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WASHINGTON/CAIRO, April 4 - Iran's forces were hunting on Saturday for a missing U.S. pilot from one of two warplanes downed over Iran and the Gulf, officials from both sides said, while two airmen were rescued. Read more at straitstimes.com. Read more at straitstimes.com.

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On Monday morning, NBC’s Today show and CBS This Morning read from the same liberal script as reporters on both networks hyped exaggerated predictions in a new government climate change study. Amid all the fearmongering, correspondents hammered “deniers” like President Trump for not forcing dramatic reductions in fossil fuel emissions.

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El presidente de Estados Unidos, Donald Trump, ha decidido congelar la concesión de miles de millones de dólares destinados a proyectos de ayuda en todo el

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“Can't We Be Friends” was recorded by Ella Fitzgerald & Louis Armstrong at the brand-new Capitol Studios Tower, Hollywood, on August 16, 1956. It was released on October 6, 1956 on the album ‘Ella and Louis” [MG V-4003] in mono on Verve Records. Enjoy my DES [Digitally Extracted STEREO] conversion of this historic jazz recording. “Ella and Louis” is a studio album by Ella Fitzgerald and Louis Armstrong, accompanied by the Oscar Peterson Quartet, released in October 1956. Having previously collaborated in the late 1940s for the Decca label, this was the first of three albums that Fitzgerald and Armstrong were to record together for Verve Records, later followed by 1957's Ella and Louis Again and 1959's Porgy and Bess. Norman Granz, the founder of the Verve label, selected eleven ballads for Fitzgerald and Armstrong, mainly played in a slow or moderate tempo. Recording began August 16, 1956, at the new Capitol Studios in Hollywood. Though Granz produced the album, Armstrong was given final say over songs and keys. The success of Ella and Louis was replicated by Ella and Louis Again and Porgy and Bess. All three were released as The Complete Ella Fitzgerald & Louis Armstrong on Verve. Verve also released the album as one of the first ones in SACD. Personnel on this recording: • Ella Fitzgerald – Vocals • Louis Armstrong – Vocals, Trumpet • Oscar Peterson – Piano • Herb Ellis – Guitar • Ray Brown – Bass • Buddy Rich – Drums About the MONO mix: This track is from the 1999 CD mastering of “Ella and Louis”. The original track was recorded on the finest equipment that ever existed, at the brand-new Capitol Records Tower, Studio A. About my DES mix: For the Vocals, I removed the original natural reverb and replaced it with a crisp, short stereo reverb to give continuity to the stereo image. Ella’s vocal was fine, but I had to run a medium DeESSer on Louis’s portions. I panned the Piano and Guitar Left with opposing reverb on the Right. I centered the trumpet and added a slight stereo reverb. For the Drums, I panned them Right using with opposing reverb into the left. I kept the Bass centered and untouched. Technical Information: I used DeMIX PRO to isolate the Vocals, Instruments, Drums and Bass into 4 separate tracks. I used SpectraLayers PRO-7 to isolate the Trumpet as the 5th track so I could keep it centered. Adobe Audition 2020 was used for Dynamic Range recovery, Reverb, Delay, EQ, and final mixdown. Sonic Studio’s Amarra Luxe Sound Processor was used for post EQ and upsampling. NERO 2019 Platinum used to generate the final video. For more information on spectral editing and sound source separation, visit https://www.monotostereo.info/ Enjoy my MONO-to-STEREO conversion of this historic jazz recording from 1956. This video is strictly for entertainment purposes only. No copyright infringement is intended.

