Last week’s WWE Main Event was taped at the Allstate Arena in Chicago, Illinois, before Raw. It featured NXT's Cora Jade, the return of Joe Gacy, and wasn't a standout show.

Dexter Lumis defeated Joe Gacy (5:11)

This was fine, but the crowd wasn't much into it and thus it felt quite tepid.

Gacy worked Main Event last November against Cedric Alexander and looks fine with main roster company. His match last year was much stronger than this, but it doesn’t help that Lumis doesn’t sell very much as part of his gimmick when you’re trying to give fresh faces a chance.

Gacy’s gimmick is a little odd for my taste and, although Lumis does seem to be getting over to some extent, he doesn’t really do much for me either. Lumis seems to be channeling the Undertaker at times, no-selling certain things and turning around to glare at his opponent with wide eyes.

They worked a pretty standard match, but Gacy does move well for a bigger athlete. His handspring into a clothesline that he used here is a testament to that.

At one point, Gacy appeared to try to recruit Lumis by saying that he could have given him a chance, but Lumis was having none of it and nailed him with a few strikes to the gut.

After Gacy locked in a couple of rest holds, he went once more for his clothesline, but Lumis caught him and finished him with his as-yet-unnamed side slam that looks suspiciously like a Rock Bottom.

Nikki Cross defeated Cora Jade (7:14)

It was good to see Jade make her main roster debut in front of her home crowd, but their match wasn’t much to write home about.

At only 23, Jade is still relatively new to this, and she and Cross had a few difficulties towards the end. Having worked a few 205 Live tapings and the odd dark match on SmackDown, this was probably her most notable main roster outing to date.

They gave Jade an inset promo as she made her way to the ring carrying a kendo stick. She said she had been running NXT for a long time and that she was about to become the number one woman in all of WWE. The crowd popped for her as she was introduced as hailing from Chicago.

After some neat early mat work, Cross was slamming Jade’s head into the turnbuckle when she stopped her and hit her with a high knee that sent her to the floor outside. Jade postured to the crowd and we went to a commercial break.

Jade was in control after the break, but this is where they really lost the crowd. After the heat segment, they didn’t really come to life for Cross’ comeback either.

There was a neat spot where Jade reversed a bulldog into a pin attempt, but they lost their way after Cross came off the second rope with a tornado DDT. Jade had Cross in a full nelson and then just dropped on to her back. They conversed on the mat together and then went to the finish.

It looked like Jade was bleeding from the mouth as they teased a superplex. Cross fought her off and came off the top rope with a crossbody to get the win.

Click Here: nsw blues jersey

Final Thoughts:

It was a nice moment for Jade to get to work in front of a packed Allstate Arena, but she will be disappointed that the match didn’t quite work out as planned. These things happen and she certainly has time on her side.

The Firm Deletion match is set for next week’s AEW Rampage.

Friday’s show had The Hardy Boyz and Hook looking for Isiah Kassidy. The Firm then appeared on the video screen, with Big Bill holding Kassidy on top of a scaffold. Ethan Page demanded that Matt Hardy agree to have The Firm Deletion match next week on Rampage, and in return he’d let Kassidy go. Hardy agreed to have the match next week. Page then told Bill to let Kassidy go, with Bill chokeslamming Kassidy to the floor.

After Page had lost to Hook in a match for the FTW Championship, Hardy revealed that he put a clause in that match's contract that if Hook won, Hardy would get a match where if he won, he and Private Party would be free from The Firm’s control. He revealed that the match, which will have The Hardyz, Hook, and Kassidy against Stokely Hathaway, Lee Moriary, Page, and Bill would take place at the Hardy Compound.

Due to sports coverage, next week’s Rampage will air at 5:30 pm ET. 

Click Here: factory direct men products

These are two of Electro-Voice’s “middle-ground” speaker systems, filling the quality (and price) range between the huge Patrician 800 and the diminutive Coronet system.

The Model 6 is a rather large four-way system employing an 18″ woofer with a ½”-thick cone of light, rigid foam plastic (See “Farewell to the Paper Cone,” in Vol.1 No.1 of The Stereophile), an 8″ paper-cone driver for the lower-middle range, and compression-type horn units for the upper ranges. Crossovers are at 250, 800 and 3500Hz (footnote 1). A five-position rotary switch provides treble adjustments in steps of about 2.5dB, hinged at about 1500Hz. Position 3 is the Normal response setting, which we used for our tests.

