, which is however very honorable when compared to a disk Johnny Hallyday at the same time (sorry).
all starts with a sumptuous resumption of "Street Fighting Man" by the Rolling Stones. Rod Stewart and Ron Wood will inject a dose of Blues and proletarian roughness was missing this song. Everything begins with an acoustic guitar in hand that slide. The battery is clean, square, dry and powerful. Wood plays the bass, and amplifiers is snoring. The version seems to Country-Blues, but broke on his final by Keith Richards riff note for note. Woody seems born to play in the Rolling Stones, mastering the science of dirty riff ever. The result sees
sequencing of two superb titles very different but strangely complementary to my heart. The first is the beautiful Folk-Blues "Man of Constant Sorrow", imbued with a melancholy magic, both steeped in the blues and soul this typically British. This song is one of those songs that you whistle to give a bit of courage in the morning going to work.
The second is "Blind Prayer". Rock haunted, its melody is reminiscent of the best Steamhammer, but the one to come. There is the depth of the guitar, and this rage tinged with resignation, this desire to escape to freedom, the punctuation in the space-time. Martin Pugh's guitar shines a thousand lights, requiring the passage of its footprint outstanding composer. Stewart's voice is made of the wrath of the proletariat.
"Hanbags And Gladrags" is a nice quiet song where the piano is classy and high-timber are adding their touch of nobility and cream of British pop. It proves one thing above all is that Rod Stewart is able to sing what matters to me with an incredible talent, it also unfortunately proves during the last thirty years, singing mostly anything. After choking previous titles, this beautiful song is a beautiful contemplation of the English countryside.
"An Old Coat Will not Ever Let You Down" is a boogie efficient, cheerful, combining both the Blues and Folk Scottish English. Joyful, upbeat, she is a walking, that he should sing next to your neighbor with cap, I-phone glued to their ears, and through which muted burp the Black Eyed Peas. It is even probable that the pretty brunette with bangs in front of you not putting a tender smile of his eyes blue.
From Scotland, "I Would not Ever Change A Thing" in the proposed crossing of the moor, nose in the breeze and head in the pale sunlight. The power of
Heavy-Blues returns with the beautiful "Cindy's Lament." Again, Martin Pugh is out powder, supported by the low rough Ron Wood. Heady, angry, there is an explosion of guitars and piano. And I told you how Mick Waller is an amazing drummer, rich rhythmic beat.
is the ultimate anger before the muffled sound and "Dirty Old Town". This traditional song has its place here in this beautiful mix of Blues, Rock and Folk. The melody takes on the trappings almost jazz, guitar and harmonica before cross swords, seeing the figure of our hero away on the small paved road in the middle the Scottish moor, with a backdrop, a heap of coal and small brick houses with roofs of slate gray and wet and dust.
There are beautiful drives. I remember buying this album to release date and cover. And also the price, ridiculous. And this desire to tell me that Rod Stewart, after being in the Jeff Beck Group, had not been that bad.
I loved this disc. The songs, the artwork, sound and musicians. I find here the epitome of live music, rough but humane. It was definitely a different era, where the worst people were FM musical giants. What has happened, then happened to be there today? It's always the question I ask myself, ten years after purchasing this album.
all rights reserved 
"There are beautiful drives."
ROD STEWART: "An Old Raincoat Won ' t Ever Let You Down "1969
The sea rumbles under the gray sky with the colors of lead. The waves crashing on the pier, burying large rocks mossy brown algae Couvet. Small houses with slate roofs blend into the stormy sky, dark and clowns.
Pines and Oak Hill, which closes the port lie down under the onslaught of the wind. They did nothing wrong, they have already taken shape, battered throughout the year by the onshore winds that feel the salt spray.
I cast a last glance at the skyline. I can not help but find this tortured landscape yet rainy and wonderful. There is something magical, mysterious in these Celtic countries steeped in history and legend. Ankou, the sea, fishermen, druids, travel.
There, he yal'océan and the continent where they still say that everything is still possible. This is America, USA. And closer is the big sister, Great Britain, the perfidious Albion.
I love this land. I could walk there for days, his head in my thoughts. But I must return to the bourgeois Burgundy, the wines, these castles, Dukes, and that something magical, pagan, that does not exist here.