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"You'll Never Know", sometimes referred to as "You'll Never Know (Just How Much I Love You)" in later years, is a popular song with music written by Harry Warren and the lyrics by Mack Gordon. The song is based on a poem written by a young Oklahoma war bride named Dorothy Fern Norris. The song was introduced in the 1943 movie Hello, Frisco, Hello where it was sung by Alice Faye. The song won the 1943 Academy Award for Best Original Song, one of nine nominated songs that year. It was also performed by Faye in the 1944 film Four Jills in a Jeep. The song is often credited as Faye's signature song. However, Faye never released a record of the ballad, and frequent later recordings of the song by other singers diminished her association with it. Renée Fleming recorded a version of "You'll Never Know" for the film The Shape of Water. The song was introduced in the 1943 movie Hello, Frisco, Hello where it was sung by Alice Faye. The song won the 1943 Academy Award for Best Original Song, one of nine nominated songs that year. It was also performed by Faye in the 1944 film Four Jills in a Jeep. The song is often credited as Faye's signature song. However, Faye never released a record of the ballad, and frequent later recordings of the song by other singers diminished her association with it. Dame Vera Lynn, DBE (born Vera Margaret Welch on 20 March 1917), widely known as "The Forces' Sweetheart" is an English singer, songwriter and actress whose musical recordings and performances were enormously popular during the Second World War. During the war she toured Egypt, India and Burma, giving outdoor concerts for the troops. The songs most associated with her are "We'll Meet Again", "The White Cliffs of Dover", "A Nightingale Sang in Berkeley Square" and "There'll Always Be an England". She remained popular after the war, appearing on radio and television in the UK and the United States and recording such hits as "Auf Wiederseh'n Sweetheart" and her UK Number one single "My Son, My Son". In 2009 she became the oldest living artist to make it to No. 1 on the British album chart, at the age of 92. She has devoted much time and energy to charity work connected with ex-servicemen, disabled children and breast cancer. She is still held in great affection by veterans of the Second World War and in 2000 was named the Briton who best exemplified the spirit of the twentieth century. In September 2009 Lynn became the oldest living artist to make it into No. 1 in the British album chart, at the age of 92, passing such veterans of music as American jazz trumpeter Louis Armstrong and French singer Charles Aznavour. Her collection We'll Meet Again: The Very Best of Vera Lynn entered the chart at number 20 on 30 August, and then climbed to number 2 the following week, before reaching the top position, outselling both the Arctic Monkeys and the Beatles.[46] In its third week the album went gold with sales of over 100,000. On 20 March 2014, her 97th birthday, Lynn announced that she was releasing a new album Vera Lynn: National Treasure – The Ultimate Collection. The album was released on 2 June, to mark the 70th anniversary of the D-Day landings, which occurred four days later. In August 2014, Lynn was one of 200 public figures who were signatories to a letter to The Guardian opposing Scottish independence in the run-up to September's referendum on that issue. You'll never know just how much I miss you You'll never know just how much I care And if I tried, I still couldn't hide my love for you You ought to know, for haven't I told you so A million or more times? You went away and my heart went with you I speak your name in my every prayer If there is some other way to prove that I love you I swear I don't know how You'll never know if you don't know now (You went away and my heart went with you I speak your name in my every prayer) If there is some other way to prove that I love you I swear I don't know how You'll never know if you don't know now You'll never know if you don't know now

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from Colour Me Free! album by Joss Stone, released in 2009. Joss Stone – vocals; background vocals Jeff Beck – guitar Sheila E. – percussion Pete Iannacone – bass Lemar Carter – drums Bobby Ozuna – additional percussion Kenya Baker – guitar Hollie Farris – trumpet Jeff Watkins – saxophone Winston Rollins – trombone Christian Lohr – Hammond; keyboards Jonathan Shorten – Clavinet Charles Jones – background vocals Ellison Kendrick – background vocals . I don't own anything

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Jack Nicklaus DEFENDS His SUPPORT for Donald Trump Amidst New Charges. ???? ENJOYING our content? Don't forget to SUBSCRIBE ❗ ???? Looking for Sports Videos in Spanish? Check out our Spanish channels. ???? TJ Sports - https://www.youtube.com/TJSports TJ Sports: Basketbolismo - https://www.youtube.com/@Basketbolismo TJ Sports: Footballismo - https://www.youtube.com/@Footballismo TJ Sports: Grandes Ligas - https://www.youtube.com/@TJSportsGrandesLigas TJ Sports: eMeLeSeros - https://www.youtube.com/@eMeLeSeros ???? Videos from the Mexican Soccer League (Liga MX): ???? TJ Sports: Mexican Soccer League - https://www.youtube.com/@MexicanSoccerLeague Follow us on Social Media - ● IG: https://www.instagram.com/TJSportsUSA ● FB: https://www.facebook.com/TJSportsUSA ● Twitter: https://twitter.com/TJSportsUSA ✔️ Subscribe for New Uploads Every Week! #TJSportsUSA #GrandSlam #golftournament #golf #TheMasters #masters2023 #GolfNews #donaldtrump #trump

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The Trump campaign is defending the ads, saying the red inverted triangle is also used by Antifa groups.

