Finale 2001 Cd Crack
Dre and Snoop Dogg Getty Images/FilmMagicA musical block party indebted sonically to George Clinton’s P-funk and thematically to Dre’s experience living in a dangerous, early-’90s Compton, it’s a spotless masterpiece. It put the West Coast on equal footing with the storied East and established what would become Dre’s signature, one he had begun developing: the eerie, mosquito-in-your ear synth that danced over every track and instantly became synonymous with L.A. The Chronic elevated Dre from N.W.A member to hip-hop celebrity producer nearly overnight. It spent eight months in the Billboard top 10, and Dre piled on 11 months later with a sequel of sorts, Snoop Doggy Dogg’s infectious debut album, Doggystyle, which set the record for the fastest-selling hip-hop album in history. On the backs of these two records—plus the Above the Rim soundtrack and Tha Dogg Pound’s snarling debut, Dogg Food—Death Row became an institution.
In 1996, after bailing him out of jail, Suge and Death Row released 2Pac’s seminal two-disc album All Eyez on Me, which sold over half a million units in its first week and featured contributions from Dre, Snoop, and the rest of the label. Ceding his 50 percent stake in a wildly profitable Death Row, Dre narrowly escaped the East Coast–West Coast beef that ultimately consumed Suge and Co.
To form Aftermath in March 1996, leaving Snoop behind and bringing with him not a single longtime collaborator. And as a result, the West Coast split between those still on the Row and those who left, with Snoop’s cutting off contact with Dre and eventually moving to Master P’s New Orleans–based No Limit Records. The final blow to the Death Row era came seven months after Dre left the label, when 2Pac, who had fallen out with Dre, was shot and killed. He left behind a final album, The Don Killuminati: The 7 Day Theory, which lobbed. By signing up, you agree to our and European users agree to the data transfer policy.SubscribeThroughout the N.W.A and Death Row periods, Dre the public personality remained unfinished. He rarely wrote his own raps, and, as a result, the more colorful aspects of his persona were shaped by his circumstances and collaborators.
Friendless, searching for a new sound, and attempting to establish a label as big as the one he had left, Dre released his second album, Dr. Dre Presents. The Aftermath, on November 26, 1996. Bloated, boring, and uneven, it’s at times unlistenable. It didn’t help that the initial Aftermath roster, featuring West Coast legends King Tee and RBX, boasted some of the most anonymous rappers and singers this side of Reno with names like “Jheryl Lockhart” and, literally, “Miscellaneous”; the album also gave Dre just one solo song, the limp.” It didn’t stand a chance.
Trashed by critics and fans alike, Dr. Dre Presents. The Aftermath threatened Dre’s entire career. Dre came up short again in 1997 with The Album, the debut project of the supergroup, which was composed of Nas, AZ, Foxy Brown, and Nature. The album hit no.
1, but was dismissed as too pop-centric and lacking chemistry. “That point of my life, musically, it was just off balance,”. “I was off track then and trying to find it. It was a period of doubt.” If Dre’s magic touch wasn’t permanently gone, he knew it was missing. It was time to start from scratch, but it wouldn’t happen overnight.Then came a miracle. Later in 1997, Jimmy Iovine, who ran Aftermath parent label Interscope, played Dre the demo of a white rapper from Detroit named Eminem.
His maniacal, horrifying, multisyllabic rhymes would later fit uncannily well over Dre’s production. Within minutes, Dre knew he had something special—it was that simple. Dre was saved yet again. After months of highly productive studio sessions with an unpolished but focused 26-year-old Marshall Mathers, Aftermath released Eminem’s debut, The Slim Shady LP, on February 23, 1999. The album shocked listeners across the world and went four times platinum. It made Eminem a superstar, gave Aftermath its first hit, and, more subtly, marked the start of Dre’s new sound.
Gone were the sticky, warbly bass lines, big drums, and hypnotic stank of G-funk. What emerged instead was West Coast rap stripped down to its basic components, stretched and slowed and narrowed with ominous, sparse precision.
