Advertising online Versus Advertising Offline

When you add an advertise on blogs that is relevant to your own website or blog you are probably assuming that most of your traffic will come from the ad itself. This makes sense because visitors to the blog will see your ad and then hopefully take action by contacting you about your product or service or by clicking on a link which would take them to your own website or blog. This makes sense because this is similar to how advertising works offline. You place an ad in the newspaper, on tv, etc. People see your ad and then hopefully take action. However, there is one extra benefit to advertising online - backlinks!

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Plan 9 - I’ve Just Killed A Man And I Don’t Want To See Any Meat - Live (1985 Us neo-psychedelic rock - Vinyl Rip - Wave)

Tracklist
A1- Intro Poem By Kenne Highland (Rat Club, Boston)
A2- Dealing With The Dead (Rat Club)
A3- I'm Gone (Rat Club)
A4- Gotta Move (9:30 Club, Wash D.C.)
A5- I Like Girls (Grotto, New Haven)
A6- Step Out Of Time (Rat Club)
B1- Looking At You (Living Room, Prov. RI.)
B2- B-3-11 (Rat Club)
B3- Try To Run (Grotto)
B4- I Can Only Give You Everything (Rat Club, Boston)

Link

Glazunov: The Seasons, Scénes de Ballet

"The performances do their utmost for music that is certainly rewarding to play." —Gramophone

The Seasons was popular as a ballet from its first performance in 1899, though it hardly ever seems to be staged nowadays and the music has not found much of an independent life. The frame of the work is familiar enough, with wintry hail and snow yielding to vernal sproutings and chirrupings, then summery cavortings by not terribly over-heated satyrs and nymphs, finally autumnal roisterings, in turn a trifle low-proof (especially from a composer with such a formidable alcoholic intake).

Glazunov goes about his task with high skill and a style suggesting that nothing had happened since the death of Tchaikovsky six years previously. The trouble, inevitably, is that comparisons cannot help being odious. Time and again Glazunov sets off with a promising idea, only to let it go slack. The manner is agreeable, easy on the ear, well crafted but unmemorable.

With the Scenes de Ballet—not written for dancing, as it happens, but as a concert suite—the Tchaikovskian flavour is still more pronounced, with a nice "Marionettes" every bit as well scored as one of Tchaikovsky's musical clock numbers but less melodious, a hefty mazurka that prances about effectively, a "Danse orientale" that might have been a Nutcracker reject, and, alas, a waltz Gramophone December 1993 67 that has all the right manner without much in the way of matter. The performances do their utmost for music that is certainly rewarding to play and can well pass the time pleasantly. --JW. Gramophone Magazine

Rachmaninov, Shostakovich & Lutoslawski

Ashkenazy's 20-year-old Swedish protégé proves worthy of the maestro's patronage. On the evidence of this disc he is a well-balanced musician with his heart and fingers in the right places, and his chosen programme is a stimulating one.

“Jablonski, whose credentials include having been voted best jazz drummer in Sweden at the age of seven (!), revels in its high jinks, and Ashkenazy and the orchestra just manage to hang on to his coat-tails... an exciting end to an admirably played and recorded disc.” --Gramophone Magazine

Jablonski's Rachtnaninov perhaps commands more respect than excitement, but it won my respect before I was aware of his youth. Generally lucid and level-headed, his limitations show up at extremes of the character range. In particular, he does not yet have the knack of retaining communicative intensity in quiet lyrical playing, and a number of variations, such as the first Dies irae from 322", are inclined to sit back on their haunches. Some of his loudest chords are accompanied by foot-stamping, and in the famous Eighteenth Variation Jablonski's singing tone, pleasant though it is, lacks a degree of richness—the orchestra's entry at 15'55" sounds as though taken from a different, more emotionally committed take. That said, he is a very musicianly player, and the RPO's attentive contribution and Decca's superb recording help to make this one of the more satisfying accounts on record.

The Shostakovich concerto is a good choice, not just as a near contemporary of the Paganini Rhapsody, but as a bridge to the zany world of Lutoslawski. It receives a fluent, well-judged and idiomatic performance with every note in place and some lovely trumpet playing from Raymond Simmons. This is a valuable complement to the manically explosive Kissin on RCA; the even younger Russian's brashness did nothing for MEO but it strikes me as a perfectly valid response to the 'low-art' origins of so many of Shostakovich's ideas.