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Provided to YouTube by RCA Records Label I Miss Those Days · Bleachers I Miss Those Days ℗ 2017 RCA Records, a division of Sony Music Entertainment Released on: 2017-05-25 Composer, Lyricist, Producer: Jack Antonoff Saxophone: Evan Smith Trumpet: Nico Segal Background Vocal: Nicole Atkins Co- Producer: Greg Kurstin Engineer, Vocal Producer: Laura Sisk Recording Engineer: JD Tiner Mixing Engineer: Neal Avron Assistant Engineer: Scott Skrzynski Auto-generated by YouTube.

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Billie Holiday's first recording- = "Your Mother's Son-In-Law." From Benny Goodman first session as a leader--November 27, 1933. Benny Goodman, clarinet Jack Teagarden, trombone Charlie Teagarden, Shirley Clay, trumpets Art Karle, tenor sax Dick McDonough, guitar Artie Bernstein, bass Gene Krupa, drums Joe Sullivan or Buck Washington on piano? The dispute over the pianist's identity doesn't matter to me since the instrument is not prominent The label calls this "Your Mother's Son-In-Law," but Billie correctly sings "My Mother's Son-In-Law." She tells her boyfriend "I want to marry--if you are my mother's son-in-law, that means I'm your wife!" This was cut at the very end of a Goodman session. Earlier Ethel Waters sang two vocal refrains. Ethel Waters was a minor talent compared to Billie, but nobody knew it at the time. A decade would pass before Billie's celebrity status matched or exceeded Ethel's. I love "Your Mother's Son-In-Law"! Jazz critics complain that Billie was forced to work with trite songs in her early days. Jazz critics can be silly. Billie Holiday handles so-called "trite" songs in interesting ways, and I prefer Billie's early "trite" material (here the songwriters are Mann Holiner and Alberta Nichols) to her later renditions of songs by Cole Porter, Gershwin, and other song-writing geniuses. This is Billie Holiday's first studio recording. She was 18. The unknown singer (well, not unknown to producer John Hammond) provides a vocal refrain for Benny Goodman's studio band when the nation's economic depression was at a low point. Billie had been working at Monette's Supper Club on 133rd Street in Harlem--she sang at Connie's Inn and Covan's on West 132nd Street, too. Hammond spotted her talent (at Covan's, it seems--he was expecting to hear Monette Moore) and convinced Benny Goodman to use Billie at a session that Hammond set up. Jazz critics have written that Billie sounds nervous here, but I don't hear it. The record is rare, which is true for virtually every disc (no matter the artist) made in 1933. One of Billie's best performances! I confess that I much prefer Billie's upbeat material to "Strange Fruit" and to any blues she covered. Weeks later, on December 18, Billie returned to the Columbia studio to sing a vocal refrain on "Riffin' the Scotch," which sold relatively well for a Depression-era disc. Then 17 months passed before Billie would again appear in a recording studio--on July 2, 1935, beginning with "I Wished On The Moon." "Your Mother's Son-In-Law" was featured in Lew Leslie's revue titled "Blackbirds of 1934." Jules Bledsoe is cited in the song's lyrics. He was an African-American baritone who is now mostly forgotten. His heyday was around the time this record was made though he was not exactly a household name. He covered some material that Paul Robeson also covered, such as "Ol' Man River" from Show Boat. Paul Robeson is still remembered but not Bledsoe. You don't have to have a hanker To be a broker or banker. No, siree, just simply be My mother's son-in-law. Needn't even think of tryin' To be a mighty social lion Sipping tea if you'll be My mother's son-in-law. Ain't got the least desire To set the world on fire. Just wish you'd make it proper To call my old man "papa." You don't have to sing like Bledsoe. You can tell the world I said so. Can't you see you've got to be My mother's son-in-law? You don't have to sing like Bledsoe. You can tell the world I said so. Can't you see you've got to be My mother's son-in-law? Songwriters are Mann Holiner and Alberta Nichols. Five days before this session, on November 22, Benny Goodman was at an Annette Hanshaw session. Benny worked with first-class singers! With Benny in a studio three days before this first Billie Holiday session was Bessie Smith--a singer who influenced Billie. Bessie was at the end of her recording career, and Billie was at the start of hers. I view November 1933 as the end of one era (a blues singer who peaked in the '20s) and the start of a new one (a jazz singer taught others a new way)--a bridge here or connection was the great (and young) Benny Goodman. Benny was a mere session man during the Hanshaw and Smith sessions (on Bessie's "Gimmie A Pigfoot," Benny is hardly audible), but with Billie at this session, Benny was the leader, his playing hot! My rule of thumb for Billie 78s: the earlier, the better. I love this record. It never bores me unlike many of Billie's later discs. From 1935 until a recording ban on August 1, 1942, Billie sang on around 155 sides (153? 158?) that became Columbia property. She made Commodore recordings, beginning on April 20, 1939. She made Decca recordings, starting in October 1944. By this time Billie was more of a chanteuse or star of song or cabaret singer, less of a jazz singer. From 1952 to 1957, she sang for Norman Granz's Verve label. Her voice was no longer the glorious instrument it had been 20 years earlier.