I am sometimes asked what disk could be the most fantastic dream vehicle for Celtic. He who breathes most heath Breton or Welsh, as the sweat and grime of the docks and factories of these workers, proud of the engine life of a country. Songs, simple walks along the sea or in the forest, the pints of beer with friends, the smiles of pretty redheads dancing and warm the heart of these men gruff but tender. I never found
Celtic music representative of these horizons. What we deign to offer us much that is fair based honky-tonk of beer. The Chieftains, or the Pogues (with tweezers), but also Alan Stivell, have done much to make me love this music. Festival Interceltique, the Corrs and a lot less.
In fact, one who has always represented the best that soul, these images I had in mind was none other than .... Rod Stewart. Scream, eructation of Breton pride, insult Irish stung. Rod Stewart. You're right, my friends, to lift the Joux. Him? This clown disco? This horn FM peroxide which had only one major role in the 80's: Grunge with a trigger resentment redoubled at the sight of his videos on MTV lame suit and pink girls in bikinis at the pool? This nerdy ultra-violet which is taken for the new Frank Sinatra a few years by publishing no fewer than six volumes of song-books useless and devoid of any soul.
Yes, my friends, Rod Stewart. I love Rod Stewart. I love Rod Stewart! But until 1974. Ah. Yes, because you imagine that the man was excellent during a dozen years. An absolute genius itself. More importantly, a voice, the voice of all the proles. Rod, Blues singer forced to type all the galleys, the simple mods, the groups who made no tomorrow yet sparks in clubs, and then the miracle: the Jeff Beck Group. The boy corsa
of his voice hoarse exceptional two drives wonderful, tasty limits and without end: "Truth" in 1968 and "Beck Ola" in 1969. The quartet should have to kneel to the public of the Woodstock Festival, charring Ten Years After, The Who, Mountain, Jimi Hendrix and many others by the quintessence of Heavy-Blues. But the quartet separated three weeks, destroying all hope. Rod is a loser? Jeff Beck is surely a sacred head cunt. The result is undoubtedly the failure of a great group, and one of two solo careers that would have a different appearance with such prestige. But whatever. Rod Stewart in London in 1969. Sacred year. The Hippies are dying in their graves dope, completed by Satanic Majesties at Altamont in December. The Stooges and MC5 were fucking on fire in Detroit. Led Zeppelin burn wild lands of his Ha rd-Blues glow.
Experience Jeff Beck Group nearly wanted to continue when Beck found a supergroup with the rhythm section of Vanilla Fudge, Tim Bogert is on bass and Carmine Appice on drums. Stewart should be in the game, but he could not stand the climate that prevailed weighing with Beck. The singer admits to not watching the guitarist in the eyes of two and a half years, for fear of crossing his hard eyes and inquisitive. Not cool enough, not enough fun. He much preferred the company of his buddy Ron Wood met in 1964 in a pub, and bassist Jeff Beck Group's first draft. It was not necessarily the best musician in the world, but at least he could play. When Lou
Reizner, head of Mercury, offers a solo artist contract Rod after hearing the first album the Jeff Beck Group, "Truth" in 1968, the blond Scottish seized his opportunity. Nevertheless, in July 1969 it will have to wait to enjoy it, the blame to other commitments Discographical exclusive.
He then engages his side a group of friends, not the least talented. Ron Wood is the game, on guitar and bass, of course. Other returning from the Jeff Beck Group, Mick Waller, drummer on the first album, and percussionist underestimated but absolutely stunning. Other fellow travelers miraculous join this little gang. One can also observe the presence of Martin Pugh, guitarist Mysterioso the formidable maestro-Steamhammer (but you already know). Ian MacLagan is on keyboards. He is a former pianist of the Small Faces, Faces and Future, a group that brings together former Small Faces Steve Marriott left except in Humble Pie. MacLagan, Kenney Jones and Ronnie Lane will become the faces with the arrival of ... Rod Stewart on vocals and Ron Wood on guitar.
