Love sees no colour

CD Single CD Auteur: U96 Rubrique principale CD: CD Single Genre musical: Techno

1-1–FireflySupernatural (Kully B Remix)Remix, Producer [Additional Production] – Kully BWritten-By – Ursula RuckerWritten-By, Producer – King Britt 5:00 1-2–HirdBird 4Written-By, Producer – Christoffer Berg 5:34 1-3–Haris Custovic & Mike Jackson (11)Sunken ShipWritten-By, Producer – Haris Custovic, Mike Jackson (11) 4:53 1-4–PlejLay Of The LandWritten-By, Producer – Arvid Niklasson 4:04 1-5–HirdKeep Your WayWritten-By, Producer – Christoffer Berg 6:24 1-6–PhysicsFly AwayPercussion – MauricioProducer, Mixed By, Arranged By – PhysicsSaxophone – Sven Andersson (3)Vocals – Miriam AidaWritten-By – Koyana*, Surdi*, Olsson* 5:45 1-7–UmetnikA.T.L.A.N.T.I.S. (Yoko's Day In A Strange Place Mix)Music By, Words By – Rick Assfalg*, Shue Milincic 6:04 1-8–Trick BabyNeelaa (Aluminium Headz Mix)Written By – Hussain/Alger 4:20 1-9–Asian GalacticGamela (Traxx Dynamite's Too Stoned But They Like It Version)Music By, Words By – Rick Assfalg*, Shue Milincic 7:09 1-10–Star You Star MeLove Reign O'er MeArranged By – J. Lehto*Producer, Performer [Performed By] – Eetu, Jeny*, Star You Star MeWritten-By – P. Townshend* 5:54 1-11–Rees* & Mead*Freedom Is Within Each Of UsWritten-By – Mead*, Rees* 1:14 2-1–JilePianoWritten-By – Connie Stadler 2:40 2-2–Kate RogersFineWritten-By – Rogers*, Rae*, Christian* 5:39 2-3–Delorean SuiteSlow RiderWritten-By – Conway*, McMahon*, Roche* 5:06 2-4–Aim Feat. Kate RogersSailWritten-By – Turner*, Gale*, Mitchell* 6:01 2-5–Another Life (2)Love Me Like I Love YouWritten-By, Producer – Dave Macloed, Dean Montenegro 2:46 2-6–Aries In MarsGreenwaterWritten-By, Producer – Dave Macloed, Dean Montenegro 4:49 2-7–ModulationSkyMastered By – Svante ForsbäckWritten-By – Alex KunnariWritten-By, Producer, Mixed By – Heikki Liimatainen 3:52 2-8–Shokata Vs. U96Love Sees No ColourProducer, Arranged By, Instruments [All Instruments By] – ShokataWritten By – Castioni/Christensen/Lagonda/Wycombe 4:27 2-9–Aries In MarsJourney To VenusWritten-By, Producer – Dave Macloed, Dean Montenegro 5:04 2-10–LTJ Experience*Moon BeatKeyboards [Keys] – Maestro GarofaloWritten By – Garofalo*Written-By – Rinaldi* 3:32 2-11–Marco Zaffrano*Die SchlaganfrauWritten-By – Zaffrano* 4:25 2-12–James HoldenKaernWritten-By – Holden* 5:06

Emerson's Essays on Manners, Self-Reliance, Compensation, Nature, Friendship (Classic Reprint) Ralph Waldo Emerson Auteur: Ralph Waldo Emerson Editeur: Forgotten Books Broché: 194 pages paperback Publication: 15/07/2012 Dimensions: 22,86 x 15,24 x 2,29 Langue: Anglais Publier en: Anglais Languages d'origine: Anglais Help ? May 25, 180 A prU 27,1882) We have few more intimate biographical records than Emersoi s; fewer still tiiat cause so littie disappointment in the reading. In the wealth of material at hand in his Journal and letters as well as in the personal reminiscences of a great band of friends and admirers we are brought face to face with a personality that can but win by the cumulative power of character Even those who met Emerson with prejudices to be overcome were conquered by his presence. In an instant all my dislike vanished said Crabbe Bobinson, in reporting the first glimpse caught of him across a crowded room. One and another bear evidence to the same personal power with a concurrence that would be tiresome, were it not for the strong individual conviction in each case. Two other brothers, Edward and Charles, both younger, shared this power; William, the oldest, was likewise gifted with unusudl intellect. The family lived in Boston, where the father, William Emerson, was a brilliant Congregational minister, prominent in religious, social, and literary circles till his death in 1811. (Typographical errors above are due to OCR software and don't occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology. Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the original format of each page whilst digitally enhancing the aged text. Read books online for free at Great Collection but Not the Best This collection has five Ralph Waldo Emerson essays: "Self-Reliance," "Manners," "Compensation," "Nature," and "Friendship." They were published a few years apart but have little intrinsic connection; the combination seems random. However, "Self" is an essential masterpiece, and the others are high quality. Anyone wanting a sampler could do worse, but the essays are widely available in far more comprehensive compilations, and this is hard to justify unless one sees it for a good price. "Self" is Emerson's most famous essay and is rivaled only by "Concord Hymn" as his most famous work. It is also his masterpiece; one often hears - sometimes disparagingly - that Emerson tried to fit his whole philosophy into each essay, and this comes remarkably close. There is far more