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enjoy Tracklist: A1 Shipwrecked Man Backing Vocals – Carla Bley Written By – Bert Lee 2:45 A2 I Was Doing All Right Written By – George & Ira Gershwin 3:07 A3 The Prize Written By – Bert Lee 3:26 A4 Way Down Yonder In New Orleans Written By – Henry Creamer, Turner Layton 3:30 A5 Stomping At The Savoy Written By – Sampson/Webb/Goodman 3:18 A6 Mr. Blake Written By – Richard Lieberson 4:14 B1 San Antonio Rose Written By – Bob Wills 3:12 B2 The People's Key Written By – Bob Hipkens 3:22 B3 The Memory Of Your Smile Written By – Ruby Rakes 2:37 B4 Cherokee Written By – Ray Noble 4:42 B5 Wind In The Pines Written By – Bert Lee 2:07 B6 Honeysuckle Rose Written By – Razaf - Waller - Brooks 2:41 Credits Arranged By [Swing Arrangements] – Richard Lieberson, The Central Park Sheiks Bass Guitar – John Caruso (4) Dobro, Trumpet, Vocals – Bob Hipkens Drums – Gary Burke Engineer – Michael Mantler Guitar, Vocals – Bert Lee (2), Richard Lieberson Photography – James McCarthy (6) Photography, Design Concept – Ken Kobland Producer – Michael Melford Violin – Matt Glaser

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What started as a simple conversation quickly turned hostile. When ICE was mentioned, the tone shifted from slogans to threats. Protesters made it clear that discussion was not welcome. This moment shows how political division now turns dialogue into confrontation.

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Palm Beach, FL

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❤️❤️❤️This is one of the most profound videos I’ve filmed at Trump’s 3rd indictment in DC. As tears rolled down his cheeks. His father who was a WWII veteran (like my dad) told him “We gotta stop this guy”. https://t.co/DSOAN70RSo