Oscillator checks on the Model 6 revealed something we had never before encountered: The system’s subjective response (fig.1) seemed to agree almost exactly with the manufacturer’s published response curve! The same was found to be the case with the Model 2, so we are publishing the manufacturer’s own response data with this report as an aid in interpreting our comments about the sound of these systems. Like the other subjective response curves published in recent issues of The Stereophile, these curves have their vertical scales adjusted so that a response deviation that is barely perceptible to the eye will be barely perceptible to a critical ear.

Fig.1 Electro-Voice Model 6, subjective frequency response.

No spurious sounds were evident when sweeping the oscillator through the speaker’s middle and upper ranges, but at frequencies below 50Hz, some harmonics were audible even at moderate input power levels. At levels corresponding to fairly high listening volume on program material, harmonic content was readily apparent below 40Hz.

Sound Quality: the Model 6
On music, the E-V 6 sounded big, rich, and markedly boomy. The boominess sounded like the result of underdamping of the woofer, since it seemed to be induced by any deep bass note instead of by a narrow range of frequencies. As a result, the entire bass range was somewhat obscure and deficient in detail, and the very deepest notes (and some of them were very deep) were significantly masked by the higher-pitched boominess.

The system, like all E-V speakers we have heard, was an excellent reproducer of brass instruments, and at low-to-moderate volume levels, it was judged completely free of the raucous brilliance we have heard from early E-V speakers. There was very little coloration, and what there was consisted of a slight “snarl” in the upper middle range and some mild sizzle up around 10kHz which tended to exaggerate record surface noise and added a subtle wiry quality to string tone. The tweeters were quite directional, providing subjectively uniform treble over a range of only about 40 degrees, so stereo center fill-in was not very good until the speakers were placed fairly close together. The accompanying instructions show the optimum speaker spacing.

Sonic details were fairly well reproduced, but transient response was not comparable to that of a good electrostatic system. At higher-than-moderate listening levels (in an 8′ × 20′ × 13′ room), the Model 6 took on an edge of shrillness and added an odd gargling quality to the sound, as though some of the elements associated with the upper range were tending to ring or to go into marginal overload.

For $300, we would have expected more of this system. Admittedly, we have not heard another system in this price range that we would consider as good as the E-V Model 6, but on the other hand, we have heard less costly ones that, to us, are better-sounding. For example, $240 will buy a Janszen four-element electrostatic tweeter and its mating 350 woofer, with a suitable enclosure. And although the Janszen tweeter, too. leaves some thing to be desired for stereo reproduction (because of its multiple treble beams), the overall system performance would, in our opinion, be superior to that of the E-V 6.

The Model 2
The E-V Model 2, at S120, has even stiffer competition than the Model 6, for there are more high-fidelity speaker systems in this price range than in any other, and some of them are very, very good. The Model 2 has a 12″ high- compliance woofer in a sealed enclosure, and a horn-loaded compression tweeter for the range above 800Hz. A three-position slide switch controls treble balance above about 1.5kHz, in increments of about 5dB (at 10kHz) above and below normal level.

Oscillator checks on the Model 2 did not reveal any marked response irregularities throughout the audio range (fig.2), and no distortion products were audible above 50Hz. Below this frequency, the woofer in the Model 2 seemed actually to have less distortion than that in the Model 6, at equivalent output levels. Only at quite high levels was some distortion evident from the woofer, and this was audible as a slight fluttering modulation rather than as perceptible harmonic tones.

Fig.2 Electro-Voice Model 2, subjective frequency response.

Sound Quality: the Model 2
The Model 2’s overall sound was similar to that of the Model 6, with somewhat less high-end detail and less low-bass output. The differences were not, however, as pronounced as the differences in their response curves would suggest, and frankly, we rather preferred the Model 2’s softer high end, as it did not emphasize surface noise and it lacked the slight wiry quality that the Model 6 imparted to string tone. Like the Model 6, the E-V 2 was quite boomy, and this may have helped to account for the relatively small difference we observed between the low-bass output of the two systems.

The Model 2 has a quality of “aliveness” and presence (and we don’t mean that in its derogatory sense) that is somewhat lacking in direct-radiator systems, and many listeners may prefer it. We would still choose the Janszen Z-500 as the best unit in this price class, if only because our long-time exposure to good electrostatic sound has spoiled us for any thing with less over-all transparency and detail.

Footnote 1: JGH originally referred to “cycles per second” or “cps.” We have updated the usage to “Hz” for “Hertz.”—Editor

NEXT: Specifications »

COMPANY INFO

Electro-Voice, Inc.

Electro-Voice, a division of Bosch Communications Systems (2020)

electrovoice.com

ARTICLE CONTENTS

Page 1
Specifications

Click Here: custom injection moulding

Click:我的Femboy室友最新版本APK

Impact Knockouts Champion Deonna Purrazzo will defend against Taylor Wilde in the first match of her third title reign.

