Every piece of clothing comes with an instruction tag – how to maintain the clothing, how to wash it, and more importantly, how to iron it. Most of the time, we don’t even bother to look at this label and end up ruining our clothes. Just so that you don’t need to look for the label every time you wash or iron your clothes, here’s a generic guide as to which fabric requires which type of ironing. Read to find out more. You can get your perfect professional ironing helper at Helpling, sit back and relax, let someone else do the work for you.
Before we begin, here are a couple of tips that will help you iron a new piece of clothing. If you are not sure of the clothing fabric, heat the iron at its lowest temperature. While your first action should be checking the instruction tag, if there isn’t any, start with a low heated iron. The same rule applies to blended fabrics too.
Let’s get started now:
Denim, muslin, calico, and chintz come under this fabric category. For these fabrics, you have to iron with high heat while the material is still damp. If the cloth is completely dry, you need to dampen the fabric with the spray bottle and iron. If required, you can also use the steam and spray option for better results.
With a medium heat setting, dry iron the silk fabric. Make sure you iron the fabric inside out – with this, the delicate silk will not get damaged by the direct heat of the iron.
The ironing rule for linen is similar to that of silk fabrics. The only difference is that you have to dampen the cloth a little before you begin ironing. If the cloth is dry, pre-moisten it with a spray bottle and then iron the inner side of the clothing.
Most synthetic fabrics do not require ironing. However, if you still wish to iron any of the synthetic materials (acetate, acrylic, nylon, or polyester), use the least temperature setting your iron offers. Make sure you are ironing on the inner side of the fabric. For acrylic and polyester, pre-moisten the fabric before you iron it. For nylon and acetate, you can simply dry iron without steam.
Irrespective of what fabric you wish to iron, the most important thing is to have an iron that allows adjustable heat settings. This makes the iron compatible with a whole range of fabrics, allowing you to change the settings as required. While buying an iron, also try to pick one which has temperature settings for specific fabrics. This will save you a lot of time and worry, and you can quickly iron rather than overthinking about the temperature settings.
The next time you iron your clothes, we’re sure you won’t have any confusion regarding the temperature settings for different types of fabrics. You won’t even require the professional ironing services if you are well-equipped with this information! And if you’d prefer someone else to do your ironing then find your perfect helper at Helpling.


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May the forks be with you, Harrison! Star Wars actor pilots shopping trolley full of cutlery three months after cheating death in plane crash
- Three months ago Ford cheated death in a plane crash in California
- 72-year-old veteran actor broke his pelvis and ankle in the crash
- Spotted in good shape piloting a shopping trolley in Los Angeles
IT’S hardly the Millennium Falcon, but Star Wars fans will be heartened to see Harrison Ford piloting a shopping trolley – three months after cheating death in a terrifying plane crash.
Ford, who famously played Han Solo in the blockbuster movie series, looked in good shape when he was spotted in a Los Angeles shopping mall car park on Friday.
The veteran actor – who is married to Ally McBeal star Calista Flockhart – pushed a trolley full of new boxed cutlery from the store before lifting his purchases into a waiting car.
Man of steel: Star Wars actor Harrison Ford was spotted piloting a shopping trolley in Los Angeles
In March, the Hollywood star, 72, who is a qualified pilot, broke his pelvis and ankle after crash-landing his single-engine Ryan PT-22 Recruit plane on to a golf course near Venice, California. Aviation experts said he only survived because of the ice-cool way in which he guided the plane into a controlled descent.
Intrepid Ford, who also starred in the Indiana Jones films, stunned onlookers last week by taking the controls of his helicopter, fulfilling a pledge he made to get back into the skies as soon as possible after his accident on March 5.
The plane crash was the latest episode of bad luck for Ford. Nine months ago, he broke a leg on the set of Star Wars: Episode VII. The film is due for release in Britain in December.
Three months ago the veteran actor crash-landed his single-engine Ryan PT-22 Recruit plane on to a golf course in California
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domain: entertainment


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Making free expression matter – not just to artists
June 22, 2012
I have often been asked if I went to live in Diepsloot to write my book about this vast settlement north of Johannesburg. I didn’t, though as I drove out there almost every day over about six months, I did often think about it.
There were obvious practical reasons for not living there, but most of all I knew that my book could never have the perspective of an insider, and I should never pretend to be one. I was an outsider looking in, in the way of most journalism, and it would be more honest – and perhaps more useful – to make it clear that this was my perspective.
Since the book was published, I was attacked for this viewpoint, with black consciousness critic Andile Mngxitama the most vocal. White writers should stop “transgressing into the black condition”, he wrote.
He was right to lament the fact that more people, particularly the people of Diepsloot, are not writing about the place. But I was at a loss to know why this invalidated me doing what journalists do: go into different places which tell us something about our country and try and describe and explain them to readers. I can only hope that others do it, leading to a wide range of perspectives on Diepsloot and similiar places, and we can then debate which view is more ‘legitimate’, valid or insightful.
My approach, though, meant that while I was researching the book, I lived in two worlds. Quite often I would spend a day interviewing people in the settlement, or just wandering around observing, and then come home to engage in what was the hot debate of the day: whether or not we should have a Media Appeals Tribunal (MAT) to oversee the wayward print media, as suggested by the ANC. That was the fierce argument of the time, and as chair of the Freedom of Expression Institute, I was deeply involved in opposing the idea.
Occasionally, people in Diepsloot would say they heard me on the radio or saw me on television and sometimes would want to discuss the MAT with me. Generally, what I would hear from them was an entirely different critique of the media, quite different from the one the ANC was offering.
The media only covered Diesploot if there was violence, or crime, or they were graced by an important political visitor, I heard again and again. Journalists parachuted in, spoke to one or two people, and then went to write about it – seemingly oblivious to the possibility that the person they spoke to might have a particular perspective, and might represent one political view in a community which embraced many. They would get it wrong just by being quick and superficial, and so there was deep distrust and dislike of the media.
The Daily Sun was the one paper quite widely read in the area, and it was looked at with some fondness because many people knew that tabloid’s reporters who ran around chasing mostly crime stories and they saw themselves and heard their own voices on those pages.
What I observed was a community that suffered from the absence of a local media which would give them the tools to engage with their leadership and representatives. This meant that rumour abounded. And the only way people could raise an issue was to wait for a community meeting, or organise a protest. The normal functions of a community media – to allow authorities to communicate with their constituencies, and to allow citizens to confront authority – were absent.
I raise this now to show the vast gap between the freedom of expression debate we have among the chattering classes and what is happening on the ground, where the capacity to express oneself is not just an idea but is fundamental to the pursuit of freedom, dignity, decent living conditions and the other lofty promises of the constitution.
I felt it acutely in the recent debate over Brett Murray’s controversial painting, The Spear. There I was, proclaiming lofty principals about how our artists needed freedom – including the freedom to be provocative and even rude – and saying it was “silly” to make a fuss about it. But it became clear that there was a widespread visceral reaction to the painting, which touched a nerve, and it was sobering how raw that nerve was. I came to regret using that word “silly” and to rethink my fundamentalist view of free expression. Having taken a firm stand on the issue throughout the 1980s, I was wedded to a principled position that was not resonating, that was sounding rigid and inflexible.
Let me hastily say that I still believe deeply that free expression is a most important, even foundational, value and right because it enables the pursuit and defence of all other rights. For one thing, as former Constitutional Court Judge Kate O’Reilly has argued, you cannot have dignity without the freedom to express your views freely and noisily. Dignity and free expression are not at loggerheads – they are interdependent.
But I thought back to what I had seen in Diepsloot, and the vast gulf between such abstract arguments and what mattered to people whose rights were most compromised in the post-apartheid era, and it was clear to me that there is no point to an absolutist freedom of expression if it does not talk to the needs of such people.
This is not to deny that politicians used the Spear debate for their own, cynical, short-term electoral ends. Or that national leadership showed a distinct irresponsibility in stirring up this issue, threatening artists and galleries, with disregard for the collateral damage.
But it did become clear that the fight to protect our freedom of expression is a lost cause if it does not talk to the needs of all South Africans and not just those of artists, writers and activists. At a time when our freedom needs stern defence, when we depend on an active, involved citizenry to hold off those who would compromise our constitution, we have to ensure that these things matter to ordinary citizens. We have to take these debates out of the galleries, and campuses, and elite media, into the Diepsloots of the world. Or – even better – we have to bring the Diepsloots out of the margin and into the centre of these debates.
When freedom of expression is seen as the right to demand housing, health and education, and not a squabble about a rude painting, then citizens might rise to defend it.
*This article was written in English for Media24′s Afrikaans newspapers, and run in translation 21 June 2012

domain: sociology


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Enzymatic Catalysis in Organic Media: Fundamentals and Selected Applications
The use of enzymes in organic solvents significantly extends conventional aqueous-based biocatalysis. This field is reviewed with respect to the salient factors that govern enzymatic catalysis in non-aqueous media. Specific examples of peroxidase catalysis in organic media are discussed (e.g., phenolic polymerizations and enzymic temperature abuse sensors). Given that membranous parts of a cell are highly non-aqueous in character, the study of enzymes in poorly hydrated media may provide clues as to the function of membrane-bound enzymes and their response to different gravitational forces.

