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・ "O" Is for Outlaw
・ "O"-Jung.Ban.Hap.
・ "Ode-to-Napoleon" hexachord
・ "Oh Yeah!" Live
・ "Our Contemporary" regional art exhibition (Leningrad, 1975)
・ "P" Is for Peril
・ "Pimpernel" Smith
・ "Polish death camp" controversy
・ "Pro knigi" ("About books")
・ "Prosopa" Greek Television Awards
・ "Pussy Cats" Starring the Walkmen
・ "Q" Is for Quarry
・ "R" Is for Ricochet
・ "R" The King (2016 film)
・ "Rags" Ragland
・ ! (album)
・ ! (disambiguation)
・ !!
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・ !!! (album)
・ !!Destroy-Oh-Boy!!
・ !Action Pact!
・ !Arriba! La Pachanga
・ !Hero
・ !Hero (album)
・ !Kung language
・ !Oka Tokat
・ !PAUS3
・ !T.O.O.H.!
・ !Women Art Revolution


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Live And Improvised (Blood, Sweat & Tears album) : ウィキペディア英語版
Live and Improvised

''Live and Improvised'' is a two compact disc live album by the band Blood, Sweat & Tears, that was originally released in 1976 as a live album entitled ''In Concert'' by Columbia Records in Europe and Japan. This album was later remixed and released in the United States as ''Live And Improvised'' in 1991. This collection was recorded live at four different venues over five nights during the summer of 1975. The lineup for this album is the same as the ''New City'' album they were supporting on that tour with the exception of Steve Kahn and Mike Stern on guitar.
The songs in this collection were recorded at the Schaeffer Music Festival in New York City; City Hall Plaza in Boston; National Arts Centre in Ottawa, Ontario; and at the Monterey Jazz Festival in Monterey, California.
==Reception==

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Writing for Allmusic, critic Bruce Eder wrote, "What's also lacking is some excitement -- in the group's evident desire to emphasize their jazz side while minimizing any rock elements in their playing, they've also banished any tension, or the interplay between rock and jazz elements upon which their original appeal was founded. Numbers like "Spinning Wheel," "Lucretia MacEvil," "And When I Die," and "I Love You More Than You'll Ever Know" are done in such loose-limbed fashion that, apart from showcasing some virtuoso playing and Clayton-Thomas' more oppressive mannerisms, they're rather weak reinterpretations... On the positive side, along with the presence of those arrangements, the playing is very good, if not always terribly involving, and in those moments when Clayton-Thomas keeps his instincts in check, the material does recapture and expand on the best components of the original group's sound."〔

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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