Purrazzo regained the vacant title at this month's Rebellion by defeating Jordynne Grace. Wilde will be looking to become a multi-time Knockouts Champion while also holding the Knockouts Tag Team titles with KiLynn King.

Former Knockouts Champion Jordynne Grace will rematch with her rival Masha Slamovich in another high-profile bout. This will be their fourth meeting in Impact with Grace undefeated in the previous three. Their last meeting was for Grace's then-Knockouts title in a last woman standing match at November 2022's Over Drive.

In a non-title match, Impact Tag Team Champions ABC (Chris Bey & Ace Austin) will take on The Design's Angels & Kon. ABC is coming off a successful title defense at Rebellion while Sami Callihan turned on The Design at the PPV.

The BTI pre-show will see Kenny King battle Channing Decker.

**********

BTI pre-show: Kenny King defeated Channing Decker

This was a good match that saw Decker show why he is one of the up and coming indie talents in Canada.

Main Show:

Impact opened with a big match.

Jordynne Grace defeated Masha Slamovich

I think it is time to start getting behind Slamovich, but I can’t deny that this match was awesome. Grace winning is a sign she must be around for at least a little more. Absolutely fantastic performance between both wrestlers.

Slamovich spent the early part of the match hitting hard strikes and keeping the pace of the match slow. Grace eventually fired up and hit a muscle buster for a 2-count, the same move that finished Slamovich a few months ago. Grace hit a hard bodyslam and then hit an awesome Michinoku driver for a 2-count.

Slamovich countered a German suplex into an O’Connor roll, but Grace pulled her back into a rear naked choke. Slamovich floated backwards like when Bret Hart pinned Roddy Piper, and transitioned into a choke of her own. Slamovich hit a pumphandle German suplex on Grace as Grace fought out of the choke for a 2-count.

Slamovich blocked a muscle buster, and a series of near falls exchanged between them until Grace finally sat down after a nearfall in a sunset flip and pinned Slamovich.

Steve Maclin segment

The new Impact World Champion came out and talked about his strategic retreat from PCO last week. PCO’s music hit, followed by Champagne Singh and Shera attacking PCO from behind as Maclin retreated again. PCO took out Singh and Shera before Santino Marella came out. Singh tried to pay off Santino. He took the money, banned Shera from ringside and sent Singh to his death against PCO.

PCO defeated Champagne Singh

This went too long for a squash, but it was effective in showing PCO as a monster.

Singh got more offense than I expected, but made the foolish mistake of shoving money into the mouth of PCO after a flatliner. I don’t think that is how one normally attempts to pay off their opponents. PCO spit the money out and proceeded to hit code breaker and guillotine leg drop on Singh. PCO got the win after a moonsault, crushing Singh.

– The Impact Plus throwback involved Nick Aldis (as Magnus) getting a win against Christopher Daniels.

– The Design were backstage and Deaner cut a promo about Sami Callihan turning on them. This was actually a good delivery by Deaner, but he talked about how he was created by The Designer (Eric Young) to eliminate weakness. He confessed he ripped Young’s heart out and fed it to the wolves. Well then. Guess we know he’s dead now.

– Oh good, we got another creepy promo from The Coven. Taylor Wilde and KiLynn King were trying to cast spells on Deonna Purrazzo to rip her limb from limb. King turned over the Eight of Swords tarot card. It sucked.

Johnny Swinger defeated El Dineroco

The luchador that Swinger and Dice paid to bring into face Swinger was Zicky Dice under a mask,. Swinger won with a La Magistral cradle.

Dineroco and Swinger went back behind the curtain and the camera saw Dineroco take off the mask to reveal it was Dice. Santino walked up and said the match didn’t count since it was supposed to be someone not contracted. Dice asked for a contract anyway. Swinger walked away upset at Dice, saying he knew it wasn’t going to work. Swinger is back to zero wins.

– Kenny King was backstage and Channing Decker thanked him for the match on BTI. King said he was thankful Decker let King beat him in his hometown. Decker walked away offended. King then sat down next to Sheldon Jean and offered to help mentor him so he could help him climb the ladder in Impact, doing what needs to be done.

Impact Tag Team Champions Ace & Bey Connection (Ace Austin & Chris Bey) defeated The Design (Angels & Kon) (w/ Deaner) in a non-title match

I was worried Kon broke Bey’s ankle by accident in a botch, but he recovered. Kon could have also severely hurt himself, and then nearly killed Angels too. Not a good night for Kon. Match was pretty good otherwise, honestly.

