Time Sink 2.2.1

Boxed set of Pigs & Repugnant, Son of Pigs & Repugnant, Beyond the Fringe of Audience Comprehension, Zut Alors, The Rondo Hatton Band, A Token of His Extreme, Chalk Pie, Crush All Boxes, Return of the Son of Serious Music and Randomonium

2 Real World Projects Using Azure Data engineering Tool Like Azure Data Factory, Functions App, Azure Data Bricks, AZSQL

A one-hour symphonic orchestral version of Wagner's passionate "Tristan & Isolde" arranged by Henk de Vlieger. Featuring by Hagen Philharmonic Orchestra, conducted by Antony Hermus.

Miranda Leigh Lambert is a Singer/Songwriter from Texas, who became a superstar thanks to her bad girl image. Outside her solo career, she is a member of the Pistol Annies alongside Ashley Monroe and Angaleena Presley. Lambert has been honored by the Grammy Awards, the Academy of Country Music Awards, and the Country Music Association Awards. This 24-bit collection includes all of her official studio albums from 2005 to 2016.

Miranda Leigh Lambert is a Singer/Songwriter from Texas, who became a superstar thanks to her bad girl image. Outside her solo career, she is a member of the Pistol Annies alongside Ashley Monroe and Angaleena Presley. Lambert has been honored by the Grammy Awards, the Academy of Country Music Awards, and the Country Music Association Awards. This 24-bit collection includes all of her official studio albums from 2005 to 2016.

A Bristol collective whose combination of dark rhythms, reverb-laden guitars, and atmospheric samples helped pioneer the laid-back sound of trip-hop. Collection includes five studio albums: 'Blue Lines' (1991); 'Protection' (1994); 'Mezzanine' (1998); '100th Window' (2003); 'Heligoland' (2010).

Tony Richardson continued in the vein of kitchen-sink realism with this adaptation of Shelagh Delaney's novel of working-class life. Set in England in the early 1960s, A TASTE OF HONEY stars Rita Tushingham as the waifish Jo, a plain 17-year-old girl who is dragged from one shabby bed-sitter to another by Helen (Dora Bryan), her promiscuous, alcoholic termagant of a mother. When Helen and her current lover, Peter (Robert Stephens), take a holiday in Blackpool, Jo goes along and, while walking on the beach, meets Jimmy (Paul Danquah), a black sailor on leave. After they spend the night together Jimmy's ship leaves for points unknown. Helen and Peter have impulsively decided to marry, and they move into his flat, leaving Jo in the cold. She gets a job in a shoe store, where she meets gay and mild-mannered Geoffrey, and the two decide to move into a flat together. Jo soon discovers she's carrying Jimmy's child, news that depresses her. But Geoffrey couldn't be happier, and he begins knitting baby clothes, goes to a clinic for child-care instruction, and even offers to marry Jo. This moving film is exceptionally well acted and directed; it is a tribute to Richardson's boldness in taking on the theme of miscegenation, then a much more controversial issue.

In the pre-Beatle era, when British pop was a veritable smorgasbord of genres and musical ideas without a dominant narrative, Joe Meek sampled almost everything on offer. From novelty hits to sound effect laden masterpieces, straight forward pre-beat pop and light instrumentals to cinematic ballads, his work with excellent singers such as JOHN LEYTON and MIKE BERRY, alongside talented writers like GEOFF GODDARD and RAY DEXTER, always carried his signature studio techniques, still years ahead of many major commercial studios.

Tristan und Isolde (Tristan and Isolde), WWV 90, is a music drama in three acts by Richard Wagner set to a German libretto by the composer, loosely based on the medieval 12th-century romance Tristan and Iseult by Gottfried von Strassburg. First conceived in 1854, the music was composed between 1857 and 1859 and premiered at the Königliches Hoftheater und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. While performed by opera companies, Wagner preferred the term Handlung (German for "plot" or "action") for Tristan to distinguish its structure of continuous narrative flow ("endless melody") as distinct from that of conventional opera at the time which was constructed of mundane recitatives punctuated by showpiece arias, which Wagner had come to regard with great disdain.