SSLP’s “” is 2001’s most obvious precursor, and it’s the only track on the album that Dre coproduced with a young upstart from Virginia named Mel-Man, who would be instrumental in 2001. Around the same time, Dre and Snoop reconciled. No Limit Top Dogg, Snoop’s fourth album and second for No Limit, released on May 11, 1999, featured his first collaborations with Dre in nearly five years. The Dre-produced “,” with its alien synths and Kill Bill–style guitars, is proto- 2001, and the Xzibit-featuring, Dre-laced posse-cut “” got the gang back together again. Armed with a new superstar, a new coproducer, and a crew of old collaborators, Dr.
Dre was finally ready for his.The you hear on 2001 is the THX Deep Note crescendoing and rumbling like an earthquake. It’s a fitting, on-the-nose introduction to one of the most cinematic rap albums of all time: Throughout 2001, Dre creates a highly curated noir L.A. Soundscape, complete with skits, whirring helicopters, bar chatter, and whizzing bullets. The THX note is also, in a way, an asterisk—this is a movie, not real life.
“It’s all entertainment first,” he said to the, in response to his change of heart after denouncing gangsta rap on “Been There Done That.” “Any person that listens to these records and wants to imitate them is an idiot.” The message is clear: 2001 is Dr. Dre, not Andre Young.But for all the posturing about the line between reality and entertainment, lyrically 2001 feels remarkably real. It’s a testament to Dre’s many ghostwriters, but there’s an urgency in Dre’s rapping that makes it clear this isn’t for fun.
The chip on his shoulder, the raw desire to reclaim his throne, was not just for show. If The Chronic was a daytime cookout, 2001 is L.A. At night, blending house parties and drive-bys, reminiscing and thirsting for blood. The album draws a dark portrait of Los Angeles, where at any moment you might get robbed, shot, or killed, whether by the police or a stick-up kid looking for a thrill—a free-for-all war zone where sex is perpetually available and women are pimped, discarded, and fucked with little regard to their humanity.“” 2001’s first song, is a snarling, paranoid introduction to the new Dre: a seen-it-all, weather-beaten warrior who’s been doubted too long.
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“Things just ain’t the same for gangstas,” Dre begins, sounding weary. It’s a persona he adopts throughout the album—a veteran who has outlasted them all. “Nigga we started this gangsta shit / And this the motherfuckin’ thanks I get?” he asks later, bewildered. The production on “The Watcher,” like the rest of 2001, is the culmination of years of experimenting: It’s fermented, stark G-funk filtered through the noir of L.A. Confidential, complete with crisp violin plucks, delicate piano, low horns, skulking bass, and pulsing drums. The trademark high synth is still there, but instead of dominating songs, like The Chronic’s “,” it lingers in the background, an eerie callback to simpler times.
Dre had hinted at his new sound on those earlier Eminem and Snoop tracks that same year, but no one was prepared for what 2001 held in store. Even now, 20 years later, it somehow sounds futuristic.Throughout 2001’s 22 tracks, Dre and Mel-Man reinvented what hip-hop could sound like. Instead of old funk records, this time around Dre incorporated, several and scores, and a bevy of without compromising 2001’s nocturnal core. The album is a statement in simplicity, orchestration, and scientifically precise execution. “Xxplosive,” one of 2001’s best beats, flips the first few bars of the classic Soul Mann & the Brothers instrumental “” from the Shaft soundtrack and pairs it with triangle-twinkles and drums so solid that Kanye stole them to help find his own sound. “The Next Episode” prominently takes David Axelrod and and pairs it with trembling, reverberating drum hits and a massive, endorphin-generating build-up. “Big Ego’s” and “Still D.R.E.” incorporate producer Scott Storch’s bone-chilling keys and Mel-Man’s gurgling bass, while “Fuck You” and “Light Speed” ooze synths so restrained they feel on the verge of petering out., “Some L.A.