Kon hit the ropes with Bey on his back and hit a shoulder tackle on Austin before tripping and face planting right into the middle rope in a botch, leading Bey to scream “My ankle!” Kon threw Bey from the ring, and he was grabbing at his ankle. I hope he didn’t hurt himself, as that didn’t look good.

As the match went on, we saw an update from backstage and Santino was taken out by someone. Bey made it back to the apron. The heat continued on Austin for a bit, but the tag was made to Bey, who looked okay. Bey went for the art of finesse, but Angels and Kon stopped him, and Angels hit a Russian leg sweep off the middle ropes.

Austin low bridged Kon to send him to the floor and hit a back body drop on Angels that sent him over the ropes onto Kon. Instead of catching Angels, Kon just stood there, and Angels bounced off him and nearly landed on his head on the floor. Kon’s second botch of the night. As Bey and Austin were hitting dives on Kon, Callihan ran out and dropped Deaner on the floor and brawled backstage with him. ABC hit the art if finesse and the fold on Angels for the pinfall soon thereafter.

– Santino said he tried to fight back against who hit him, but he had no idea who it was. The doctor said he was recommending Santino take time off. Dango then appointed himself the Detective of Authority and offered to investigate what happened.

– The Death Dollz were backstage discussing how they needed the Knockout Tag Team titles to use magic powerful enough to see who was blocking them from the Undead Realm. Crazzy Steve walked up and Rosemary smiled at her mutual Decay friend. Steve said she needed to go talk to James Mitchell, and Rosemary was reluctant. A third weird supernatural promo. Rosemary, Steve, and Jessica were all great in their performances, but I really don’t like this kind of thing in my wrestling. If this wasn’t wrestling, I’d be intrigued.

Jody Threat defeated Seleziya Sparx

The fans chanted “She’s a threat!” which Threat should adapt as her catchphrase immediately. Threat controlled most of the match, outside of a brief heat segment. This was a pretty standard squash. Threat hit a seated senton and a series of corner lariats before hitting a pump kick and a German suplex and the F416 for the pinfall.

Frankie Kazarian sit-down interview

Gia Miller sat down with Kazarian to discuss his career and his original signing with Impact, saying Scott D’Amore and Jeff Jarrett were why he got a shot in TNA. He talked about his world title match with AJ Styles a month into being there, but also talked about the business where the old mentality was still active with older veteran wrestlers holding back younger talent for years.

Kazarian talked about why he left TNA with Daniels and went to ROH in 2014 because of the turmoil backstage in TNA at the time, and he decided he needed out because he was never going to get the chances he wanted there. This was accompanied by highlights of Dixie Carter, Hulk Hogan, and Jeff Jarrett all shown in negative light, including Dixie Carter being dragged backstage holding onto the foot of Hogan as he left the company. 

I appreciate the honesty of how bad a state Impact was in then, but I’m not sure if it was wise to show this on TV, but I can’t deny it was compelling as Kaz told a very honest story about his journey in the company.

Impact Knockouts Champion Deonna Purrazzo defeated Taylor Wilde (w/ KiLynn King) to retain

Solid match between these two, with Purrazzo looking absolutely fantastic and helping Wilde look good. It’s interesting that Grace saved Purrazzo, clearly setting up a tag match. Maybe Grace and Purrazzo will challenge for the tag titles at some point.

Deonna was not ripped limb from limb, so I don’t think the spell from earlier worked. Purrazzo immediately started trying to work over the arm, getting a cross armbar quickly, and every time Wilde tried to counter out, Purrazzo transitioned right back to some sort of arm lock. Wilde had a few moments of looking lost, but recovered fast enough that you probably wouldn’t notice unless you were looking for it. Purrazzo helped cover for it well too.

Wilde went to the floor and King gave her a Priestess tarot card, she smiled and they went to break. They came back and Purrazzo sent Wilde to the floor again. These cards really aren’t working for her. Purrazzo hit King with a forearm by accident, leading Wilde to attack Purrazzo from behind.

Wilde got the heat for the next while, including a headscissors into a crossface. Wilde tried to match Purrazzo with forearms, but was unable. Purrazzo hit a running knee and Russian leg sweep before floating over into a Fujiwara armbar. Purrazzo tried to tie Wilde up wit the Venus de Milo, but Wilde made the ropes. Wilde avoided the Queen’s Gambit and hit the Wilde ride for a 2-count, and went for the witch’s wrath, but Purrazzo immediately countered into Venus del Milo for the submission.

King and Wilde attacked Purrazzo after the bell, but Jordynne Grace made the save and both of them cleared the ring. Grace then faced off with Purrazzo, shook hands, and pointed at the Knockouts title. This was good.