domain: chemistry


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Otis Redding‘s third studio album, Otis Blue/Otis Redding Sings Soul, (most commonly known as simply, Otis Blue) was a commercial success and has been critically acclaimed for the half century since its 1965 release. Despite consisting mainly of covers of recently released songs from contemporary artists, the album features much musical innovation and originality to accompany Redding’s distinct and emotive vocals and its influence rippled through rock, blues, and soul for decades to follow. The album also spawned three Top 40 singles for Redding, vastly boosting his notability.
Redding began his musical career as a member of Pat T. Cake and the Mighty Panthers, which toured mainly in the South (USA) during the early 1960s. One day in 1962, Redding drove group guitarist/keyboardist Jonny Jenkins to a session at Stax Records and, when the session ended early, Redding was granted time to perform two songs backed by the studio group Booker T. & the MG’s. This impromptu session resulted in the single, “These Arms of Mine”, which sold more than 800,000 copies and led to the recording of Redding’s 1963 debut album, Pain in My Heart. After more than a year of touring America and the release of several more singles, Redding released his second studio album, The Great Otis Redding Sings Soul Ballads, in early 1965.
In July, Redding and the studio crew worked on writing and arranging songs for a third album, producing most of the material over a 24 hour period. The album was then recorded with the Booker T band, along with The Memphis Horns and pianist Isaac Hayes.
Otis Blueby Otis Redding
Released: September 15, 1965 (Atco) Produced by: Jim Stewart, Isaac Hayes, & David Porter Recorded: Stax Recording Studios, April-July, 1965
Ole Man Trouble
Change Gonna Come
Down in the Valley
I’ve Been Loving You Too Long
Rock Me Baby
You Don’t Miss Your Water
Otis Redding – Lead Vocals Booker T. Jones – Piano, Keyboards Isaac Hayes – Piano, Keyboards Steve Cropper – Guitars Donald Dunn – Bass Al Jackson, Jr. – Drums
Although predominated by cover songs, Otis Blue begins with two originals by Redding. “Ole Man Trouble” is exquisitely produced and performed, as Redding wails out a weeping lead vocal between the squeezed out guitar chords by Steve Cropper, with a few brass interludes between the vocal lines. The only real flaw here is that the song is too short, a reccurring issue throughout this all-too-short album. This is followed by the song “Respect”, which reached #35 on the pop chart and #4 on the R&B chart. Reflecting back through the decades, it is clear why Aretha Franklin’s version is the better known, as it is far superior in delivery and musical arrangement. That being said, this original version is a fantastic rendition, totally funky and groovy, just lacking the strong feminine perspective and advanced arrangement that the latter version so aptly possesses.
After the opening two originals, the album delves into the first of three covers by Sam Cooke, who had been shot to death in 1964. “Change Gonna Come” is a slow, soul classic and a timely anthem where Redding makes you feel every syllable of this classic anthem on struggle, while the musical arrangement offers a few caveats in intensity. Cooke wrote the song after he and his entourage were denied entry to a motel in Louisiana and both versions of the song became anthems for the Civil Rights movement. The cover “Down in the Valley” is a more upbeat track but not as potent as the opening two original tracks, with the best part being the intense outro section. The first side finishes with “I’ve Been Loving You Too Long”, a collaboration between Redding and Jerry Butler that is a simple but effective refrain of desperation with ever-intense horns and piano to match the growing intensity of Redding’s lead vocals. The song also became Redding’s highest charting single to date.
The second side is full of cover’s, starting with Cooke’s “Shake”, one of the more upbeat tracks driven heavily by the bass and drums rhythm of Donald Dunn and Al Jackson, Jr.. The next two songs are similar in that they both lack the background vocals and countermelodies of their more famous versions, The Temptations’ “My Girl” and Cooke’s “Wonderful World”. “Rock Me Baby” is a more effective cover, expertly converting a B.B. King blues classic into a brilliant soul arrangement while also featuring the first and only rock-style guitar solo by Cropper. Next comes a couragous attempt at converting the nearly brand new, “Satisfaction” by The Rolling Stones with a distinctive spin including original instrumental interludes. The album concludes with a rendition of William Bell’s “You Don’t Miss Your Water” as a moderate soul ballad, which starts to get pretty intense near the end, but fades out way too soon.
While Otis Blue did not chart well in the US, it reached number 6 on the UK Albums Chart, and topped the Billboard R&B chart. In the years that followed, Redding scored continued success with some of his most famous hits such as “Try a Little Tenderness” and “(Sittin’ On) The Dock of the Bay”, along with an indelible performance at the famed Monterey Pop Festival in 1967. Tragically, Redding lost his life in a plane crash in December 1967, cutting short a brilliant career on the rise.
Part of Classic Rock Review’s celebration of 1965 albums.
Some albums are borne of the ether. Some are born of the earth. A rare few refine both into a crystallized masterpiece. Out of Bob Dylan‘s entire discography, Highway 61 Revisited stands as the brightest example of his work. It takes concepts he had experimented with previously and solidifies them into liquid gold. The contradiction in words was intentional there because Highway 61 Revisited is nothing if not fluid. While honoring his past this album also points a big bright burning finger towards works that had yet to come like Blonde On Blonde, Desire and Blood On the Tracks. Highway 61 Revisited is Bob Dylan in a nutshell, a nutshell that is inside out and bleeding right into our collective brains.
The album began its climb to creation the day Bob Dylan was born in Minnesota near the actual U.S. Highway 61, which stretched from the Canadian border north of his hometown, south through Memphis, the Mississippi Delta, and all the way to New Orleans. In his mind the highway connected a young Dylan to blues legends like Muddy Waters and Elvis Presley. The blues serve as the foundation for Highway 61 Revisited. Dylan’s own angst at the time of the album’s recording served as the structure. He had recently “gone electric” at the Newport Folk Festival on July 25, 1965 and come back from a disappointing tour of England. He was looking to do something different and he had an axe to grind with the people who wanted him to stay in his folk box. When he finally got some musicians together to record this sixth studio album it came together like it was being guided by divine hands.
Produced by Bob Johnston, it only took two brief sessions and 9 days for the album to be completed. Amazing aspects of it, like the organ riff on “Like a Rolling Stone”, were improvised on the spot. Al Kooper, the musician who improvised the riff, just happened to be visiting one day and managed to play his way right into rock and roll history. While Dylan’s lyrics on the album reflect his frustrations at the time, he puts a fantastic twist on them by throwing in elements of surrealism. He evokes dreams by filling his songs with characters from history and fiction. The resulting album is infinitely more complex than anything put together in 9 days has any right to be. Every listen allows the ear to hear something new and the mind to interpret the lyrics differently. Fifty years after its original release it still stands as a perfect example of musical complexity.
Highway 61 Revistedby Bob Dylan
Released: August 30, 1965 (Columbia) Produced by: Bob Johnston & Tom Wilson Recorded: Columbia Studio A, New York, June–August 1965
Like a Rolling Stone
It Takes a Lot to Laugh, It Takes a Train to Cry
From a Buick 6
Ballad of a Thin Man
Queen Jane Approximately
Highway 61 Revisited
Just Like Tom Thumb’s Blues
Bob Dylan – Lead Vocals, Guitar, Piano, Harmonica Mike Bloomfield – Guitars Charlie McCoy – Guitars Al Kooper – Organ Harvey Brooks – Bass Bobby Gregg – Drums
Each song on this album is an enigma that you could write thousands of words about and still be no closer to truly understanding or explaining it, so I’ll leave that to someone else. The album kicks off with Dylan’s first huge hit, “Like a Rolling Stone”, which reached #2 on the US charts. The song is partially autobiographical and probably one of the best opening tracks ever and serendipitously got its signature hook when Kooper, a 21-year protégé of producer Tom Wilson, snuck in on organ and made the best of his opportunity. “Tombstone Blues” speeds up an already electric start. Like the title song, “Highway 61 Revisited” and “Desolation Row” we get Dylan’s use of famous names in his songs to create a parable that feels timeless and utterly surreal. The guitar on “Tombstone Blues” is one of the finest on any Dylan album. “It Takes a Lot to Laugh, It takes a Train to Cry” is a more classical blues ballad and brings in the harmonica for full effect. It’s a rare song that doesn’t overdo the instrument and makes it feel like an organic part of the sauntering rhythm and the piano has an almost ragtime quality.
“From a Buick 6” is probably the weakest song on the album since the lyrics aren’t as wild as everything else but the music is still incredible throughout. This could be one of the strongest songs on an album that wasn’t so packed with great songs. “Ballad of a Thin Man” sports scathing lyrics poking fun at everyone that isn’t in on Dylan’s jokes. This album is Dylan exorcising all his anger and frustration at everyone that didn’t get him or wanted him to be their dancing monkey, “Ballad of a Thin Man” is the keystone of the album and those sentiments. “Queen Jane Approximately” is just as scathing as “Mr. Jones” but sounds a lot friendlier due to Dylan’s lighter vocal tone. It doesn’t sound quite as menacing but it’s still talking about someone who isn’t aware of how stupid they really are. The song is believed to refer to Dylan’s fellow folk singer and ex-girlfriend, Joan Baez, but only he knows if that is truth. It is totally applicable to say this song applies to any of the people involved in the folk movement that Dylan was trying to leave. It’s also one of the most underrated songs on the album.
