Biochemistry Van Holde, Ahern Biochemistry Mathews 1999

There were only very few artists, whos life was as fascinating as their art. One of them is Vincent van Gogh. Moreover there were only a few painters, who reflected their personal mood in their pictures as headstrong van Gogh. His unrest, his problematic friendship to Gauguin, the desperation for acknowledgement. All these questions are treated by vn Gogh in his open and surprisingly brilliant and affecting letters from Arles in the Provence to his brother Theo.

Back on Top is the twenty-seventh studio album by Northern Irish singer/songwriter Van Morrison. It was released in 1999 by Point Blank. This album marks a slight return to the forms of music he is most known for: blues and R&B. Upon the album's release, Rolling Stone reviewed it as "one Monet and nine Norman Rockwells", the "Monet" being "When the Leaves Come Falling Down" which it called a masterpiece. The 29 January 2008 reissued and remastered version of the album contains two bonus tracks: an alternative take of "Philosopher's Stone" and a new arrangement of Fats Domino's song, "Valley of Tears".

"The Hot Record Society, a New York-based group of jazz recording enthusiasts organized in 1937 by Stephen W. Smith, quickly evolved from a clearinghouse and auction outlet for collectors into a real recording organization. … HRS recorded such outfits as Pee Wee Russell's Rhythmakers (an ad hoc group formed by members of Count Basie's and Eddie Condon's bands), Sidney Bechet and Muggsy Spanier, Rex Stewart's Big Seven, Brick Fleagle's Orchestra, Sandy Williams' Big Eight, Jimmy Jones, J.C. Higginbotham, Joe Thomas, Harry Carney, Buck Clayton, Trummy Young, the Billy Taylor Quartet, Russell Procope, Dicky Wells, Babe Mathews and Joe Thomas, and Billy Kyle. It's all here, 124 tracks encompassing everything from prewar New Orleans jazz to the early bop period of the mid-'40s, and while there are gaps … it's a good account of what happened with jazz over the decade represented here. Some of the selected material is a little odd, owing to choices made based on copyright accessibility (or nonexistence), and there are perhaps too many alternate takes for the novice listener. On the other hand, the sources are excellent, the recording venue was very fine, and the Mosaic people have done their usual excellent remastering job, so that, say, Budd Johnson's tenor sax and Jimmy Jones' piano on "Sunny Side Up" and "Strollin' Easy" sound incredibly clean and close, and Freddie Green's guitar gets one of its better showcases of the era. And the Brick Fleagle sides, starting with the extraordinary "Brick's Boogie," are almost worth the price of admission by themselves, just to hear what this overlooked, prodigiously talented musician had to offer in his prime, 60 years earlier."