Final Thoughts

A fair bit of squash matches, but there were 3 good matches on this show tonight with Slamovich/Grace, and Purrazzo/Wilde being quite good, and ABC/The Design being decent despite the botches of Kon. Not a lot of major angles, but they are clearly setting up stuff to slow burn, which I am okay with. Hopefully the seeds they are planting actually sprout, as there are some interesting stories they could try to tell.

Next week:

Major surprise debutSteve Maclin, Champagne Singh & Shera vs. PCO and two partners of his choosingJody Threat vs. AlishaMoose & Brian Myers vs. Yuya Uemura & Bhupinder GujjarFrankie Kazarian sit-down interview, part two

Click Here: England Mens Alternate Rugby Shirt 2022-23

Click:electronic vendors

The Wrestling Perspective podcast recently conducted an interview with top industry star Kylie Rae, where Rae discussed a number of different topics including when she plans to return to the ring, her ongoing pregnancy, and how she’s 20 months sober. Highlights from the interview can be found below.

 

On the recovery time she’ll need after having a baby:

As far as the pregnancy, I’m, again, this is my first time giving birth. So I think I was a little naive shooting for, you know, two months of recovery time. I’m hearing it’s more like six months.

Whether she still wants to wrestle:

I know I still want to wrestle. I still go to training at least once a week and get in and do the warm-ups and the drills that I’m able to do; I don’t necessarily do any spots or drills with other people, and that’s because accidents can happen; god forbid something horrible happens. I definitely limit what I’m able to do, and that’ll probably even decrease even more once my belly’s out to here, and I can’t do a forward role anymore. I believe in training consistently because I think that if you don’t use it, you lose it, no matter how long you’ve been doing anything. I’m trying not to lose too much throughout the pregnancy if that makes sense. I’m holding onto that set drift. I would love just to keep having fun and growing and learning and trying to; I don’t want to say correct mistakes but learn from the mistakes that I’ve made.

Says she is aiming to return in 2024:

I can’t predict the future. Whatever happens, happens, but I know I still love wrestling, and I probably always will. I want to continue doing this as long as I can. I initially said I would like to be back working matches in January, but again, I’m hearing that that’s not possible. So I’m shooting for April. of 2024. and maybe baby steps into whatever happens from there. I don’t know if it’s ok to say, I feel like I’m a little bit of a, I don’t want to say liability, but I know I need to be better at, let’s say, reaching out if I need help or if I’m overwhelmed. So, one of the biggest things I want to continue is keeping certain things in place; if I ever am going through one of my down periods.

On being sober:

I will say this; I am over 20 months sober now and consistently going to thank you so much. That’s something that I’ve always kind of struggled with throughout my life, continuing my sobriety. I go to therapy every other week. I am continuing that as well. It helped me. I will be honest if this was a year ago, I don’t know if I would have been able to hop on a call with you all. So that’s how much my anxiety would really affect me. So that’s progress, right? So just progressing every day.

(H/T and transcribed by Fightful)

Click Here: canberra raiders rugby store

I’ve just recently finished reading guitarist/vocalist Walter Lure’s autobiography, To Hell and Back. Walter has a great story about his days in Johnny Thunders’s Heartbreakers and his own Waldos. Until he died in late August, you could still hear him playing with the Waldos and running periodic tributes to Johnny. But he also took some space to write about his first band, a hard-rock dance band called Bloodbath that pounded the risers in the North Bronx at the dawn of the 1970s. I had the extreme pleasure of being the vocalist and master of revels in this two-guitar maelstrom. We covered Fleetwood Mac songs that fit our concept: “Rattlesnake Shake” and “Tell Me All the Things You Do” worked especially well.

Like a lot of other blues fans, we held Fleetwood Mac, and particularly lead guitarist Peter Green, in high esteem. It’s strange to think that this band we thought so much of would seem so alien to the group the vast majority of Fleetwood Mac fans think of when the band’s brand is evoked. That would be the mid-’70s lineup fronted by Lindsey Buckingham and Stevie Nicks, which made two of the best-selling pop-rock albums in history, Fleetwood Mac and Rumours.

But the time those albums were released, the band already had a rich history: nine albums and an evolving sequence of band members.

Fleetwood Mac 1969 to 1974 (8CD Warner Records R2 596006) collects the band’s Reprise catalog leading up to the Buckingham/Nicks era. It begins with the last record made with group founder Peter Green, Then Play On. At a time when guitarists were preoccupied with classical formalism and technical dexterity, Green played with deep soul and a searing tone that was partly due to his guitar, a Gibson Les Paul with one of the pickups reversed, giving it a unique, piercing sound with a hint of distortion in its wobbling high end.