Dylan’s opening line of the title track, “Highway 61 Revisited”, connects the route to history by pairing it with the biblical story of Abraham, while starting with a wailing police siren. “Just Like Tom Thumbs Blues” is a hangover song from the opening lines which discuss being lost in Juarez, Mexico. The song also discusses how the destructive nature of all those things we think we want so much that leave us changed for the worse. “Desolation Row” is the final track and a juggernaut. It’s an 11 minute epic that manages to keep your ear interested because you want to see what’s around the next bend of lyrics. It’s got a great southwestern acoustic guitar that sounds like Dylan is singing the song in a dimly lit tavern somewhere. If “Like A Rolling Stone” is a perfect opener this is the show stopping finale that bookends the greatest of all Dylan albums.
Throughout Highway 61 Revisited the lyrics seem to be totally relatable and completely mysterious at the same time. This is one of the album’s greatest strengths. The lyrics’ meaning can never be fully unraveled, which means they can always mean whatever you think they do. Each time Dylan talks about the album he gives a different explanation for the driving motivations behind the album, the songs and the verses, keeping the mystery of the album alive and open to whatever interpretation your mind desires. Great art is always open to interpretation and that’s one of the big keys to Highway 61 Revisited. Whereas much of Dylan’s previous work was locked in a particular time, this album is completely timeless. Most importantly of all though, the music is just plain great. It’s more complex than anything he had done previously and more rewarding to listen to as a result. It’s a great album but if you want to debate me on that point, just remember to send your emails from Desolation Row.
Part of Classic Rock Review’s celebration of the 50th anniversary of 1965 albums.
Their fifth overall studio album, Help!, is perhaps the final of The Beatles‘ pop-centric, “mop-top” era records released over the course of 30 months. Still, the group did make some musical strides on this album, most particularly a stylistic move towards folk and country on several tracks and the addition of piano and keyboards, performed by John Lennon and Paul McCartney on a few songs. Released in conjunction with their second feature-length film (of the same name), Help!, contains fourteen tracks split evenly between seven that were featured in the film (side one) and seven other 1965 studio tracks on the original second side of the LP.
Already a relentlessly hard working group, The Beatles’ American and worldwide breakthrough in early 1964 only served to expand their schedule as their label and management looked to fully capitalize on their unprecedented popular success. During March and April of 1964, the group members filmed A Hard Day’s Night as they played themselves in a “mock-umentary” about their sudden success where the Beatles showed a knack for comedy. That film was accompanied by their third studio LP with each being very well received. During the summer of 1964, the Beatles embarked on an international tour through Europe, Asia, and Australia, followed by a 30-concert tour of the United States. Returning to Abbey Road studios, the Beatles recorded and released their fourth studio LP, Beatles for Sale in late 1964, which had a much darker tone than any of their previous work.
In early 1965, the group filmed the movie, Help!, which included a much larger budget than the previous year’s A Hard Days Night. As a result, this movie was filmed in color and at many disparate locations including various places in England, the Bahamas, and the Austrian Alps. However, the richer plot and cast served to alienate the band members who stated that they felt like “guest stars” or even extras in their own film, despite the fact that the drummer, Ringo Starr, plays a central part in the plot.
Music for the film and album was produced by George Martin who, for the first time, employed “track bouncing” techniques for overdubbing. Distinct versions of the record were released in the UK and North America (we focus on the long since canonized British LP version in this review). The North American (Capitol Records) release was of EP length and features some orchestral scores produced by Dave Dexter, with omitted songs later appearing on the US versions of Beatle VI and Rubber Soul. On the other end of the spectrum, a few songs that were recorded intended for the film were not used in either the movie or on the album, including the tracks “If You’ve Got Trouble”, “That Means a Lot”, “Yes It Is”, and an early version of, “Wait”, a song re-recorded for Rubber Soul later in the year.
Help!by The Beatles
Released: August 6, 1965 (Parlophone) Produced by: George Martin Recorded: EMI (Abbey Road) Studios, February–June 1965
The Night Before
You’ve Got to Hide Your Love Away
I Need You
You’re Going to Lose That Girl
Ticket to Ride
It’s Only Love
You Like Me Too Much
Tell Me What You See
I’ve Just Seen a Face
Dizzy Miss Lizzy
John Lennon – Guitar, Piano, Vocals Paul McCartney – Bass, Piano, Keyboards Vocals George Harrison – Guitars, Vocals Ringo Starr – Drums, Percussion, Vocals
The title track storms in with a sudden vocal explosion of the distinct intro section of “Help”. Written by Lennon to express his personal difficulties with the Beatles’ sudden success, the song contains a desperate message lyrically but an excited and frantic approach musically and tonally, making for a strange but effective mix of emotions throughout. The descending bass and guitar line during the chorus is the most effective and interesting element of this fine track which became the group’s tenth #1 pop hit. McCartney’s, “The Night Before”, features a nice mixture of guitars and electric piano, adding an overall twang effect to the background. The sharp beat and rhythm is kind of boilerplate Beatles at this point in their career but this song does feature a unique, duo guitar lead by McCartney and George Harrison.
“You’ve Got to Hide Your Love Away” is a loose tribute to Bob Dylan which features a tremendous sound that is at once simple but still fills the room. Lennon constructed this not as a lovey-dovey song, but as an introspective track where he delivers totally distinct vocals and gives early Beatles fans a glimpse into what group would the later become. Aside from Lennon’s strummed acoustic, the song musically features simple, layered percussion and an earthy, ending flute solo by guest John Scott. “I Need You” is an early, forgotten gem by Harrison that features sweet sounds, such as a cool guitar pedal effect, and somber vocals.
Later on the first side, the Beatles revert back to some of their traditional styles. “Another Girl” includes some bluesly slide guitars, possibly influenced by Brian Jones, as well as a nice little solo lead at the very end. But otherwise, the track was garden variety and had not ever been played live by any Beatle until April 2015, over 50 years after it was recorded. Lennon’s “You’re Going to Lose That Girl” was a bit more popular, in somewhat the same vein of the female vocal groups of the day, with its backing vocal chorus call-and-response. “Ticket To Ride” is not only the only track to exceed three minutes in length, but may well be the finest overall song on the album. There are inventive and entertaining blends of sound throughout and droning rhythms with steady but interesting drum patterns by Starr during the verse/chorus sections that work seamlessly with Harrison’s ringing guitar riff and Lennon and McCartney’s harmonized melodies. The song transitions to a few upbeat bridge sections which transition back with a slight solo guitar flourish. Lyrically, the song caught some controversy due to its sexual connotations, but nonetheless topped the charts on both sides of the Atlantic when it was released ahead of the album in April 1965.
The album’s second side features two tracks which made up one of the oddest inverted 45 singles ever. The cover “Act Naturally”, with lead vocals by Starr is a country-flavored acoustic track and complete change of pace for the group, which was originally issued as a single with McCartney’s “Yesterday” occupying the ‘B’ side. Of course, “Yesterday” became one of the most popular songs in music history, even though its solo performance by McCartney with string quartet and non-rock-n-roll approach was considered a significant risk by the band at the time. It is a song that hits every note in your emotions and a universal song that makes one feel a little nostalgic no matter what age. McCartney says he received the entire melody in a dream and hurried to a piano to play the tune before he forgot it, using the filler theme “Scrambled Eggs”.
The remaining songs on side two are relatively lesser known, albeit interesting. “It’s Only Love” is a short blend of Byrds-meet-Roy Orbison with a slight preview of the psychedelic flower-power English pop to come. Harrison’s “You Like Me Too Much” is another retro-sounding tune with a hi-hat and double piano holding the beat and a bridge section which features trade-offs between lead guitar and piano by Lennon and Martin. On “Tell Me What You See”, complex percussion rules the day through the first two verses and an electric piano section at end. “I’ve Just Seen a Face” features a great intro with dueling acoustic guitars, fantastic vocals by McCartney, and a fast-paced skiffle beat throughout. If anything, this track shows how the Beatles can take common instruments, voices and tools to make unique and divergent sounds. The Larry Williams cover, “Dizzy Miss Lizzy” concludes the album as a groovy early sixties jam which, if anything, shows that this is still the “Beatles” after the unconventional track, “Yesterday”. This song is also notable as the final cover song on a Beatles album until 1970’s Let It Be, which included the traditional folk song, “Maggie Mae”.
Beyond spawning three #1 singles, Help! became an album chart-topper as well as a multi-platinum seller worldwide. Following the album’s release, The Beatles embarked on their third US tour, which opened with the classic Shea Stadium performance on August 15, 1965 that shattered all previous attendance records. Following the tour, the group took some time to focus on their next album, which would become the classic Rubber Soul late in 1965.
Part of Classic Rock Review’s celebration of 1965 albums.
The Rolling Stones made major strides towards composing their own music successfully during the year 1965. Out of Our Heads was released (in the U.S.) and lit the fuse for the most successful run of the band’s long career. Although about half of this album does still utilize the R&B covers on which the group cut their teeth, it is among the original tracks where the most commercial impact was made fifty years ago and where the most indelible songs persist right through the present day.