Niggaz” is spookily empty until the chorus, when a lone, mournful Dre synth line flutters above the beat with the grace, and foreboding, of a vulture slowly circling a fresh kill. On the lyrical side, 2001 shows off a stable of legends, upstarts, and randoms. They united under Dre’s hawk-eyed watch to make 2001 a layered, constantly surprising feature film. The sound had changed, but The Chronic remained—a few of its architects, along with the generation they influenced, picked up on 2001 right where they left off, with Kurupt, Snoop, Xzibit, Knoc-Turn’al, and Nate Dogg each appearing multiple times and anchoring the album. And then there’s Eminem. In 1999 there was no one like him. His sprawling verses on “What’s the Difference” and, famously, “Forgot About Dre,” are just mesmerizing, equal parts performance art, battle rap, storytelling, and raw charisma.
Fitting with the 2001 narrative of Dre’s improbable return, Eminem ferociously defends his mentor’s legacy, threatening to shoot doubters if they “talk like The Chronic was lost product” on “What’s the Difference.”Dre melded the veterans’ hardened, old-school West Coast swagger with Eminem’s feral raps and Mel-Man’s stripped-down beats, but he wouldn’t have done it without the help of a rapper named Hittman. A virtual nobody before he met Dre, Hittman raps on 10 of 2001’s songs and has writing credits on two more, including “The Next Episode.” In a way he’s the narrator of Dre’s tour of L.A. At night, illuminating conflicts, histories, and characters, and popping up enough that when he does, you feel centered. In high school, I was so consumed by 2001’s story that, on its 15th anniversary, I sought out and him; he had disappeared almost completely in the years following. “I played the role of gravity,” he told me.
“So, no matter what the other emcees chose to speak on in their verses, I always brought it back to the subject matter at hand with mine.” He dominates two of the best pure rapping songs on the album, the mournful highlight “,” and the shit-talking “,” and even gets his own solo track on “.” As for the randoms, there’s Dallas’s Six-2, a nasal-voiced then-23-year old who came referred by Dre’s old friend the D.O.C. And who on “Xxplosive.” There’s also Ms. Roq, the only woman featured on the album, whose ferocious, on “Let’s Get High” remains one of the best moments on the album. Eminem and Dr. Dre Getty Images/WireImage2001 sold over half a million copies in its first week and ultimately was certified six-times platinum. It won a Grammy for “Forgot About Dre,” which, before 2001’s release, Dre and Eminem on the Saturday Night Live stage. Six months later, Dre, Snoop, Eminem, Ice Cube, most of 2001’s guest artists, and pretty much anyone from L.A.
That could fit on the bus embarked on the famed Up in Smoke Tour, a 44-show victory lap that, at one point in the set, featured an actual lowrider hopping on stage. The album set up the rest of Dre’s career, cementing Aftermath as a dynasty on the scale of Death Row; there’s likely no Kendrick Lamar on Aftermath without 2001. The album led to an astonishing run of success in the years immediately following: more Eminem, the discovery of 50 Cent, and, in the wake of 2001, several, - that built on the album’s instrumental foundation.
The 2001 sound was suddenly inescapable, and things were finally as they were supposed to be: Dre was back. Again.The parts of Dre that would be left behind in the period leading up to 2001 weren’t simply in the interest of making better music. To overhaul yourself, to craft a brand-new narrative the way Dre did between 1996 and 1999, requires a certain degree of cognitive dissonance. Dre was trying to move past Dr.
Dre Presents. The Aftermath and the drama with Death Row. He was also trying to let go of the familial trauma that consumed his early life, and to put behind his violence, most of which was directed toward women.On January 27, 1991, while still in N.W.A, journalist Dee Barnes, the host of the popular Fox entertainment program Pump It Up, at the Po Na Na Souk club in Hollywood.