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PURCHASE ON GOOGLE PLAY BOOKS ►► https://g.co/booksYT/AQAAAECyYmEiwM The Violent Take It By Force: The Christian Movement That Is Threatening Our Democracy Authored by Matthew D. Taylor Narrated by Asa Siegel 0:00 Intro 0:03 Copyright 1:46 Introduction 35:03 Chapter 1. A Televangelist in the White House 1:07:29 Outro #matthewdtaylor #theviolenttakeitbyforcethechristianmovementthatisthreateningourdemocracy — GOOGLE PLAY BOOKS Find your next great read with Google Play Books. Google Play Books is a global digital bookstore offering ebooks, audiobooks, comics, and manga. Discover book recommendations personalized just for you. Get the iOS app: https://goo.gle/books-ios Get the Android app: https://goo.gle/books-android — BOOK DESCRIPTION Over the last decade, the Religious Right has evolved. Some of the more extreme beliefs of American evangelicalism have begun to take hold in the mainstream. Scholar Matthew D. Taylor pulls back the curtain on a little–known movement of evangelical Christians who see themselves waging spiritual battles on a massive scale. Known as the New Apostolic Reformation, this network of leaders and believers yields colossal influence, galvanizing support for Trump and far–right leaders around the world. In this groundbreaking account, Taylor explores the New Apostolic Reformation from its inception in the work of a Fuller Seminary professor, to its immense networks of apostles and prophets, to its role in the January 6 riot. Taylor's unprecedented access to the movement's leaders, archives, internal conference calls, and correspondence gives us an insider account of the connection between charismatic evangelicalism and hard–right rhetoric. Taylor delves into prophetic memes like the Seven Mountains Mandate, the Appeal to Heaven flag, and the Cyrus Anointing; Trump's spiritual advisor Paula White's call for "angelic reinforcements"; and Sean Feucht and Bethel Music's titanic command of worship styles across America. Throughout, Taylor maps a movement of magnetic leaders and their uncompromising beliefs—and where it might be headed next. — ABOUT THE AUTHOR Matthew D. Taylor is a religious studies scholar and expert in independent charismatic Christianity and Christian nationalism. He is the creator, writer, and narrator of the Charismatic Revival Fury audio–documentary series on the Straight White American Jesus podcast and author of Scripture People. Asa Siegel is a classically trained actor with extensive professional stage experience. He is also a highly skilled voice actor across the spectrum, with work including audiobooks, narration, video games, animated television series, promos and trailers, and national television and radio commercials. — AUDIOBOOK DETAILS Purchase on Google Play Books ►► https://g.co/booksYT/AQAAAECyYmEiwM Language: English Publisher: Christian Audio Published on: September 24, 2024 ISBN: 9781545927199 Duration: 11 hr, 14 min Genres: Religion / Christian Theology / History, Religion / Faith, Religion / Fundamentalism, Religion / Religion, Politics & State

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Recorded live at the Golden Slipper , Newark New Jersey 1971 C Jam Blues Appears on Blues In Concert Written-By – D. Ellington JIMMY McGRIFF, organ JUNIOR PARKER, vocals* RONALD WHITE, trumpet JOSEPH MORRIS, alto sax WILLIAM THORPE, baritone sax ARTHUR "FATS" THEUS, tenor sax HORACE OTT, electric piano O'DONEL LEVY, guitar WILLIE "SAINT" JENKINS, drums WILLIAM THORPE, baritone sax *Junior Parker is not featured on this track Groove Merchant – GM-4405 Series: Groove Giants Format: 2 x Vinyl, LP, Compilation Country: US Released: 1975

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The best local & breaking news source in the US, featuring local weather, alerts, deals, events and more.

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Discours du Secrétaire Général du Hezbollah, Sayed Hassan Nasrallah, le 20 mars 2020, consacré à l’affaire Amer Fakhoury (binational libano-américain, ex-responsable de la milice pro-israélie…