The Rolling Stones were formed in London in 1962 by mult-instrumentalist Brian Jones, guitarist Keith Richards and vocalist Mick Jagger. They specialized in Chicago-style blues as well as fifties rock and roll and had a longstanding residency at the famed Crawdaddy Club. Over the following winter, bassist Bill Wyman and drummer Charlie Watts joined to round out the classic 1960s quintet. The group hired Andrew Loog Oldham, a former publicist for The Beatles, who acted as both their manager and producer for their early albums. By 1964, the group signed with Decca Records and they released their debut album, “England’s Latest Hitmakers”, during the height of Beatlemania. However, Oldham made a concerted effort to promote the Rolling Stones as the “anti-Beatles” or “the bad boys of rock n roll”. Early in 1965, the group released their second LP, The Rolling Stones No. 2 in the UK, The Rolling Stones, Now! in the US, with both versions reaching the Top 5 in their respective countries.
Although the title is the same, Out of Our Heads also has two distinct versions for the US and UK. Oddly, the US version was released first, on July 30, 1965, and has become the more lauded and respected version of the album (which we’ll focus on in this review). The British version of the album contains a few distinct originals, such as “Heart of Stone”, with impressive guitars and heavily reverbed tambourine hits, and a calm, pop, version of “I’m Free”, a song made more famous by later cover versions.
Out of Our Headsby The Rolling Stones
Released: July 30, 1965 (London) Produced by: Andrew Loog Oldham Recorded: London, November 1964–May 1965
The Last Time
That’s How Strong My Love Is
I’m All Right
(I Can’t Get No) Satisfaction
Cry to Me
The Under Assistant West Coast Promotional Man
Play with Fire
The Spider and the Fly
One More Try
Additional Tracks (UK version)
She Said Yeah
Talkin’ Bout You
Heart of Stone
Mick Jagger – Lead Vocals, Harmonica, Percussion Keith Richards – Lead Guitars, Vocals Brian Jones – Guitars, Organ, Harmonica, Vocals Bill Wyman – Bass, Vocals Charlie Watts – Drums, Percussion
The US version of Out of Our Heads begins with a couple of R&B covers with pop leanings. “Mercy, Mercy” has a rotating riff and hook with slightly humorous, high pitched backing vocals. In fact, the only element which sounds like the “Stones” is Jagger’s vocals, which are as soulful and as gritty as ever. “Hitch Hike” works least well of the cover songs simply because there are many superior versions out there. This being said, the musical elements are all entertaining on this versions including the choppy rhythms and a cool guitar lead by Richards.
Released as a single, early in the year, “The Last Time” was the Rolling Stones’ first original hit. This combines a perfect blend of blues and folk, while also being perhaps the furthest the Stones lean towards Beatles territory with twangy guitars and happy-go-lucky drumming by Watts. Still, Jagger’s deep, bluesy vocals make it quite distinct, especially during the frantic coda that fades the song out.
Three more covers finish up the LP’s first side. Roosevelt Jamison’s “That’s How Strong My Love Is” is an attempt at deep soul, which, while not completely terrible, sounds somewhat amateurish by the Stones. Sam Cooke’s “Good Times” features a vocal range that is more suited for Jagger, while the subtle rhythms are excellent by Wyman and Watts on this track. Bo Diddley’s “I’m All Right” is a live track originally released on the EP Got Live If You Want It! The song is a short but interesting live rocker with high energy and pure sixties vibe.
The album’s second side is much more original and musically substantive. This starts with the classic “(I Can’t Get No) Satisfaction”, a song which is pure classic rock personified. Led by Richards’ indelible riff, the song features, perhaps, Jagger’s finest vocal performance ever, as he performs contrasting tones between the verses and choruses. The rest of the band follows suit, with Jones performing a fast paced, strummed acoustic while Wyman plays a slightly funky bass and Watts bangs away with a fast rock drum beat, making this classic a complete band song. Released as a single month before the album, “(I Can’t Get No) Satisfaction” was the group’s first number one in the US, but was initially banned in the UK because its lyrics were considered sexually suggestive.
Bert Russell’s “Cry to Me” is a bit anti climatic following “Satisfaction”, but a decent enough blues ballad nonetheless. The album then wraps up with four group originals. “The Under Assistant West Coast Promotion Man” maintains the bluesy vibe with consistent harmonica by Jones throughout and sharp drumming by Watts. “Play with Fire” has a dark folk feel and features some bass and production by Phil Spector along with old English style harpsichord by Jack Nitzsche. Recorded during a break from touring in January, 1965, this perfectly moody gem shows much of the same promise as more renowned later classics. “The Spider and the Fly” has a mosey-along, steady paced, down home groove with double guitar grooves, harmonica, and a thematically appropriate vocal melody by Jagger, having all the elements of what could’ve (and should’ve) been a hit by the band. “One More Try” closes the album as a short, boogie-woogie rocker with optimistic lyrics, making it the closest to pure sixties Brit pop by the group.
Out of Our Heads became The Rolling Stones’ first US #1 album, eventually going platinum, which the British version peaked at #2. Their following album, 1966’s Aftermath, saw the band entirely move towards original compositions and they soon found peak success worldwide.
Part of Classic Rock Review’s celebration of 1965 albums.
About four years ago, we reviewed the 1966 album by The Yardbirds commonly known as “Roger the Engineer”, which saw the final days in the band for guitarist Jeff Beck. Today, we circle back to Beck’s earliest days with the group when he replaced Eric Clapton during the later stages of the debut studio album For Your Love, which was released 50 years ago today on June 13, 1965. The music on For Your Love was recorded over an extended time and features many different compositional styles.
The Yardbirds were formed in London in 1963 and got their name from a nickname of jazz saxophonist Charlie Parker. They got their first break by taking over for the Rolling Stones at the Crawdaddy rhythm and blues club. Here the quintet forged their reputation and were soon enlisted to be the backing band for Sonny Boy Williamson when he toured England in 1964. Clapton was complemented by rhythm guitarist Chris Dreja and vocalist/harmonica player Keith Relf, who all helped the band forge their distinct style of American-inspired English blues. The group’s first release was the December 1964 live cover album Five Live Yardbirds, which featured tracks that would later be reused for the late 1965 album Having a Rave Up.
The group’s manager Gorgio Gomelsky produced the album through the hodge-podge method of assembling previously released singles and B-sides. In total, the album contains mostly covers and outside compositions along with a few group-penned originals, but it all makes for a fascinating peer into this moment in rock history.
For Your Loveby The Yardbirds
Released: June 13, 1965 (Epic) Produced by: Giorgio Gomelsky & Manfred Mann Recorded: London, March 1964–April 1965
For Your Love
I’m Not Talking
Putty (in Your Hands)
I Ain’t Got You
Got to Hurry
I Ain’t Done Wrong
I Wish Your Would
A Certain Girl
Good Morning Little Schoolgirl
My Girl Sloopy
Keith Relf – Lead Vocals, Harmonica Eric Clapton – Lead Guitars Jeff Beck – Lead Guitars Chis Dreja – Guitars Paul Samwell-Smith – Bass, Vocals Jim McCarty – Drums, Vocals
The album commences with its title song, which was at once the first real hit for the band as well as the single song which made Clapton decide to depart. “For Your Love” was presented to the band by publisher Ronnie Beck and everyone in the group, aside from Clapton, loved it. Written by then 19-year-old Graham Gouldman, the song contains a distinct harpsichord by session man Brian Auger and is overall a strong departure from the blues-rock style of most of the other material on the band. Still, it was melodic and catchy and peaked in the Top 10 on the pop charts of both the UK and US. Clapton played the sessions for this song and then immediately left the group.
When Clapton departed, Gomelsky asked Jimmy Page, then the top session man in London, to join the group. However, Page was busy and happy with his session work and suggested Beck, who was sort of an understudy, for the position which Page would ultimately fill himself a few years later. Beck immediately makes an impact on “I’m Not Talking”, with its heavy rock, crunchy riffs and rudiments along with great rhythmic elements by bassist Paul Samwell-Smith and drummer Jim McCarty. “Putty (In Your Hands)” contains a cool 60s groove while the bridge has some jazz elements, while Calvin Carter’s blues classic, “I Ain’t Got You”, features the fine harmonica playing by Relf for the first time on the album.
“Got to Hurry” is the first real original composition as an instrumental credited to Gomelsky (as “Oscar Rasputin”), but really a jam composed by the group. Rhythmically, this instrumental has surf music elements while it also acts as a showcase for Clapton’s bluesy leads. “I Ain’t Done Wrong” is a driving rocker with blues vocals by Relf and some great rudimental riffs thrown in for fun, while “I Wish You Would” is another blues standard with consistent, upbeat guitar rhythm by Dreja and Relf adding harmonica between every line during the verses. This side two opener also has a bridge section which builds towards a frenzied crescendo and was released as a single in August 1964. Although “A Certain Girl” was just the ‘B-side’ for the previous track, but is the first real shot at pop with a bright sound, strong melody, call and response vocals, and a blistering pop lead by Clapton which sounds like a souped-up Byrds lead.
The Yardbirds sound like a whole different band on “Sweet Music”, a song produced by Manfred Mann who also brought in some outside session players and vocals. The track is interesting because of the players involved, but really out of place on this album. In contrast, “Good Morning Little Schoolgirl” is pure fifties-style pop style with harmonized vocals, Relf’s fine harmonica, and an outstanding, bluesy lead by Clapton. The song was originally composed and recorded by Williamson nearly three decades earlier. “My Girl Sloopy” is an interesting album closer as a fun rendition of a song which had not yet been made famous as “Hang On Sloopy” by The McCoys. The vocals here are odd but entertaining, especially the exaggerated high pitched harmonies and this extended track adds some Beatles elements.
While For Your Love barely broke the Top 100 on the album charts, it set The Yardbirds up for their first American tour, where Beck began to forge his own sound as well as help direct the group’s evolving sound through the mid sixties.
Part of Classic Rock Review’s celebration of 1965 albums.