depth and subtlety here than the length suggests; one would be very hard-pressed to find another work so densely packed. The words are few, but the implications are enough for a lifetime. "Self" is a seminal masterwork; a founding Transcendentalist text and American Romantic cornerstone, it is central to American thought, culture, and literature. Anyone even remotely interested in any Americana aspect must be intimately familiar with it; aside from the Declaration of Independence and Constitution themselves, perhaps no other document is so vital to the American spirit. Reading "Self" is perhaps more necessary than ever - not only because it is eternally relevant but also because it is often misrepresented. The term "self-reliance" is now almost entirely political, almost synonymous with libertarianism, and the essay is frequently touted along such lines. However, these things are hardly more than implied here, and though the definition of "liberal" has greatly changed, it is important to remember that Emerson was one of his era's leading liberals. His prime meaning in any case is self-reliance intellectually and in everyday life. He urges us to trust ourselves, to recognize human divinity and avoid imitation. It is a simple message but all-important - and far easier said than done. Emerson explores all its ramifications - philosophical, practical, social, political, economic, etc. - and outlines all its benefits. The case is beyond convincing, but he can do no more than show us; the rest is up to us. This profoundly individualist message is another reason that reading "Self" is so necessary. Emerson now unfortunately has a reputation for being somewhat impenetrable and/or hopelessly impractical; this is a true shame, because he wrote for the masses. Unlike nearly all philosophers, he does not rely on jargon or polysyllables; he truly wanted to be understood, and all it takes is will. We must open our minds to him, and once we have, they will never be closed again. Though greatly revered with many and diverse followers, Emerson's intention was not to be loved but to inspire; he wanted all to find individual genius. His work is thus the truest and best kind of self-help manual, and "Self" is its apotheosis. It has inspired millions in the more than century and a half of its existence, including me. I have read thousands and thousands of works, but this is one of the handful that truly changed my life. Emerson's greatness always shines through, but reading him at the right time can make an astonishing difference. He was more popular in life with the young than the old, and I can easily see why. I was lucky to read him at just the right time, and "Self" spoke to me more powerfully than almost anything else ever has. Without hyperbole, I can say that I would not be doing what I am today and would have abandoned my goals and visions without reading "Self" and Thoreau's "Life without Principle" - a somewhat similar essay highly influenced by Emerson - when I did. I was wracked with self-doubt and getting nothing but indifference, bafflement, or hostility from others; these works gave just the kick I needed, and I will never look back. "Self" has the potential to be life-changing as almost nothing else does, and I highly recommend it to all; you can hardly be unaffected and may never be the same. However, I especially recommend it to the young; its importance to them - and Emerson's generally - simply cannot be overemphasized. Emerson is a signature American stylist, and "Self" is near his height. His writing is always memorable and often highly lyrical - about as close to poetry as prose can be. However, his essays were almost always painstakingly composed from lectures and journals, and the effect was sometimes choppy. An Emerson-loving professor of mine once joked that no one can find the topic sentence in an Emerson paragraph, and his transitions also frequently leave much to be desired. However, "Self" is near-seamless, a true masterpiece of style that flows smoothly and often waxes beautiful. This is all the more remarkable in that it was assembled even more than usual from disparate sources; entries that ended up here came as far as eight years apart, but the whole is admirably harmonious. "Self" is a preeminent example of how Emerson delights in paradox. Anyone who reads him closely sees that he is as complex as he is simple. Thus, despite - or perhaps even because of - apparent straight-forwardness, few texts are more ripe for deconstruction. "Self" fans after all love a text that tells us not to love texts, are inspired by a man who tells us not to be inspired by men, and are convinced by a text and man both of which tell us not to be convinced by either. But this is only the beginning. "Self" works because it tells us exactly what we want to hear and, in striking