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Bill Henderson - Baby Won't You Please Come Home ............................................... William Randall "Bill" Henderson (March 19, 1926 – April 3, 2016) was an American jazz singer and actor in television and film. Henderson began his professional music career in 1952, performing in Chicago with Ramsey Lewis, and.... ............................................... Read more : https://en.wikipedia.org/wiki/Bill_Henderson_(performer) ............................................... Bill Henderson - Vocal.... Buck Clayton - Trumpet.... Georgie Auld - Tenor Sax.... Osie Johnson - Drums.... Johnny Guarnieri - Piano.... Vinnie Burke - Bass.... ................................................ Recorded - October 9, 1958 - Art Ford's Jazz Party ................................................ Why search for your favorite music in my channel? Because i'm always trying to name the musicians, place and date of the recordings! ............................................................ Please let me know if i have missed something. ............................................................ Make it easy on yourself.. check my playlists, or search my channel for your favorite artist/song..... ............................................................ Subscribe yourself to the channel to keep up with the latest uploads ............................................................ Have Fun!! ........................................................... I Will remove any video if asked too. ........................................................... And most of all !!! ........................................................... I hope that , trough these video's, i have inspired you to go and get the original recordings because there is nothing like the original!! So that's what i'm doing it for..... Go to your local recordstore, the internet or whatever, and get the original!! ........................................................... Enjoy !!! ............................................................ FAIR USE DISCLAIMER: I do not own copyright for this copyrighted artwork, but under Section 107 United States Copyright Law as noted by the United States Copyright Office (Copyright Act 1976), allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. I state here in a good faith that I have made and uploaded here this copy of this copyrighted artwork completely for the purposes of teaching and research, that my action - i.e. my production of the copy of this copyrighted artwork and sharing of it here on Youtube in this particular case - is totally non-profit, and that I believe that my production of this copy of this copyrighted artwork and sharing of it here in Youtube in this particular case can only increase value of this copyrighted artwork and produce only positive effects for this copyrighted artwork in its potential market.

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Move Bebop Fats Navarro Quintet Vocals: Earl Coleman Writer: Denzil Best Instrumentation: Saxophone, Trumpet, Piano, and Drums Don Lanphere (Tenor Saxophone) Fats Navarro (Trumpet) Linton Garner (Piano) Jim Johnson (Bass) Max Roach (Drums) Catalog Number: Dial 1033-A Matrix Number: D-1166-B (10", 78 RPM) Place and Take Date: WOR Studios, 1440 Broadway, New York NY, 1948-11-29 Reverse Side: Blues In Teddy's Flat We hear Fats Navarro at the height of his powers. His trumpet playing is clear, balanced, and highly logical: long, flowing bebop lines, precise articulation, and a strong sense of harmonic direction. Navarro doesn’t just play fast—he plays with structure, and that gives the entire performance its forward drive. Within this setting, Max Roach’s drumming stands out as quietly revolutionary. His drum solo is not about showmanship or volume. Instead, it reveals a new way of thinking about the drum set in bebop. Nothing feels random or decorative. Every gesture relates to the form of the tune. What makes the solo especially modern is its motivic logic. Roach develops short rhythmic ideas, repeats and varies them, and moves them around the drum set—much like a horn player develops melodic phrases. The drums don’t just support the music; they participate in the improvisation. Although this solo was not widely discussed at the time, it clearly points toward the future.

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Featured on the new release "Always Forward" Marshall Gilkes & the WDR Big Band. Purchase a copy here! http://marshallgilkes.bandcamp.com/album/always-forward-2 www.marshallgilkes.com Marshall Gilkes composer, arranger, conductor, trombone Johan Hörlen-alto saxophone Karolina Strassmayer-alto saxophone Olivier Peters-tenor saxophone Paul Heller-tenor saxophone Jens Neufang-baritone saxophone Ludwig Nuss-trombone Shannon Barnett-trombone Andy Hunter-trombone Mattis Cederberg-bass trombone Andy Haderer-trumpet Rob Bruynen-trumpet Lorenzo Ludemann trumpet Ruud Breuls- trumpet John Marshall-trumpet Simon Seidl-piano Paul Shigihara-guitar John Goldsby-bass Hans Dekker-drums Video by Mattis Cederberg

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An unissued recording by the Castle Jazz Band. Recorded September 30, 1948 in Portland, Oregon. Band members are: Don Kinch, trumpet; Bill Pavia, clarinet; George Bruns, trombone; Larry DuFresne, piano; Bob Short, tuba; Monte Ballou, banjo; Axel Tyle, drums.

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Provided to YouTube by Rhino/Warner Records Dance wit Me (Live) · Rufus · Chaka Khan Stompin' At The Savoy ℗ 1983 Warner Records Inc. Bass: Bobby Watson Vocals: Chaka Khan Guitar: David Williams Flute: Ernie Watts Flute: Gary Herbig Synthesizer: Greg Phillanges Piano: James Newton-Howard Trumpet: Jerry Hey Piano: Joe Sample Drums: John Robinson Keyboards: Kevin Murphy Percussion: Lenny Castro Percussion: Paulihno De Costa Performance: Rufus Producer: Russ Titelman Writer: Christopher Auto-generated by YouTube.