Perhaps the most lyrically potent album ever, Bob Dylan delivered a masterpiece with his fifth overall album, Bringing It All Back Home, released 50 years ago today on March 22, 1965. On this record, Dylan’s lyrics became more stylistic and surreal, with the composer employing stream-of-consciousness rants influenced by dreams and the result of isolated and intense writing binges. Most impressively, the words are striking and profound and persist in their relevance a half century later, as it personifies the absolute reach for the ultimate heights even if it risks an ultimate fall. Musically, this album featured Dylan’s first “electric” recordings as he worked with a full backing arrangement on the tracks on the first side. While the album’s second side features traditional acoustic folk songs, there is a steady vibe that unifies the album from end to end and makes it an indisputable work of art as a whole.
While they remained firmly within the realm of folk music, the very titles of Dylan’s 1964 albums (The Times They Are a’ Changin’ and Another Side of Bob Dylan) signaled that the composer may traverse the strict standards of folk music, even if they simultaneously established Dylan as the leading folk performer of his generation. He retreated to Woodstock, NY during much of the summer of 1964, along with fellow folk singer and then-girlfriend Joan Baez. According to Baez, Dylan would stand at a typewriter in the corner of a room, “tapping away relentlessly for hours.” In late August 1964, Dylan had a private meeting with The Beatles in New York City which apparently had a radical effect on both the artistic entities.
Later in the year, Dylan and producer Tom Wilson began experimenting with techniques of fusing rock and folk music. After a few failed attempts at overdubbing electric backing tracks to existing acoustic recordings, the composer and producer brought in a full band for sessions in January 1965. Here, for the first time, Dylan employed his unique method of rapidly “teaching” each individual session man (who had no prior awareness of the material being recorded) exactly he wanted their individual part to be. Amazingly, the entire album was recorded in just a few days, with the entire second side recorded on January 15, 1965.
Those songs recorded for the second side were intentionally stripped down, usually with just Dylan and his acoustic guitar/harmonica accompanied by one other single player to add the slightest bit of flavoring and counter-melody to the otherwise raw tracks. While the production team could have easily released full “electric” versions of every track on this final album, it is rather ingenious the way the second side was presented as almost a natural bridge between Dylan’s previous work and the new direction he was heading, even on the first side of this very album.
Bringing It All Back Homeby Bob Dylan
Released: March 22, 1965 (Columbia) Produced by: Tom Wilson Recorded: Columbia Recording Studios, New York City, January, 1965
Subterranean Homesick Blues
She Belongs to Me
Love Minus Zero/No Limit
On the Road Again
Bob Dylan’s 115th Dream
Mr. Tambourine Man
Gates of Eden
It’s Alright, Ma (I’m Only Bleeding)
It’s All Over Now, Baby Blue
Bob Dylan – Lead Vocals, Guitars, Keyboards, Harmonica Al Gorgoni – Guitar Kenny Rankin – Guitar Paul Griffin – Piano, Keyboards William E. Lee – Bass Bobby Gregg – Drums
Looking at the second side first, it begins with the oldest song on the album, “Mr. Tambourine Man”, written over a year before the album’s release and performed many times through 1964. This well-crafted folk song with highly poetic lyrics, features Dylan’s acoustic nicely complimented by the slightest electric guide guitar of Bruce Langhorne. Less than a month after its release on Bringing It All Back Home, The Byrds released their own interpretation of the song, which reached number one on the Billboard charts and helped spawn their debut album of the same name. Lyrically, the song was influenced by French poet, Arthur Rimbaud, and Italian filmmaker, Federico Fellini with focus on a central muse who has been interpreted as anyone from an American Indian shaman to Jesus Christ. Of course, the similarities to an LSD trip cannot be disregarded;
Take me disappearing through the smoke rings of my mind, down the foggy ruins of time, far past the frozen leaves of the haunted frightened trees, out to the windy beach far from the twisted reach of crazy sorrow / Yes, to dance beneath the diamond sky with one hand waving free, silhouetted by the sea, circled by the circus sands with all memory and fate driven deep beneath the waves, let me forget about today until tomorrow…”
“Gates of Eden” is nine verses of pure folk intensity, where Dylan commands full attention as he tells fables and fortunes about universal and existential stories, with Dylan performing the entire song solo end to end. This song was also written in late June or July 1964, and has clear religious overtones with the Biblical location of pure peace and serenity within a turbulant universe. With little variation throughout its five minute duration, Dylan masterfully commands total attention during each autonomous viginette, with a single harmonica note separating each verse and alerting to a new start. Further, the lyrics describe historical and mythical figures alike;
With a time-rusted compass blade, Aladdin and his lamp sits with utopian hermit monks, side saddle on the golden calf and on their promises of paradise you will not hear a laugh all except inside the gates of Eden…”
The most haunting and pure dark folk track on the album, “It’s Alright, Ma (I’m Only Bleeding)” best displays the pure genius of Dylan with a song that is a perfect message both musically and, most especially lyrically. First performed live in October, 1964, this grim masterpiece features Dylan’s best acoustic performance (with no harmonica!) as well as some of his most memorable lyrical images, which express the composer’s rants against hypocrisy, commercialism, institutionalism, and contemporary politics and, decades later, Dylan has named this track as one that means the most to him. After the brilliant cascade of lyrical genius, the track concludes with the most profound line of all;
And if my thought-dreams could been seen, they’d probably put my head in a guillotine, but it’s alright, Ma, it’s life, and life only…”
The album concludes with “It’s All Over Now, Baby Blue” which, despite its name, is a much brighter acoustic song than anything else on side two and has an almost electric vibe. William E. Lee offers refrained but interesting bass guitar to the acoustic strumming and dynamic melodies of Dylan’s vocals. The song’s subject may have been the folk protest movement in general or Baez in particular, or even both. In any case, this offers a perfect conclusion to Bringing It All Back Home and leaves an almost deafening reverberation in the listener’s ear after the song concludes.
Rolling back to the beginning, this brilliant album has a rather unpolished start as the intro to “Subterranean Homesick Blues” is slightly cut off. However, once this song fully launches, it never relents for one single moment, with its only real flaw being that it ends too soon. Here Dylan blends the musical influences of Chuck Berry and Woody Guthrie along with a lyrical style similar to the writings of Jack Kerouac. Released as a single ahead of the album, “Subterranean Homesick Blues” became Dylan’s first Top 40 hit in the US, as well as a the Top 10 hit in the UK. Dylan employs a completely different vocal style on “She Belongs to Me”, a much smoother song musically than the opening track. While his vocalizing has long been the subject of debate and some derision, it is really quite amazing how Dylan can shift gears from track to track. Musically, a gently strummed acoustic is complemented by the picked electric guitar of Langhorne along with a subtle rhythm track and Dylan also executes a few of his finest harmonica leads on this song.
“Maggie’s Farm” may very well be the ultimate counter-counterculture song, exposing some of the hypocrisies of a rebellion against “the establishment” while implementing even stricter standards within itself. Armed with some of his more brutal lyrics, Dylan unambiguously screeds through this explicit poetry and clarion declaration of independence. Essentially, this is an announcement of his musical transformation, which found further importance when Dylan performed it as the opening tune during his defiant electric set at the 1965 Newport Folk Festival in August of that year.
I ain’t gonna work on Maggie’s farm no more / Well, I try my best to be just like I am but everybody wants you to be just like them, they sing while you slave and I just get bored, I ain’t gonna work on Maggie’s farm no more…”
As cynical as the previous tracks are, “Love Minus Zero/No Limit” completely pivots in the opposite direction, almost like an extremist love song. The very title (a mathematical equation which results in “absolutely unlimited love”) indicates the complete offering of one’s existence to a significant other, in this case Dylan’s future wife Sara Lowndes. Another complete departure for Dylan is “Outlaw Blues”, a rollicking, bluesy and about as heavy as rock and roll came in 1965. In fact, this song could, at once, be a true ancestor to bluesy jam bands as well as the hard rock and heavy metal which arrived a half a decade later. With “On the Road Again”, Dylan takes a large step forward both musically and lyrically. This strong rock/blues track with especially potent drums by Bobby Gregg, contain lyrics written in the spirit of Kerouac’s novel On the Road but with a definite original edge;
Well, there’s fist fights in the kitchen, enough to make me cry / The mailman comes in and even he’s gotta take a side / Even the butler, he’s got something to prove / Then you ask why I don’t live here, Honey, how come you don’t move?”
The album’s first side ends with a bit of levity in the false start of “Bob Dylan’s 115th Dream”. Once the song really kicks in, it employs a true stream-of-consciousness and may have the most surreal lyrics on the album. The song’s title alludes to the track “Bob Dylan’s Dream” from his 1963 album The Freewheelin’ Bob Dylan, but as an almost satirical sequel to that serious folk song.
Upon its release, Bringing It All Back Home reached the Top Ten on both sides of the Atlantic and has continued to grow in stature and importance in the half century since its release. Later in 1965, Dylan would record and release another masterpiece, Highway 61 Revisited, an album Classic Rock Review will examine on August 30th, the 50th anniversary of that album’s release.
Part of Classic Rock Review’s celebration of the 50th anniversary of 1965 albums.
The Kinks sophomore effort is often overlooked in their catalog due to the popularity of their recently released debut and the critical acclaim of later albums. But the rapidly recorded Kinda Kinks is a fine album with decent tracks, advanced sonic qualities, and mainly original compositions, which cause some to deem this, “the first proper Kinks album”. The album was rapidly recorded in between touring and released in the UK on March 5, 1965, just two weeks after recording wrapped and 50 years ago today.
