The Essential Clarence White Bluegrass Leads

The world of pop music was hardly ready for The Velvet Underground's first album when it appeared in the spring of 1967, but while "The Velvet Underground and Nico" sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968's "White Light/White Heat" was a no-holds-barred frontal assault on cultural and aesthetic propriety.

Create calming, peaceful spaces in your home with white and neutral tones with the first home decorating book from The White Company, published as this much-loved brand celebrates its twenty-fifth anniversary.

White dwarfs, each containing about as much mass as our Sun but packed into a volume about the size of Earth, are the endpoints of evolution for most stars.

This book outlines the theory of convenience for white-collar crime to explain what motivates and enables offenders, providing a unique focus on white-collar crime in the business context. The theory of convenience suggests that the extent to which elite members commit and conceal economic crime is dependent on their extent of orientation towards convenience in problematic and attractive situations. Chapters are organized along the main theoretical dimensions of economical motive, organizational opportunity, and personal willingness.

Andy Breslau described the Holmes Brothers' music as "gospel-infused doo wop funk," which pretty much captures the spirit and synthesis of their style. Combining old R&B, soul, and gospel, brothers Sherman and Wendell Holmes along with Popsy Dixon create a rich sound filled with lovely harmony. The intensity of the group's studio performances evokes a live feel, offering an inkling of what their performances at Lynch's in Manhattan must have sounded like during the '80s. Righteous! collects almost 75 minutes of material from the group's four Rounder albums, beginning with In the Spirit in 1990 and ending with Promised Land in 1997. The album kicks off with a bit of electric blues topped with a healthy dose of soul on "Got Myself Together," a song that jumps out of the gate at a gallop and holds to a steady gait for five minutes. Gospel-drenched pieces like "Promised Land," complete with electric guitar, will have non-believers singing along, while classics like "There Goes My Everything" combine classic soul with a touch of country. One also wouldn't want to miss the Holmes Brothers' takes on Tom Waits' "Train Song" and the Beatles' "And I Love Her." Breslau's liner notes, which travel back to the Holmes Brothers' residency at Lynch's, are both edifying and fun to read. While all of the albums the Holmes Brothers recorded for Rounder are worthy efforts, Righteous! offers a solid introduction to anyone who has missed out on their wonderful music.

The Statler Brothers started their recording career at Columbia Records and cut eight albums for the label in five years, scoring eight country singles chart entries, including the Top Ten hits "Ruthless," "You Can't Have Your Kate and Edith, Too," and the pop Top Ten crossover "Flowers on the Wall." This 18-track compilation includes all those hits, along with standards like "The Wreck of the Old '97," "Green Grass," and the gospel pop song "Oh Happy Day," and one previously unreleased track, "Half a Man," which, despite having been recorded two years later, sounds like the logical follow-up to "Flowers on the Wall." The influence of the Statlers' employer, Johnny Cash, is apparent, especially on "Hammer and Nails," on which he appears. At this early stage, without losing the sound of the classic country quartet, the Statlers also sang pop, folk, and gospel well. The only complaint to be made about this set is that, in the CD age, a running time of 42:15 is short for a compilation (if typical of country music). But nothing essential is missing.