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from the album "Head On" Blue Note -- BST 84376 (1971) visit and sub my channel http://www.youtube.com/user/327v8Malibu?feature=guide Vibraphone, Marimba -- Bobby Hutcherson Bass -- James Leary III*, Reginald Johnson* Electric Piano -- William Henderson Flugelhorn, Trumpet -- Oscar Brashear Piccolo Flute -- Fred Jackson Saxophone [Tenor], Flute -- Harold Land Arranged By, Piano -- Todd Cochran bobby hutcherson,harold land,william henderson,jazz,funk,fender,rhodes

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Eight years ago today, America changed forever when Donald Trump announced his presidential run. In the years since Trump descended his golden escalator, politics, media, and American society have changed almost beyond recognition. How did Trump have such a huge impact on American history? Charlie walks through the past eight years, and how they would have never happened if not for the one ambitious tycoon from New York.

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Revolver   If Joe Biden taking the lead in Michigan and Wisconsin was the moment the dynamic of the Presidential race changed, this may be the moment the dynamic changes again. A thorough and …

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Track List: 1-4 1. Elton John - The Bitch Is Back (0:00) 2. Elton John - Pinky (3:44) 3. Elton John - Grimsby (7:39) 4. Elton John - Dixie Lily (11:26) Caribou is the eighth studio album by English musician Elton John, released on 24 June 1974 by MCA Records in the US and on 28 June by DJM Records in the UK. It was his fourth chart-topping album in the United States and his third in the United Kingdom. The album contains the singles "Don't Let the Sun Go Down on Me", which reached number 16 in the UK Singles Chart and number two in the US, and "The Bitch Is Back", which reached number 15 in the UK and number four in the US. Both singles reached number one in Canada on the RPM 100 national Top Singles Chart, as did the album itself. The album met with lukewarm reviews on its release and legacy reviews do not consider the record to be among John's best work from his early 1970s peak period. However, the album was a commercial success and has been certified double-platinum in the US as well as receiving a gold certification in the UK. The album was nominated for the Grammy Award for Album of the Year at the 17th Annual Grammy Award. Personnel: Elton John – lead vocals, acoustic piano, Hammond organ (9) David Hentschel – ARP synthesizer (2, 5, 10), mellotron (9) Chester D. Thompson – Hammond organ (8) Davey Johnstone – acoustic guitar, electric guitar, mandolin, backing vocals Dee Murray – bass guitar, backing vocals Nigel Olsson – drums, backing vocals Ray Cooper – tambourine, congas, whistle, vibraphone, snare, castanets, tubular bells, maracas Lenny Pickett – tenor saxophone solo (1), soprano saxophone solo (4, 5), clarinet (5) Tower of Power – horn section (1, 6, 8, 9) Emilio Castillo – tenor saxophone Steve Kupka – baritone saxophone Lenny Pickett – tenor saxophone, soprano saxophone, clarinet Mic Gillette – trombone, trumpet Greg Adams – trumpet, horn arrangements (1, 6, 8) Del Newman – horn arrangements (9) Clydie King – backing vocals (1, 6) Sherlie Matthews – backing vocals (1) Jessie Mae Smith – backing vocals (1) Dusty Springfield – backing vocals (1) Billy Hinsche – backing vocals (9) Bruce Johnston – backing vocals (9) Toni Tennille – backing vocals (9) Carl Wilson – backing vocals (9), vocal arrangements (9) Daryl Dragon – vocal arrangements (9) Production: Producer – Gus Dudgeon Engineer – Clive Franks Remixing – David Hentschel Assistant Engineer – Peter Kelsey Album Coordinator – Steve Brown Liner Notes – John Tobler Art Direction and Sleeve Design – David Larkham and Michael Ross Photography – Ed Caraeff and Chris Denny Recorded at Caribou Ranch Remixed at Trident Studios (London, UK).

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