One of the show’s producers had spliced an interview with former N.W.A member Ice Cube, in which he disses the group, into a clip of Barnes interviewing the remaining members of the group: Dre, Eazy-E, MC Ren, and DJ Yella. According to Eazy, the guys felt set up. So when Dre saw Barnes, whom he had known for years, he attacked her. In Barnes’s telling, “He picked me up by my hair and my ear and smashed my face and body into the wall. Next thing I know, I’m down on the ground and he’s kicking me in the ribs and stamping on my fingers. I ran into the women’s bathroom to hide, but he burst through the door and started bashing me in the back of the head.” No one helped; several people watched on.
N.W.A, proud of their violent misogyny, predictably backed Dre. “She deserved it. Bitch deserved it,” Ren Dre told the magazine that, “it ain’t no big thing—I just threw her through a door.” Barnes sued and settled out of court in 1993.
And has struggled to find work in entertainment since.Between 1992 and 1994, Dre was arrested three separate times for and a DUI that involved a high-speed chase through Los Angeles, which sent him to jail for five months. The Barnes incident, though the most famous, wasn’t Dre’s only attack against a woman, nor was it the first. Tairrie B, a female rapper signed to Eazy’s Ruthless Records, at a post-Grammys party in L.A. Singer Michel’le, a Death Row labelmate, dated Dre between 1987 and 1996 and had a child with him. She detailed her abuse: “I had five black eyes, I have a cracked rib, I have scars that are just amazing. It was normal. Everybody that knew, it was the norm.”In his 2017 HBO documentary The Defiant Ones, Dre owns up to his assault of Barnes, who’s the only victim interviewed, but nothing else.
To explain himself, he discusses seeing his mother abused by his stepfather; the deep depression and alcoholism he fell into in the early ’90s after the death of his brother, Tyree; and the dangerous combination of ego and fame that consumed him and N.W.A as they blew up. “I have this dark cloud that follows me. And it’s gonna be attached to me forever,” Dre says. “It’s a major blemish on who I am as a man. And every time it comes up, it just makes me feel fucked up.” Yet Dre’s acknowledgment of his dark cloud, 26 years after assaulting Barnes, feels like too little and far too late. He says nothing of Barnes’s migraines or career blacklisting. And he says nothing of how that same dark cloud, as it became part of his legend, helped save his career.with The Guardian shortly after 2001’s release, Dre credits his wife, Nicole, with his return to form, claiming that she told him to ditch the over-it ethos of the Dr.
Dre Presents. Single “” and go back to gangsta rap. Dre admitted that returning to the misogyny and violence of his earlier work—which runs throughout 2001—made him uncomfortable. “But then, I have to look at it like entertainment, and I have a set fan base, and there’s certain things they want to hear. They wanna hear Dre be Dre,” he told journalist Ekow Eshun. Dre’s craftiness was that we could have it both ways: Now professing to be a family man, he was resurrecting the violent misogyny of his past self solely as fiction, and, as a result, he could The dark cloud wasn’t something to repent, or overcome, but rather a personality to access. Dre used the violence of his past to color his present, to create an unassailable mythology, even as he declared the album’s violent content fictitious in interviews.
“Came up in the game wearin’ khakis not Kangols, stranglin’ hoes / When asked about it in most interviews I just laugh,” he on 2001’s “Light Speed,” eight years after assaulting Barnes. These are tongue-in-cheek threats to those who know, smug I got away with its from a man who never had to reckon with it to begin with.The story of Dre’s three years in the wilderness, between Dr. Dre Presents and 2001, asks a question: When does fiction in the name of art become revisionist history in service of the artist? In 2001’s case, the album reframed Dre as a stable, all-business super producer, a legendary figure beyond reproach.
It allowed for his history of abuse to fade into the past, hidden behind cop-outs claiming the violence and misogyny on the album was all for show. “Having tried unsuccessfully to divorce himself from what Dr.
Dre was,” Eshun writes in The Guardian, “it seems he has chosen instead to broaden the possibilities of who Dr. Dre can be.” 2001 is the sonic equivalent of those endless possibilities. Dre can tell stories and a family man.
He can and, a few tracks later,’s murder. He can also and elide his previous failure. 2001 is the blockbuster that returned Dre to prominence. And in the process of rehabilitating Dre’s career, it quietly revised the story of who he is.