When I say it's a bunch of friends! There is also Quittenton Martin on acoustic guitar, prodigy of English Folk-Blues at the time. It is particularly pre-Steamhammer guitarist of 71, and is co-author of the song "Maggie May" by Rod. This disc is superb. Because is a simplicity, a humility that makes listening pleasure with this little treasure for the little guy, that neither hip nor the it-girls, will never listen because it's written This album, and Rod Stewart Blues period will never be fashionable, all-time forever. Write it, workers of the world: this disc is yours forever, that one, and then the next three, which we will surely. Let's be frank
: Rod Stewart is a composer too. He writes here with Wood half of the disc, which is however very honorable when compared to a disk Johnny Hallyday at the same time (sorry). all starts with a sumptuous resumption of "Street Fighting Man" by the Rolling Stones. Rod Stewart and Ron Wood will inject a dose of Blues and proletarian roughness was missing this song. Everything begins with an acoustic guitar in hand that slide. The battery is clean, square, dry and powerful. Wood plays the bass, and amplifiers is snoring. The version seems to Country-Blues, but broke on his final by Keith Richards riff note for note. Woody seems born to play in the Rolling Stones, mastering the science of dirty riff ever. The result sees
sequencing of two superb titles very different but strangely complementary to my heart. The first is the beautiful Folk-Blues "Man of Constant Sorrow", imbued with a melancholy magic, both steeped in the blues and soul this typically British. This song is one of those songs that you whistle to give a bit of courage in the morning going to work.
The second is "Blind Prayer". Rock haunted, its melody is reminiscent of the best Steamhammer, but the one to come. There is the depth of the guitar, and this rage tinged with resignation, this desire to escape to freedom, the punctuation in the space-time. Martin Pugh's guitar shines a thousand lights, requiring the passage of its footprint outstanding composer. Stewart's voice is made of the wrath of the proletariat. "Hanbags And Gladrags" is a nice quiet song where the piano is classy and high-timber are adding their touch of nobility and cream of British pop. It proves one thing above all is that Rod Stewart is able to sing what matters to me with an incredible talent, it also unfortunately proves during the last thirty years, singing mostly anything. After choking previous titles, this beautiful song is a beautiful contemplation of the English countryside.
"An Old Coat Will not Ever Let You Down" is a boogie efficient, cheerful, combining both the Blues and Folk Scottish English. Joyful, upbeat, she is a walking, that he should sing next to your neighbor with cap, I-phone glued to their ears, and through which muted burp the Black Eyed Peas. It is even probable that the pretty brunette with bangs in front of you not putting a tender smile of his eyes blue. From Scotland, "I Would not Ever Change A Thing" in the proposed crossing of the moor, nose in the breeze and head in the pale sunlight. The power of
Heavy-Blues returns with the beautiful "Cindy's Lament." Again, Martin Pugh is out powder, supported by the low rough Ron Wood. Heady, angry, there is an explosion of guitars and piano. And I told you how Mick Waller is an amazing drummer, rich rhythmic beat.
is the ultimate anger before the muffled sound and "Dirty Old Town". This traditional song has its place here in this beautiful mix of Blues, Rock and Folk. The melody takes on the trappings almost jazz, guitar and harmonica before cross swords, seeing the figure of our hero away on the small paved road in the middle the Scottish moor, with a backdrop, a heap of coal and small brick houses with roofs of slate gray and wet and dust. There are beautiful drives. I remember buying this album to release date and cover. And also the price, ridiculous. And this desire to tell me that Rod Stewart, after being in the Jeff Beck Group, had not been that bad. I loved this disc. The songs, the artwork, sound and musicians. I find here the epitome of live music, rough but humane. It was definitely a different era, where the worst people were FM musical giants. What has happened, then happened to be there today? It's always the question I ask myself, ten years after purchasing this album. all rights reserved Thursday, January 27, 2011
Will Dsc Alarm Work With Trouble Light # 4 On
The club, players and friends want USSP
show their full support to the family and close
François Sanchez
who left us this day.
show their full support to the family and close
François Sanchez
who left us this day.
Francis has been since the inception of the club,
president for years,
leader, friend and also support
several generations of players, but especially
his sons, nephews and grandchildren at last.
leader, friend and also support
several generations of players, but especially
his sons, nephews and grandchildren at last.
Sunday, January 23, 2011
What To Say To Someone That Is Having A Baby?
J14, 1st Division: The St. Paulois are treading water.
Scotland 3-2 USSP
Goals: Pedoussat Mr. and Costeseque Y
Warning: Costeseque Y.
Subs: J. Queiroz Mr. and Tartit
Scotland 3-2 USSP
Goals: Pedoussat Mr. and Costeseque Y
Warning: Costeseque Y.
Subs: J. Queiroz Mr. and Tartit Sobriey Inspirational Poems
D14, 1st Division Promotion: USSP gates of relegation!
Rieux of Pelleport II 2-0 USSP II
Warnings: C. Milesi , Delrieu B. , Walheim F. Augé and P.
Alternate: Fontaine
Rieux of Pelleport II 2-0 USSP II
Warnings: C. Milesi , Delrieu B. , Walheim F. Augé and P.
Alternate: Fontaine
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