contrast to innumerable self-help books, does so in an intellectually and even aesthetically respectable way. This is fine for me and (hopefully) you but could of course be taken to heart by Hitler as easily as Gandhi. The thoroughly optimistic, mild-mannered, and physically frail Emerson may not have foreseen his revolutionary text being put to nefarious use and probably would have been unable to believe in even the possibility. However, the danger, if we choose to call it so, is very real. "Self" could easily have had the same effect that Nietzsche had on Nazis, and that it has not been taken up by anarchists, radical terrorists, and the like is perhaps mere luck. One at least wonders how it avoided preceding The Catcher in the Rye as the work synonymous with unsavory people. That said, it is likely unfair to Emerson to say he did not anticipate this; he after all takes his views to the logical conclusion. He surely saw it, and it may have given pause, but he persevered because he was faithful to his intuition just as he urges us to be to ours. He truly believed in self-reliance and was ready to stand by it no matter what befell - nay, thought it his only choice. His optimism must have told him that the doctrine would not be abused, and he has been right - so far. Only time will tell if this continues to hold, but "Self" remains essential for all. Though far less great and universal, "Manners" is one of Emerson's more historically interesting essays. It is essential to recall that his era perhaps emphasized manners more than any other in history; they had an importance of which we cannot even conceive. All had to deal with them regardless of personal views, but virtually all seemed to agree - or at least convinced others that they did. Thus, though it may initially seem somewhat surprising in light of Emerson's trademark liberalism and originality that he (begrudgingly) accepts some conventions, the small extent to which he did so is truly remarkable. The essay goes a little into various manners' pros and cons, but the core points are elsewhere. The first is that manners are relative; Emerson begins with some striking anthropological examples of this all-important fact and otherwise drives it home. An extension of his core self-reliance doctrine, the second is that the great make their own manners - and make others respect them. "Manners" is one of Emerson's least transcendental works - in any sense -, but comparing and contrasting its message to today's society and competing views can be instructive, and it is a valuable timepiece. "Friendship" is also very good - one of Emerson's most affecting and thought-provoking works. His view of the ubiquitous subject is unsurprisingly original and engaging. He believes that friendship can exist only with real equality and sees it as a sort of springboard to something higher. His demands are great, and the work is eye-opening in the sense that almost no one has a friend by his definition. Like his best work, "Friendship" can easily make us question beliefs and preconceptions - and perhaps even make us better friends. "Compensation" is one of Emerson's most representative essays. The staunch optimism so essential to his thought was perhaps never shown so clearly or thoroughly elsewhere. Emerson begins by saying he had wanted to write about compensation since he was a boy, and it shows in his enthusiasm. He works himself up almost to a rhapsody, giving example after example in clear, beautiful prose that remarkably never becomes dull and is often near-lyrical. The essay details Emerson's belief that everything balances out, even if we cannot see it, and that good and evil have their own earthly rewards despite appearances. He may not convince cynics, but his argument is certainly compelling, and his critiques of conventional Christianity and other traditions are very intriguing. "Nature" has many of Emerson's key concepts: nature's all-encompassing beauty and force, our place in regard to it, art's role, and of course deduction of God from nature. Some speculations are more philosophical, historical, or critical, but all lead to these basic points, which are Transcendentalism's cornerstones. Emerson's characteristically optimistic thought is here in full, as is his signature poetic prose. These essays are essential for anyone interested in Emerson, whether read here or elsewhere. Three Stars Not much explanation. Hard to read. Print is not very clear. D'autre ouvrages de Ralph Waldo Emerson Mot Clef: Nonfiction Education Education Theory