Rhino is also releasing new, mid-period Fleetwood Mac: a four-LP set (Fleetwood Mac 1973 to 1974, 4LP Warner Records R1-596007) that brings the Penguin, Mystery to Me, and Heroes Are Hard To Find LPs back into print on vinyl, with a bonus live concert on the fourth LP. There’s also a 7″ single containing “For Your Love” (mono promo edit) on one side and the previously unreleased “Good Things (Come to Those Who Wait)” on the flipside. The LP box is also available in a limited-edition colored-vinyl format (RCV1-625013).

Fleetwood Mac emerged from John Mayall’s Bluesbreakers with Bluesbreakers charter member and bassist John McVie and drummer Mick Fleetwood joining Green. The original band also included guitarist Jeremy Spencer, whose rough, dirty sound and slide-guitar work provided a foil for Green’s sharp, B.B. King–like tone.

Green also brought in the young Danny Kirwan on third guitar. Kirwan’s droning, ethereal sound and great feel for rhythms blended well with Green, and together they produced the first Fleetwood Mac masterpiece, the moody, instrumental “Albatross,” which went to number one on the British charts. Other than that song, and “Black Magic Woman,” which later became a hit for Santana, the first two albums are closer to the sound of John Mayall’s A Hard Road album, on which Green replaced Eric Clapton, than to what most of us recognize today as Fleetwood Mac.

The band has undergone so many personnel changes that it’s important to note that, despite the star quality of its front line, the continuity of the music comes from the rhythm section. McVie was a solid, pattern-oriented player with a fat tone and a deep groove coming out of the Mayall band. His role in Fleetwood Mac gradually expanded as the personnel shifted over the years, playing melodic lines of increasing complexity. Fleetwood is a master percussionist, driving, coaxing, and caressing the beat as the situation warrants.

The eight-record chronology chronicled on Fleetwood Mac 1969 to 1974 picks up with the third album, Then Play On, where Spencer is largely absent and Green and guitarist Danny Kirwan evolved a hard-rock sound of layered guitars and surging rhythms best represented by “Rattlesnake Shake” and “Oh Well.” There have been several versions of this record over the years. “Oh Well” was not on the initial release, but the two-sided single was added to later versions and is included here in a remastered version of the album originally released in 2013 with four additional tracks: “Oh Well Pts. 1 & 2,” “The Green Manalishi (With the Two Prong Crown),” and “World in Harmony.” Green obviously thought a lot of Kirwan, who wrote most of the songs—two credited to Green are studio jams—and set the course for what would become the trademark sound of the band going forward.

All the other albums in this 8-CD set are newly remastered. The set also includes a live performance from 1974 that has never been issued before.

On the four-LP Rhino set, the lacquers for the three previously released albums—Penguin, Mystery to Me, and Heroes Are Hard to Find—were cut from the original analog master tapes by Chris Bellman at Bernie Grundman Mastering. That set also includes the live recording as a fourth LP. The records are pressed on 140gm vinyl with a special limited-edition colored vinyl version of the release. The LP boxes also include a 7″ single of “For Your Love” (mono promo edit) backed by “Good Things (Come to Those Who Wait).”

Green is gone by the fourth album, Kiln House, one of the great under-recognized classics in rock history, featuring Kirwan’s magnificent compositions “Station Man” and “Tell Me All the Things You Do” and guitarist Jeremy Spencer’s forays into R&B and rockabilly with “This Is the Rock,” “Buddy’s Song,” and “Hi Ho Silver.” The album is named after the Hampshire country house the band lived in while making the album, and the music has that numinous back-to-the-roots quality that was pervasive in a lot of British rock around 1970. The great vocalist Christine Perfect, already a star in England from her work with Chicken Shack, married McVie and lived with the band in Kiln House. She made uncredited contributions to the album on vocals (on the choruses of Spencer’s songs and the bonus tracks “Dragonfly” and “The Purple Dancer”) and piano (she also played some piano on Then Play On). She also created the idyllic rustic design used for the gatefold cover art. Between the folk-rock sound of Kirwan’s melodic compositions and the dark honey soul of Christine’s vocals, the band’s new identity was about to pull into even sharper focus.

The remaster sounds wonderful. I always felt the vocals were a bit buried in the atmospherics of the album’s original aural narrative, but here the voices stand out more without changing the soundstage, and Fleetwood’s cymbals literally sizzle. The boost also gives the sonic detail of the architecture in the guitar interlace great presence on “Station Man.” This many-chaptered construction fades out after 5:53, just as it sounds as if the band is about to launch into a massive jam. On the recording, it’s a good way to end it, but anyone who saw the band live during this time knows that a jam did indeed take place, and with a vengeance. Pretty much the same thing happens with “Tell Me All the Things You Do.”