Lutoslawski's Paganini Variations are a 1978 orchestration of the familiar 1941 two-piano work. I had not heard this version before and was instantly captivated. Jablonski, whose credentials include having been voted best jazz drummer in Sweden at the age of seven (!), revels in its high jinks, and Ashkenazy and the orchestra just manage to hang on to his coat-tails—an exciting end to an admirably played and recorded disc. -- Gramophone [12/1992]

Eichner: Six Quartets for Flute, Violin, Viola & Cello

Ernst Eichner was a composer of the so-called Mannheim School who fell into obscurity as the Romantics discarded the light music of the Classical era, and whose music has until now been overlooked in the general late eighteenth century revival -- probably because the focus on music of the period has shifted from Mannheim to Vienna. But of course the influence of the Mannheim composers was continent-wide; Mozart's symphonies and keyboard sonatas from the late 1770s, for example, can't be understood without it. 

The chief musical attraction in Mannheim was the court orchestra maintained by the Elector of the Palatinate, outsized to match the Elector's mega-palace (at the end of World War II it was about the only thing standing). This set of six quartets for flute, violin, viola, and bass, composed in 1771, bears many traces of the Mannheim symphonic style; the melodies for the flute are chunky and a bit rudimentary, but they are nicely set off against very active arpeggio figures from the three strings. The music is high energy and upbeat, with hardly a slow movement present among the 12 on the disc -- each of the six quartets has only two movements.

There's not a lot of contrast among them, and the threat of what some unsung genius of country songwriting once called mutiny on the monotony is present for the listener, but those whose boat is rocked by Classical-era chamber music will find some intriguing movement types here (track 8 reproduces what must be one of the earlier movements marked scherzando), and the hour of listening offered is never less than pleasant and invigorating. Flutist Jan de Winne plays a modern copy of a period flute. --allmusic.com

Baroque Music of Bologna

"The St James's players respond well; articulation is crisp and accurate, the sound well balanced, and vibrato all but eliminated. Above all there is some spectacular trumpet playing, and the skeletal continuo indications have been realized with imagination and restraint. The result is an enjoyable and undemanding sequence of pieces." --IF. Gramophone Magazine

During the sixteenth century Bologna was comparatively unimportant as a musical centre; musical life was centred on the principal churches and monasteries, but even there there were few musicians of any real significance apart from Giovanni Spataro (a highly-respected theorist whose fascinating letters have just been published), the first maestro di cappella at the major church of the city, San Petronio. As with painting, the real change came in the seventeenth century when an orchestra was added to the forces available at San Petronio, and when the foundation of the famous Accademia Filarmonica encouraged a school of local composition.

This new record from Ivor Bolton and the St James's Baroque Players provides a fair sample of the Bolognese baroque manner, and particularly of the San Petronio cappella. Inaugurated by Maurizio Cazzati, whose music is not represented here, it culminates in the music of Giovanni Battista Vitali and Giuseppe Torelli. It is Torelli's music that is by far the most interesting on the record, harmonically more varied, with a greater sense of drama and altogether more lyrical.

The St James's players respond well; articulation is crisp and accurate, the sound well balanced, and vibrato all but eliminated. Above all there is some spectacular trumpet playing, and the skeletal continuo indications have been realized with imagination and restraint. The result is an enjoyable and undemanding sequence of pieces, at times a little dull perhaps (Franceschini's stereotyped triadic figures, endless scale passages and simpleminded fugato writing doesn't encourage one to rush for more), but always played with great style and musicality. --IF. Gramophone

Boccherini: Los últimos trios

This sumptuous Spanish release presents four trios from late in Luigi Boccherini's career. The three players La real cámara actually come from three different countries: they are Spanish, Italian, and German—appropriate for Boccherini, an Italian who worked in Spain for much of his life in the late eighteenth century and had to contend with a musical world in which the center of innovation was shifting to far-off German-speaking lands. The very detailed and informative liner notes by violinist Emilio Moreno truculently disparage anyone who classifies Boccherini as a minor composer. It's better to let the music speak for itself, which it does reasonably well.

The chief interest of these trios, as Moreno points out, is that they were written for the antiquated combination of two violins and a cello—but nevertheless manage to build large, late-Classical structures that introduce lots of variety and still hold together. The key is Boccherini's skilled writing for his own instrument, the cello. If you've heard one or two of the more famous Boccherini chamber works (like the quintet subtitled "La ritirata de Madrid"), you'll certainly enjoy the way Boccherini can make his cello sing sweetly or churn away in quasi-symphonic sounds in these works.

His melodic inspiration flags at times, but on the whole this is an attractive disc of Classical-era chamber music that rediscovers some buried works. Glossa's sound engineers, working in the Iglesia de San Miguel in the Spanish city of Cuenca, create an ideal environment for a small string group. --James Manheim, All Music Guide