In 1963, The Kinks were formed in London, by brother guitarists Ray Davies and Dave Davies along with bassist Pete Quaife. The band originally went through a series of lead vocalists, including a young Rod Stewart, before Ray Davies took on the main vocal duties. In late 1963, the band was introduced to American record producer Shel Talmy, who helped The Kinks secure a recording contract with Pye Records the following year. Soon after, Mick Avory was brought on as the permanent drummer, completing the quartet which would remain in place through most of the 1960s. In 1964, the group released four singles, the most successful being “You Really Got Me”, released in August, and “All Day and All of the Night”, released in October, both of which were Top Ten hits on both sides of the Atlantic. Their late 1964 debut LP, Kinks, consists largely of covers with a few tracks written by Davies or Talmy.
With the success of the singles and album, the group toured extensively through the winter of 1965, including a tour of Australia, New Zealand, and Eastern Asia. Upon returning to England, recording began promptly on this album, which would ultimately include 10 of 12 original compositions. Also recorded but left off the album were three tracks penned by Ray Davies, including the fine song craft of “Set Me Free”, the beat-driven rocker with stream-of-conscious vocal lines “Everybody’s Gonna Be Happy”, and the very catchy and unique “Who’ll Be the Next In Line”. On Kinda Kinks, they started to stray beyond the boundaries of strict R&B and blues-based rock into the early workings of the hard rock sound.
Kinda Kinksby The Kinks
Released: March 5, 1965 (Pye) Produced by: Shel Talmy Recorded: Pye Studios, London, February 1965
Look for My Baby
Got My Feet on the Ground
Nothin’ In the World Can Stop Me Worryin’ ‘Bout That Girl
Wonder Where My Baby Is Tonight
Tired of Waiting for You
Dancing in the Street
Don’t Ever Change
Come On Now
You Shouldn’t Be Sad
Something Better Beginning
Set Me Free
Everybody’s Gonna Be Happy
Who’ll Be Next in Line
Ray Davies – Lead Vocals, Guitars, Piano Dave Davies – Guitars, Vocals Pete Quaife – Bass, Vocals Mick Avory – Drums
The album commences with “Look for My Baby” with a style that is a bit sixties, standard pop (harmonized vocals and call-response) but top-notch at that. The listener is immediately struck by the great sounding drums, a tribute to Talmy’s great production. “Got My Feet on the Ground” was co-written by Dave Davies, who also provides some strained but effective lead vocals on this upbeat and snappy pure rocker.
The album takes a somber turn with, “Nothin’ in the World Can Stop Me Worryin’ ‘Bout That Girl”, a dark folk/blues with a single guitar and vocal through the first verse and a slight arrangement afterwards with acoustic bass and muted snare snaps. The cover, “Naggin’ Woman”, is Rolling Stones influenced as much, if not more, than the original blues source. While pin-point guitars are not quite up to snuff, they are close enough for rock n’ roll. “Wonder Where My Baby Is Tonight”, contains a piano driven riff which is locked in with Quaife’s choppy bass. This is lyrically shallow but interesting musically, especially with the advanced bridge section which previews some of the advanced Kinks arrangements of future years.
The smooth and cool hit, “Tired of Waiting for You”, is the true highlight of the album, led by the complex drum beat of session drummer Bobby Graham and the two chord march riff of Dave Davies during the intro/chorus hook section. Ray Davies’ fine vocals soar above the masterful changes of the inventive verse sections. The song was recorded in mid 1964 and was intended as a single but held over until this album in 1965. When released, it became the group’s third Top Ten hit and their highest single for the next 18 years until the 1983 hit, “Come Dancing”, from State of Confusion.
After a rocked out, almost new wave version of the oft-covered, “Dancing in the Street”, comes the fine, “Don’t Ever Change”, with a folksy, slight Beatles vibe. This forgotten gem from the Kinks early years, contains a nice mixture of acoustic and electric guitars with a consistent, upbeat drum shuffle by Avery and a unique vocal pattern which varies in tempo and intensity while music remains steady behind. The short, “Come On Now”, has the makings for a good rock song but seems a bit under cooked, while, “So Long”, is pure acoustic folk and the first place where Ray Davies’ vocals are left natural and pure. In contrast, “You Shouldn’t Be Sad”, is an upbeat, poppy, and utterly trite song, perhaps the only real filler on the album. The album concludes with, “Something Better Beginning”, a slight ballad with a bit of melancholy tone and fine chord progressions in a classic lover’s lament with a unique title and approach.
According to Ray Davies, the band was not completely satisfied with Kinda Kinks, due to the rushed production which resulted in some songs being underdeveloped. However, these tracks have stood up well over this past half century, which is evident by the number of tracks (seven) later covered by major rock acts. Starting with, The Kink Kontroversy, in late 1965. The Kinks continued their stylistic shift, continuing a diverse career which would continue for decades.
Part of Classic Rock Review’s celebration of 1965 albums.
We commence our year-long celebration of the 50th anniversary of 1965 album releases with the oldest music we’ll ever cover at Classic Rock Review. The British group, The Zombies, recorded several singles through 1964 a few of which caught fire in the U.S. market. To capitalize, the group rushed into the studio late in 1964 to record enough material to release an album for the American market. The twelve track album The Zombies was released in January 1965 in the U.S., while the band took a little more time to complete their fourteen track U.K. debut, Begin Here, a few months later. While either version of this album contains too many covers by contemporary standards, there is certainly enough variation and originality in the originals to sustain this as a classic.
The Zombies were originally formed as “The Mustangs” in 1961, while its five members were still at school. After finding out that other bands were using “Mustangs”, the band’s permanent name was coined by short-time member Paul Arnold, who left the group to become a physician. The band “won” a recording contract with Decca Records after winning a beat-group competition and instantly recorded their first hit, “She’s Not There” in 1964. Written by keyboardist Rod Argent, the song contains a cool, jazzy electric piano, Bossa Nova rhythms by drummer Hugh Grundy, and the signature, breathy vocals by lead vocalist Colin Blunstone. The song reached The Top 20 in the UK in September 1964 and climbed all the way to #2 in the U.S. in December 1964.
The group immediately toured the United States and were featured on the initial episode of the national TV show Hullabaloo. Throughout this frenzy, the group was composing and recording, while developing a distinct musical and vocal style with featured a blend of keyboards, snapping rhythms, and distinct lead and harmonized vocals.
Begin Hereby The Zombies
Released: March 1, 1965 (Decca) Produced by: Ken Jones Recorded: June – November 1964
I Can’t Make Up My Mind
The Way I Feel Inside
Work n’ Play
You Really Got A Hold On Me/Bring It On Home To Me
She’s Not There
Sticks and Stones
Can’t Nobody Love You
I Don’t Want to Know
I Remember When I Loved Her
What More Can I Do
I Got My Mojo Working
It’s Alright with Me
Kind of Girl
Tell Her No
Colin Blunstone – Lead Vocals Rod Argent – Piano, Keyboards, Harmonica, Vocals Paul Atkinson – Guitars Chris White – Bass, Vocals Hugh Grundy – Drums
Begin Here starts with a rocking version of Bo Didley’s “Road Runner”. Paul Atkinson adds some surf rock guitar elements to complement Blunstone’s wild, intense vocals and a slight organ solo by Argent. George Gershwin’s “Summertime” is next interpreted as a calm and jazzy number with great sixties sonic motifs, led by the electric piano of Argent and the smooth lead vocals of Blunstone. The first original on the album is written by bassist Chris White. “I Can’t Make Up My Mind” is pure sixties pop, with The Zombies offering their first hint of great harmonies with a slight guitar lead by Atkinson. Argent’s “The Way I Feel Inside” is definitely influenced by The Beatles, and most specifically the song “If I Fell” from A Hard Days Night, while “Work n’ Play” is a cool sixties-style instrumental, led by the piano of guest Ken Jones (who wrote the number) and a harmonica lead by Argent.
The medley “You’ve Really Got a Hold on Me/Bring It On Home to Me” may be the weakest spot on the album, considering The Beatles had already done their own version of the first part of this medley, and there is nothing special added here. In contrast, the cover “Sticks and Stones” is a great jam even if you can sense some Rolling Stones/Them influence, especially vocally. Atkinson’s bright, picked guitar drives the blues/soul influenced “Can’t Nobody Love You”, a rare track where Argent is reserved to the background with White’s bass and Grundy’s drums much more animated. “Woman” is riff-driven with harmonized vocals throughout and changes method and tempo between the verse and chorus sections.
“I Don’t Want to Know” is another pop track by White with some lead vocal rudiments, while Argent’s “I Remember When I Loved Her” contains a dark, almost Western feel with echoed, picked acoustic and constant 6/4 rhythmic drive with some percussion effects. Later a haunting organ rises in the background, adding to the overall vibe and show that The Zombies were sophisticated beyond their years and explored abstract musical avenues long before art-rock came along. White’s third and final composition on the album is the short but excellent “What More Can I Do”, which vastly predicts the Doors sound of years to come. Rounding out the original album is “I Got My Mojo Working”, a pure, upbeat blues which forecasts the future of rock n roll with consistent, driving riff and beat and more than apt harmonica by Argent.
Some of the group’s originals which were only included on the American version, The Zombies, were the sixties jam, “It’s Alright With Me”, the Beatlesque rocker, “Sometimes”, and most especially the 1965 hit single “Tell Her No”. This latter track by Argent is a jazz/rock classic with great sense of melody and composition that became the group’s second Top 10 hit in the United States.
After the frenzy of early 1965, The Zombies got into a bit of a commercial rut, releasing several singles through 1966 without much popular reaction. Eventually, the band made their way to Abbey Road Studios in 1967 and recorded their classic album, Odessey and Oracle, released in 1968. Unfortunately, the group was already on the outs by that point, assuring a short but meteoric path for one of the sixties most ingenious rock bands.
Part of Classic Rock Review’s celebration of 1965 albums.