By the time of the next album, Future Games, Spencer had left the group. Guitarist Bob Welch was brought in to replace him, and Christine McVie joined full-time on vocals and keyboards, contributing the soulful ballad “Show Me a Smile” and the great R&B glider “Morning Rain,” with its rollicking piano underpinning showing the blueprint of what would ultimately be Fleetwood Mac’s most popular sound. Christine was not an atmospherist: She went for the heart with her songs, and it brought a freshness to the band’s approach that would pay dividends down the road. Meanwhile, Kirwan continued to develop his ethereal sound on Future Games and Bare Trees, while Welch’s material bore a resemblance to the San Francisco–meets-London albums Steve Miller was making around the same time. Bare Trees was Kirwan’s last record with the band, and he finished that work on a high note with the title track and “Child of Mine” in particular shimmering with layered guitars, vocal harmonies, and a purring motor of rhythms. Welch contributed “Sentimental Lady,” which later became a hit on his solo album French Kiss in a version backed up by other members of the band. Christine McVie wrote, played, and sang on “Homeward Bound” and the magnificent “Spare Me a Little of Your Love,” destined to become a Fleetwood Mac classic.

The final three studio albums in the sequence are in both the CD package and the LP box. Guitarist Bob Weston and vocalist Dave Walker were brought in on Penguin to replace Kirwan, whose absence signified how essential he was to FM’s identity up until this point.

He could not be replaced. Walker, a big-voiced blues shouter who’d been with Savoy Brown, sang only two leads on the album, including the enjoyable cover of the Jr. Walker and the All Stars classic “(I’m a) Road Runner.” Welch gave the rhythm section a good workout on one of his three songs, “Revelation.” As a lead guitarist, Weston was useful but not essential—a glorified session musician. But Christine McVie stepped up, delivering more great performances on the album opener, “Remember Me,” and the sprightly pop R&B of “Dissatisfied.”

Walker was dumped before Mystery to Me, but Welch and Christine McVie more than made up for his absence. Christine delivered the brisk rocker “Believe Me” and the classic Fleetwood Mac chorus of “Just Crazy Love.” Welch was busy with five classic-rock staple “Hypnotized” and the trademark Fleetwood Mac guitar vehicles “The City” and “Miles Away.” The rhythm section gets adventurous on Mystery… with John McVie playing a prominent role in the arrangements and Fleetwood marshaling esoteric beats on drums and various percussion instruments.

The group broke up after Mystery… and reformed more than a year later as a quartet, with Welch the sole guitarist remaining to make the band’s comeback record, Heroes Are Hard to Find. This is Fleetwood Mac 2.0, the first album recorded in California and without longtime engineer/co-producer Martin Burch. Gone is the old-school Mac of layered guitars and psychedelic overtones. This band is meat and potatoes, the vocals punch through instead of washing along inside the mix, and the rhythm section is crisp and well-articulated. Welch had been around long enough to handle his role as the sole guitarist, as the bonus live recording from San Francisco’s K-SAN studio proves. The live set is a career retrospective mixing old favorites “Green Manalishi,” “Oh Well,” “Rattlesnake Shake,” and “Black Magic Woman” with McVie’s showcase “Spare Me a Little of Your Love” and Welch favorites “Angel” and “Sentimental Lady.”

The band looked set for a fresh run—but not so fast. Within months, Welch was gone. While searching for a replacement, Fleetwood met up with producer Keith Olsen, who played him the Buckingham Nicks album, and the remaining three went on to form the best-known version of Fleetwood Mac with Buckingham and Nicks. So now Fleetwood Mac fans are divided. Most are devotees of the shimmering power-pop that Lindsey Buckingham, Stevie Nicks, and producer Keith Olsen brought to the group. The rest are hard-core Peter Green guitar aficionados, like my buddies in Bloodbath. Both camps lost a mainstay in 2020, when both Olsen and Green passed away. But the constant heartbeat through it all is one of the most durable rhythm sections in rock history, Mick Fleetwood and John McVie.

Click Here: Kanken Sale

Xavier Woods looks back on his brief run in TNA.

 

The New Day member signed with the promotion (now IMPACT) back in 2007 while he was still in college. Woods tells Mark Andrews on his My Love Letter To Wrestling podcast that AJ Styles was a big reason he got his foot in the door.