ATTENTION: PAS DE CHEQUE, PAS DE VIREMENT; PAYEMENT PAYPAL UNIQUEMENT  PAYPAL ONLY ECHO & THE BUNNYMEN THE CUTTER Track Listing1. The Cutter 2. Bombers Bay 3. Paint It Black 4. All You Need Is Love 5. Ashes to Ashes 6. All My Life 7. A Promise 8. Read It in Books 9. Crocodiles 10. Crystal Days 11. Ocean Rain 12. My Kingdom Album Notes The Cutter is a strange compilation with cash-in written all over it. The front sleeve reads 12 classic tracks. It's a lie. Yes, some of the songs are among the best recorded by Liverpool's finest post-punk band, but the inclusion of two bizarre covers doesn't help the collection reach any sort of classic status. Perhaps WEA Records thought fans would see The Cutter as a best-of collection, which it isn't; maybe they thought those same fans would clamor for the covers of songs by the Rolling Stones and the Beatles. To start with, the album material isn't necessarily the best of. While the songs are a just-decent sample of some of the finer moments from the band's glory days, Songs to Learn and Sing and Ballyhoo are both better introductions. Albums covered include Crocodiles, Heaven Up Here, Porcupine, Ocean Rain, and Echo & the Bunnymen. There are classics here to be sure: "The Cutter," "A Promise," and "Ocean Rain" are all glorious slices. But there are glaring omissions among these classics, including "Lips Like Sugar," "The Killing Moon," "Bring On the Dancing Horses," and "Never Stop." The Cutter might be a nice find in the used CD bin, if one is looking for one particular track and an assortment of other okay songs. The live covers certainly don't justify the album, as they serve merely to break up an otherwise interesting collection. "Paint It Black" sees Ian McCulloch butchering the classic song like a campy vampire; it actually starts out promising, but McCulloch falls apart about a minute and half in. "All You Need Is Love" just sounds stupid, as if the band had only been rehearsing it for a day; there's no passion in the performance. The Cutter would cut cleaner if its cuts included the classics. ~ Tim DiGravina WEA RECORDS / 1988 / Printed in GERMANY Boitier Cristal // Crystal Box Tous mes CD sont en état impeccable, très peu utilisés Frais de Port, Shipping cost: Pour la France: 3,50€ (+1€ par CD Supplémentaire) For Europe, Switzerland and Norvay: 5,50€ (+2€ each additional CD) Rest of the world: 7,85€ (+3€ each additional CD) MERCI de CONSULTER MES AUTRES VENTES... PAYPAL ONLY ATTENTION: PAS DE CHEQUE; PAYEMENT PAYPAL EXCLUSIVEMENT

ATTENTION: PAS DE CHEQUE, Merci  ECHO & THE BUNNYMEN THE CUTTER Track Listing1. The Cutter 2. Bombers Bay 3. Paint It Black 4. All You Need Is Love 5. Ashes to Ashes 6. All My Life 7. A Promise 8. Read It in Books 9. Crocodiles 10. Crystal Days 11. Ocean Rain 12. My Kingdom Album Notes The Cutter is a strange compilation with cash-in written all over it. The front sleeve reads 12 classic tracks. It's a lie. Yes, some of the songs are among the best recorded by Liverpool's finest post-punk band, but the inclusion of two bizarre covers doesn't help the collection reach any sort of classic status. Perhaps WEA Records thought fans would see The Cutter as a best-of collection, which it isn't; maybe they thought those same fans would clamor for the covers of songs by the Rolling Stones and the Beatles. To start with, the album material isn't necessarily the best of. While the songs are a just-decent sample of some of the finer moments from the band's glory days, Songs to Learn and Sing and Ballyhoo are both better introductions. Albums covered include Crocodiles, Heaven Up Here, Porcupine, Ocean Rain, and Echo & the Bunnymen. There are classics here to be sure: "The Cutter," "A Promise," and "Ocean Rain" are all glorious slices. But there are glaring omissions among these classics, including "Lips Like Sugar," "The Killing Moon," "Bring On the Dancing Horses," and "Never Stop." The Cutter might be a nice find in the used CD bin, if one is looking for one particular track and an assortment of other okay songs. The live covers certainly don't justify the album, as they serve merely to break up an otherwise interesting collection. "Paint It Black" sees Ian McCulloch butchering the classic song like a campy vampire; it actually starts out promising, but McCulloch falls apart about a minute and half in. "All You Need Is Love" just sounds stupid, as if the band had only been rehearsing it for a day; there's no passion in the performance. The Cutter would cut cleaner if its cuts included the classics. ~ Tim DiGravina WEA RECORDS / 1988 / Printed in GERMANY Boitier Cristal // Crystal Box Tous mes CD sont en état impeccable, très peu utilisés Frais de Port, Shipping cost: Pour la France: 4,60€ (+1€ par CD Supplémentaire) For Europe, Switzerland and Norvay: 6,50€ (+2€ each additional CD) Rest of the world: 7,85€ (+3€ each additional CD) Je ne livre pas les dom Tom, la Corse et les bases de l'armée (marine, armée de terre, de l'air, etc...) ainsi que les boites postales Pas de chèque. Nous expédierons UNIQUEMENT à l'adresse (confirmée) spécifiée dans MERCI de CONSULTER MES AUTRES VENTES...