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If you are someone who enjoys to write and wants to make it even more professional but don’t have the talent, you might be thinking the way to do an essay writing for college. The good news is there are several online writing classes that will teach you how to compose an essay. The majority of the writing classes will teach you how you can write essays, however there are some essential courses that you ought to learn about contadores de caracteres before you start with any writing class.
In general, a fantastic essay is usually written in 3 parts. The first component contains the introduction; the middle section includes the body of this composition and the last part is the conclusion.
Composing an introduction is one of the most significant part the essay. An introduction is generally short and gives some background about the person doing the writing. This part also provides some information about the subject of the article and provides some suggestions for the reader to comprehend the composition better. The introduction may also comprise some supporting reasons or facts about the subject that the writer is talking about. The introduction is frequently the section where the author shows off their skills of the author to the reader.
The body of this essay is the point where the author puts everything he or she has heard in the preceding paragraphs. The body is the center section of this essay. The writer here usually does an investigation of the topic or information being exhibited within the human body. Analysis is not necessarily essential. It’s possible to just include facts about the subject of your essay the reader can utilize later on. The body of the essay is where the author puts her or his thoughts into the kind of an essay. The author may use the thoughts from the debut or he or she could just write down the ideas he or she’d.
The ending of the essay is the last section. In general, this is actually the final part that most folks complete the whole assignment. This is usually a summary of that which has been written in the human body and the writer has to describe everything which was written in the introduction and what has been mentioned in the torso. It’s in the conclusion which the author needs to sum up all of the information about the topic by creating a couple paragraphs to summarize everything that has been discussed. And give their opinion regarding the topics that were discussed. Ultimately, it’s the conclusion of this writing class that the student has to show her or his work for their teacher for inspection.
Writing essays for faculty is not so hard to do so long as you understand the hints that can help you with the procedure. If you would like to know how to compose an essay quickly, you should make certain you know these tips online sentence counter so you can start writing the very best essays very quickly. Additionally, ensure that the writing course you choose is accredited or has great reviews from some other pupils. Also, ask your teacher for suggestions for topics. Most of all, keep in mind that writing essays for school is not all about the essay itself but the way you are able to express yourself well in writing a persuasive essay.