I was still in college when I got signed (to TNA/IMPACT Wrestling) so, my goal was to get signed before I graduated. That was what I was dead set on so I was wrestling all throughout college trying to get looked at and I got to do some stuff with TNA. Bound For Glory was like their WrestleMania and sight unseen, they just went off of A.J. (Styles) because I had trained with A.J. a little bit a couple months prior and they needed a guy to tag with Truth so A.J. was like, ‘Yeah, I got a guy’ and they let me come in, like I said, without even seeing any matches. They just trusted A.J. and I was on their opening match for Bound For Glory. No contract, no anything and so I did well enough and they offered me a deal and this was one of the hardest phone calls I ever had to make.

Woods later recalls a difficult conversation he had to have with Jeff Jarrett because he got offered a full-time contract but wanted to finish college first. He says that Jarrett was understanding and put him on a quarter schedule.

So it was to Jeff Jarrett and I was like, ‘Well, I wanna sign this so bad. This is what I want more than anything in the world but I have six months left in school and I have to graduate. That’s not a question, and if that takes it off the table, I completely understand but I have to graduate.’ He was like, ‘Oh, that’s fine. Could you do like a quarter schedule? And then we’ll just put you a full quarter when you graduate.’ I was like, ‘Uh, yeah, sure.’ He’s like, ‘Alright, cool’ and then I was in TNA while I was still in college so, I remember we were in the dorms or in our apartments and my debut was coming on and we’re watching and we’re freaking out and we’re just… all my friends in college and we’re like, ‘Yeah!’ It was crazy.

You can check out Woods’ full interview here.

(H/T and transcribed by Post Wrestling)

Click Here: custom die casting mold and Product

After several months away, new MLW content will return to beIN Sports and YouTube next month.

On a graphic displayed on Tuesday's season finale of MLW Underground on Reelz, it was announced that Fusion will return to its former broadcast homes on Thursday, May 25th.

Several weeks ago, MLW announced Fusion would return but didn't provide any details at the time. After MLW Underground debuted on Reelz earlier this year, new episodes of Fusion, Fusion: Alpha and MLW Azteca ceased on beIN and YouTube in February without any mention as to why.

Reelz releases statement on MLW future

Speaking of Reelz, the network released a statement to PWInsider Wednesday regarding their future with MLW that didn't give any real idea as to what their future together may hold.

Click Here: Olympique de Marseille soccer tracksuit

A spokesperson said, "Season 1 has ended and we are continuing talks for season 2."

MLW content on Reelz has to be blacked out when airing on Peacock due to WWE's exclusive partnership with the NBCUniversal-owned streaming service — something that was mentioned in MLW's revamped ongoing lawsuit against WWE.

In March, there was confusion as to the future of the MLW/Reelz relationship following a statement released to Variety that indicated MLW would be done airing there after this month. Both MLW and Reelz denied releasing the statement.

Haniwa’s chief designer, Tetsuo Kubo, surprised me with the sound of his new Clear Focus speakers plus digital phase control system amplifier ($25,000 total). With a much larger cone than in previous versions and an impedance of 1.3 ohms, this loudspeaker sounded totally smooth, with a very strong midrange presence, when mated with their 400Wpc amplifier. Even the bright voice of Luciano Pavarotti was pleasant to listen to, and thrilling as well.

The system also included Haniwa’s HCTR-CO current-output MC cartridge plus HEQA03-CI current input phono preamp ($20,000 total; forgive me if I’m wrong—the price sheet was extremely confusing). The LPs used in the room once belonged to the late Harry Pearson of TAS fame.

Click Here: Tonga Rugby Shop

Mercedes Mone is headed to Long Beach. 

The now-former IWGP Women's Champion says she will be at NJPW Resurgence on May 21, 2023, from the Walter Pyramid in Long Beach, California. 

Mone addressed the media backstage after dropping her title to Mayu Iwatani at Stardom All-Star Grand Queendom on Sunday. 

Mone said:

I am so, so disappointed. I feel broken. I feel bankrupt. I legit just called my CPA, and she said that I'm still really, really rich, so I will be okay. But look what Mayu did to my beautiful face. Do you not know who I am? I am a living legend. I am a star. I am a star in Star Wars!

Click Here: northampton saints rugby jerseys

Mayu-san, you are not the Undertaker and I promise you that the next time that I'm here in Stardom, you will be a dead b**tch because I want one more chance, one more opportunity to get back my IWGP Women's Championship but I am not done with New Japan and I am not done with Stardom cause I am still on my world tour and my next stop is May 21 at Resurgence. So get ready to roll a nice big one because we're going to my cousin's house, Long Beach, baby! 

Our own Dave Meltzer reported yesterday that Mone and Bushiroad reached an agreement on a contract extension. Her deal was previously set to expire following her match with Iwatani on Sunday. It was also noted that her next date would likely be a US show, which we now know will be NJPW Resurgence on May 21.