. Dusty SPRINGFIELD   Definitely      CD      Mercury   731453823228      2001    EU EX/EX           1. Ain't No Sun Since You've Been Gone 2:46     2. Take Another Little Piece Of My Heart 2:36     3. Another Night 2:13     4. Mr. Dream Merchant 3:04     5. I Can't Give Back The Love I Feel For You 2:32     6. Love Power 2:09    7. This Girl's In Love With You 3:37     8. I Only Wanna Laugh 3:06 9. Who (Will Take My Place)? 3:04   10. I Think It's Gonna Rain Today 3:14 1. Morning (Bom Dia) 2:46   12. Second Time Around 3:41   13. No Stranger Am I 2:47   14. Meditation 1:57   15. The Colour Of Your Eyes 2:33   16. Spooky WELCOME TO THIS P AGE - BUY WITH CONFIDENCE !! BIENVENUE - ACHETEZ EN TOUTE CONFIANCE !! °°°°°°°°°°°°°°°°°°°°°° °°°°°°°°°°°°°°°°°°°°°° Etat des disques: L'etat de la pochette est indiqué en premier. EX = Excellent etat La pochette peut avoir quelques très discrètes rayures et/ou des petits plis. Le CD montre des signes d'avoir été joué mais pratiquement comme neuf.  VG = tres bon etat La pochette présente des signes de manipulations évidents: extrémité légèrement cornée, étiquette du prix, plis. Mais aucun défaut majeur. Il se peut aussi qu'elle soit en parfaite état mais présente un poinson ou une extrémité biseautée. Le cd a quelques rayures qui n'affectent pas la qualité sonore. G = Bon etat La pochette est usée avec des plis, des marques, des décollements, une usure des bords, des décolorations, un début de marque circulaire du disque sur la pochette. Les signes de l'âge sont présents. Le cd a des rayures et marques qui n'affectent pas la qualité sonore. F = Etat moyen L'état de la pochette est proche de celui de VG- avec en plus des écritures, un papier gondolé à cause de l'humidité, des déchirures sur les bords... La qualité du son est détériorée par les nombreuses lectures, il peut y avoir des sautements. Exemple: EX/VG Pochette en excellent etat / Disque en tres bon etat. °°°°°°°°°°°°°°°°°°°°°°°°°°°°°° ---------------------------- ------------------------ °°°°°°°°°°°°°°°°°°°°°° Record condition  : The sleeve is graded first. EX = Excellent The cover and packaging might have slight wear but excellent aspect overall. The cd may show some tiny signs of having been played. VG = Very good Cover shows some hanling imperfection like normal wear and tear, price tag, creasing... Cover can also be in mint condition but there is a DJ or promo copy stamp or cut in the corner. The CD has been played few times and displays  occasional light marks or scratches. Does not affect quality sound. G = Good Cover suffers from folding, scuffing of edges, spine splits, discoloration... Now the signs of age and handling are starting to show. You can notice some clear wear on the surface. Does not affect quality sound. F = Fair The cover and contents can be torn, stained and/or defaced, there also can be some writing on it. The CD has been played so much that the sound quality has been noticeably deteriorated, perhaps with some distortion and mild scratches Exemple: EX/VG Sleeve Excellent / record Very good. °°°°°°°°°°°°°°°°°°°°°°°°°°°°°°   Créé par L'outil de mise en vente gratuit. Mettez vos objets en vente rapidement et en toute simplicité, et gérez vos annonces en cours.)

