These Dvds guide the viewer to a thorough understanding of how to effectively engage and release myofasciae throughout the entire body. Use the Dvds to become a skilled and proficient practitioner with a better sense of depth, pace and intensity than the book alone can provide.
Les programmes spatiaux secrets font partie intégrante d'un puzzle complexe concernant les ovnis, la vie extraterrestre, les anciennes civilisations et les technologies aérospatiales avancées, un casse-tête qui a longtemps échappé à toute compréhension cohérente. Nous disposons enfin d'informations permettant d'en rassembler toutes les pièces grâce, en particulier, aux divulgations d'un dénonciateur des programmes spatiaux secrets, Corey Goode. Un examen détaillé des témoignages de Goode et d'autres initiés révèle l'ensemble du tableau …
No chance Franks is going to change the formula now after all these years, but what a great formula it is. Michael Franks delivers another superb collection of idiosyncratic pop songs as only he can - this time out with a bit of a Brazilian flavored twist. Features Chuck Loeb (guitar, keyboards, programming), David Sancious (piano, keyboards), Jeff Lorber (keyboards, programming), Michael White (drums) and Eric Marienthal.
A continuation of the sound established on his Alligator debut, I Smell Smoke is even more impressive than its much-heralded predecessor. While vocally Michael Burks still invites comparison to Albert King, especially on gospel-fried ballads like "Lie to Me" (the Flying V guitar he sports on this album's cover shot further reinforces the similarities between the two artists), his guitar work has become more electrified and confident. With a tone sounding at times like Eric Clapton's psychedelic work in Cream and a rugged four-piece band supporting him, this is a tough, uncompromising contemporary blues/blues-rock/R&B album that doesn't pull punches. Co-produced and mixed by veteran Jim Gaines, the sound is professional but not polished, with Burks' strong persona commanding attention. However, the songs – which are far above average – are as important as the performance. Mostly written by outside sources, Burks avoids the crowd-pleasing covers that populate his live shows, instead digging into obscure tunes such as Latimore's "Let the Doorknob Hit You," delivering them with his gutsy punch.
At age 54, Elliott Murphy has been recording albums of his original compositions regularly for 30 years, and unlike some musicians who have been at it that long (such as Neil Young, whose raucous, Crazy Horse-style guitar playing is echoed on this album's leadoff track and whose After the Gold Rush ballad "Birds" is covered under the title "Bird"), he hasn't changed much about his musical or lyrical approach in that time. The Elliott Murphy of 2003 is not very different from the Elliott Murphy of 1973. He still writes semi-autobiographical songs full of poetic imagery and literary references (The Great Gatsby and Samuel Beckett are favorites), and he still sets them to folk-rock arrangements that call to mind Bob Dylan.