domain: literature


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Do you know which is the hardest part of our body?
If you say bone, it is not correct. Your tooth enamel is much stronger than your bone. Enamel is the outer cover of a tooth and is responsible for protecting the inner layers of a tooth. As it is made up of dense material, the enamel is very sturdy.
You may ask, “Even though my tooth has such a rigid covering, then why does my tooth get infected by cavities?”
Such tooth decay and cavities are due to factors which weaken the enamel. Once your tooth enamel wears down or eroded, the soft tissues and inner layers are exposed to certain foreign objects. It results in cavities which in turn leads to tooth decay.
In this post, we have listed various factors which make your teeth prone to enamel erosion. (or) dental erosion.
1. Consuming soft drinks excessively
Soft drinks contain a high amount of acidic substances. Similarly, fruit drinks and carbonated drinks have acidic substances. Along with acids, sweetening agents and chemical compounds present in such soft drinks deposit on the enamel when you drink them. Oral bacteria take advantage of that depositions and begin to soften your enamel that results in enamel loss.
2. Acid Reflux Disease
It is a digestive disorder. It brings backward the food in our stomach to the esophagus and to the throat. In such cases, the acid present in our stomach also travel back to the mouth and accumulates in our teeth.
Similar to the acids in soft drinks, it is also effective to demineralize and break down our enamel.
3. Dry mouth
Dental health Professionals term it as “Xerostomia”. It is a dental issue which lessens the flow of saliva and salivary production in your mouth.
Saliva plays an important role in expelling the bacteria, acidic and other substances deposited on our teeth. Such lack in salivary flow provides a way for the harmful depositions on the teeth to wear down the enamel.
4. Tooth Grinding
You may aware of it. Few people have the habit of clenching their teeth when they get angry. Similarly, some people grind their teeth without their knowledge during their sleep.
If you grind or clench your teeth frequently, your enamel will become weak and slowly gets eroded.
5. Poor Oral Hygiene
Food debris, sugary particles, acidic substances and other depositions on our teeth are common as the teeth are exposed to food and drinks frequently. You should healthy oral habits
like brushing and flossing to evacuate such particles settled on your teeth.
Otherwise, your teeth will become a breeding ground for bacteria and germs in your mouth and cause enamel erosion prior to teeth loss.
Similar to certain hereditary diseases, dental erosion also has chances of being transferred from one’s parents and ancestors through his/her genes.
Few drugs and medications we intake for diseases are rich in acidic compounds. They also play a part in exposing your teeth to acids. It is better to consult your Doctor to get a replacement for such highly acidic medications.
Besides these, certain environmental factors, biting hard objects with teeth, chlorinated water are also responsible for dental erosion.
As mentioned at the beginning of the post, tooth enamel is stronger than our bones. Unlike bones, teeth enamel cannot be restored or repaired because enamel does not have living cells. Hence we should take care of our teeth to protect them from infections in order to prevent dental erosion.

domain: medical


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Setting up the homepage of the Classified Theme is very easy, thanks to the classified theme framework, which treats the whole homepage (landing page) as a collection of sidebars. So you can easily drag and drop various widgets in the homepage sidebars and areas, thus letting you setup the homepage however you want.
You can choose from a variety of layouts for the homepage, including 1,2 or 3 columns setup, also you can install various sliders (using external plugins) since the theme allows you to drag and drop widgets (which can be sliders from external plugins) so you can setup an unique layout for your website. Check the instructions below to setup your homepage:
1. Choose from the various layout settings that the theme allows:
Go to wp-admin -> ClassifiedTheme -> Layout Settings (see screenshot below)
2. Drag and Drop Widgets:
Go to wp-admin -> Appearance -> Widgets (see screenshot below) and drag and drop widgets into Right and Left Homepage sidebar, Main Sidebar, and Stretch Sidebar

domain: design


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Welcome to Brusco Food Group
For over 30 years Brusco has been searching the globe for interesting products, produced by reputable suppliers who value quality and partnership. We collaborate with our food manufacturing, wholesale, and retail customers, sharing insight, innovation, and ideas and supplying high-quality food ingredients with integrity.
In addition to supplying great products, we believe your ingredients partner should also offer first-class technical support, market insights and ideas, and exceptional service. We look forward to working with you and becoming your ingredients partner.

domain: food


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Fair Trade Hand Woven Hamper - Grey Stripes
Our Loomed Basket Collection provides functional storage solutions with an earthy, textural style. Practical in size, they feature handwoven jute on the outside, laminated hessian on the inside (with a recycled rubber inner for stiffness). Designed with the same loomed jute fabric that our best-selling Shoppers and Totes are made from.
Size: 48cm high x 38cm diameter
Care instructions: Avoid direct sunlight. Spot clean.
Designed by Shannon Sheedy and handcrafted by Fair Trade artisans in Bangladesh.
Products from The Dharma Door are designed in Australia by Australians and made in third world countries via Fair Trade practices.

domain: artistic


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Whether you are planning a visit to the University of Minnesota, heading out on the road to watch your Golden Gophers play that big away game, or just want to do some sightseeing in the Minneapolis area, your CFB | Minnesota Gophers Tickets | Travel Packages | Hotels Near Stadium, has everything you need right here!
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The University of Minnesota permits tailgating on football game and other approved large Stadium event days in designated areas, during specified hours, and under the conditions outlined in this Tailgating Rules document. These rules are intended to enhance the Stadium event experience, promote a safe campus environment, and preserve the beauty of the campus.
Tailgating is permitted only in designated surface parking lots. Green space within a parking lot or within 15 feet of a parking lot may be used for tailgating by the participants assigned to that parking lot. The following is the list of designated tailgating lots.
State Fair Lots (based on lease agreement when State Fair is not in session)
Tailgating is not permitted anywhere else on University of Minnesota property, including parking ramps and parking garages.
Tailgating is restricted to the following times.
Tailgating may begin 6 hours before event start, but no earlier than 7:00 AM.
Tailgating must end 4 hours after event end, or 12:00 midnight, whichever comes first.
Weekday events may have varying hours (specific hours will be available on the event website.)
RV tailgating lots may have varying hours (specific hours will be available on the event website).
When tailgating hours end, all tailgating supplies must be properly disposed of or stored in a vehicle. Vehicles may remain in a parking lot until the lot closes at midnight.
Activities and Equipment
The following items and activities are allowed in tailgating lots:
Gas grills with a maximum propane cylinder size of 20 pounds
Consumption of alcoholic beverages by persons of legal drinking age, and in conformance with all applicable state laws, city ordinances, and University policies
Portable outdoor furniture
Tents and awnings that do no block adjacent parking spaces, impede drive aisles, or require the use of stakes.
Portable generators, if their noise and exhaust does not interfere with others’ enjoyment, and are safely used
The following items and activities are not allowed in tailgating lots:
Kegs, party balls, drinking game accessories, and large quantity or common source containers of alcoholic beverages
Glass containers of any kind, including bottles and cups
Open fires fueled by charcoal, wood, or other combustible materials of any kind
Pets, except service animals
Weapons, as defined in Board of Regents Policy: Possession and Carrying of Weapons
Disruptive music or noise
Couches or other large furniture items
Promotional or marketing activities without appropriate authorization from the University
Sale of products, food, or beverages except as authorized by the University
Occupying more than one parking space
Saving a parking space for someone else
Obstructing adjacent parking spaces and drive aisles
In addition to the above, the following rules apply to the student tailgating lot:
Beer and wine (in the possession of students of legal age) are permitted
Hard alcohol (distilled spirits) are not allowed
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is evolving the way the world moves. By seamlessly connecting riders to drivers through our apps, we make cities more accessible, opening up more possibilities for riders and more business for drivers. From our founding in 2009 to our launches in hundreds of cities today, Uber rapidly expanding global presence continues to bring people and their cities closer. Go Uber
Blacklane offers you an innovative way to book professional, consistent and reliable ground transportation, via website or smartphone app, around the clock at transparent and competitive rates significantly below traditional limousine and chauffeur services. Blacklane does not provide its own vehicles but rather aggregates the spare capacities of local partners…Your professional driver!
Limo.com allows you to book a limousine service and party buses throughout the United States for Sports, weddings, proms, corporate outings, and more. When booking a party bus rental or limousine rental check the rates, availability, and all vehicle options right on the website. Booking a limousine or party bus has become a lot easier to do without having to hunt for the best available price. Provide the information needed to book a limo or party bus in your area and find results in minutes with a variety of different prices.
Limo.com is a nationwide marketplace where independently owned limousine and party bus companies compete for your business. No matter what the size of your travel group or the destination. Limo.com arranges straightforward access to the best limousine service with the ideal vehicle for each and every trip. If you are traveling with a larger than average group a party bus rental can suit your needs.
Charter Bus Rental
How do we have such a large library of limos and party bus rentals across the country? works with thousands of companies in your area to provide you with the best available option. Book a bus service to a wedding, corporate event, airport transfer, anniversary, or night on the town with one of our many affiliates that work with us. Do not spend your time searching online for a charter bus service, you will find what you are looking for in our network and at a price that can fit your travel needs.
Driving South on I-35W: Take the Washington Ave. Exit (Exit 17C) Turn left onto Washington Ave. S. Follow the curve right that becomes Cedar Ave. Turn left at 3rd St. for the 19th Avenue Ramp. If full, go past the ramp entrance and turn right at 19th Ave. Then take your next left at 4th St to access the 21st Avenue Ramp.
Driving West on I-94: Take the Riverside Ave. Exit (Exit 235A). Turn right and follow Riverside Ave. for a few blocks. Turn right at 21st Ave. for access to the 21st Avenue Ramp.
Driving East on I-94: Take the 25th Ave. Exit (Exit 235A). Turn left on 25th Ave. and then left again on Riverside Ave. Turn right at 21st Avenue for access to the 21st Avenue Ramp.

domain: travel