Edition remastérisée avec 1 bonus track et un livret 16 pages couleur publiée en 2020 par le label britannique ROCK CANDY sous la référence CANDY430, voir mes photos ! DESPITE ALL THEIR previous trials and tribulations, Legs Diamond released their sixth album in 1990 to wide acclaim, certainly attracting more attention and publicity than their first four records released in the 1970s and 80s. For Legs it was an incredible achievement, having been cast aside for much of the late 80s as a band without a prominent sales base or indeed any chance of a revival. Fortunately, as an underground favourite amongst the cognoscenti, their reputation preceded them with a new record deal (this time on Metal Blade Records) and a chance to actually make an album recorded with precision and finesse rather than pieced together on a shoestring budget. Issued in 1990, the record was considered a real return to form, many saying that it was the best release since their 70s heyday. It also signalled the welcome return of original guitarist Roger Romeo back into the band after several years pursuing other opportunities. With Rick Sanford supplying high octane vocals the band looked and sounded better than ever, with a creative surge that gave birth to twelve ‘gold standard’ songs’ including a blistering re-recording of ‘Stage Fright’ from their debut album. Pushing the envelope even more, the band were now in a financial position to finally tour the UK after years of being unable to afford such a trip. Naturally they received a hero’s welcome and a well deserved salute to their perseverance and tenacity. ‘Town Bad Girl’ is a record that contains a brace of stellar tracks, including ‘City Streets’, ‘Look Into Her Eyes’ and ‘Never Enough Time’, some of the greatest moments in the Legs Diamond cannon. 24-bit remastering from original source tapes, 4,000 word story of the making of the album, full involvement by the band, rare photos, one bonus track, all spread out over a superb 12 page full colour booklet. Track Listing: 1. TOWN BAD GIRL 2. CITY STREETS 3. STAGE FRIGHT 4. WORLD ON FIRE 5. CAN’T GET YOU (OUT OF MY MIND) 6. NEVER ENOUGH TIME 7. LOOK IN HER EYES 8. PAIN KILLER 9. CRY NO MORE 10. I AM FOR YOU 11. SHE DID IT FOR LOVE 12. NERVOUS 13. HEAVEN OR HELL BONUS TRACK 14.TOUCH AND GO

DURING THE 1970’s, the glorious Sunshine State of Georgia had been a fertile breeding ground for home grown Southern Rock nurturing, amongst others, the Allman Brothers Band, Grinderswitch and the Atlanta Rhythm Section. Doc Holliday, although not as universally well known as those big selling, stubble sporting whiskey soaked troubadours, were an important, nay essential, addition to that linage of respected and revered musicians. Developing a reputation as one of the hottest acts on what was affectionately termed the chittlin’ circuit DH, or Roundhouse as they had been known, eventually courted the ears of various power players in the record business. Wined and dined by the cigar chomping executives at A&M Records they were eventually signed to a major contract in 1980. Introduced to renowned English record producer ‘Colonel’ Tom Allom (Judas Priest, Strawbs, Nantucket) the coupling appeared an unlikely marriage but the natural  bonhomie of both parties proved hugely infectious helping to create one of the most impressive debut albums from a Southern Rock band since the glory days of the Allman Brothers Band and Lynyrd Skynyrd. Embraced by their peers and feted in the media, Doc Holliday’s debut album quickly became the must have Southern Rock record of 1981, a work that is still praised to this very day and cited as one of the highlights of the genre. 24-bit remastering from original source tapes, huge 4,000 word essay about the making of the album and 2 bonus tracks. Tons of additional photos and memorabilia spread out over a 16 page full colour booklet. TRACK LISTING: ‘Ain’t No Fool’, ‘Moonshine Runner’, ‘Magic Midnight’, ‘A Good Woman’s Hard To Find’, ‘Round And Round’, ‘Keep On Running’, ‘Never Another Night’, ‘The Way You Do’, ‘Somebody Help Me’, ‘I’m A Rocker’. BONUS TRACKS: ‘Bad Love’ (Roundhouse Demo), ‘Crazy’ (Roundhouse Demo).