Dre Getty ImagesI was 12 or 13 when I first got my hands on 2001. I don’t remember if I was shocked at the vulgarity, or confused by Dre’s cryptic references to fallen West Coast legends and old beefs. All I remember is being captivated by its sound. When I finally started to drive a few years later, the first song I put on at max volume, with the windows rolled down, was “Big Ego’s.” I nodded my head and smirked like I imagine Dre did, and my stomach dropped when the bass tumbled in. A queer Jewish teenager from Santa Monica, I was nonetheless captivated by Dre’s big-budget storytelling, transported into the shoes of 2001’s shit-talking protagonist. I knew 2001’s lyrics were shocking, misogynistic, violent, and offensive. I also knew I loved the album, and that its unsavoriness, and the disgust it provoked in countless other listeners, was one of the reasons why.When the N.W.A biopic Straight Outta Compton came out in 2015 and left out any mention of the group’s misogyny or Dre’s abuse, I, like many people born after N.W.A and The Chronic, learned of Dre’s history with women in the ensuing controversy.
Even Dre, for the first time, had to (somewhat). If the apology he issued seemed half-assed, it’s because it was; I don’t know whether Dre genuinely felt regret, but I imagine the lack of effort in actually repenting is partially due to Dre’s own confusion at having to apologize in the first place. If something is a persona, if a history is the result of an external, unremovable dark cloud, then what’s there to apologize for? It’s almost as if Dre, since 2001, has bought into his own myth so entirely that reckoning with what’s within him is now impossible; Straight Outta Compton arrived 16 years after 2001, but it recast and justified Dre’s story in exactly the same way.The cracks in that story, though, are obvious when you listen closely to 2001.
Despite the ghostwriting interventions of Jay-Z (who wrote “Still D.R.E.”), Hittman, Snoop, Eminem, and the D.O.C., Dre never really sounds comfortable in his own voice, and often sounds downright like an alien. Many of his verses feel forced, and he raps on only 13 of 2001’s 17 songs. “Another classic CD for y’all to vibe with / Whether you’re coolin’ on the corner with your fly bitch / Laid back in the shack, play this track,” he huffs on the third verse of “Still D.R.E.” with the flow of a high school guidance counselor. It’s not even clear what Dre delivering his own rhymes would sound like.There’s one song, though, on which we get a hint. 2001’s closer, “The Message,” is the one track that is utterly, undeniably convincing from Dre’s point of view.
It’s the only song not produced by Dre or Mel, instead coming courtesy of the legendary East Coast producer Lord Finesse. Featuring a hook from Mary J.
Blige, it’s a heartbreaking reflection on the loss of Dre’s younger brother, Tyree, who died in a street fight while Dre was still in N.W.A. The song’s lyrics were written by rapper Royce da 5’9”, but, like any movie with perfect special effects, Dre’s delivery and message is so convincing that, even knowing he didn’t write the words himself, the song never fails to give me chills.
“I’m anxious to believing real G’s don’t cry / If that’s the truth, then I’m realizing I ain’t no gangsta,” he raps. For a fleeting moment, the artifice falls apart, the weight of history slides off, and Dr. Dre becomes Andre Young.As I’ve gotten older, 2001 has remained in my personal rap album pantheon.
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The beats continue to thrill me, and most of the rapping hasn’t aged. 2001 still somehow sounds like the future. But my obsession with the album’s lore has steadily faded. I interviewed Hittman when I was 20 because his disappearance post- 2001 only added more to the myth of the album—and the myth of Dre himself. But when I met Hittman, I found him living happily off royalties with his family in Pasadena, California. And when I learned the reasons for his disappearance—personal tragedy, a disinterested Dre, bad business deals—the bubble popped. Hittman didn’t mysteriously disappear; he got burnt out and chose to move on.
The reality was far from the myth, and much more human.How do we choose the stories we tell about ourselves? Dre chose to bury the shame, anger, and insecurity of his deepest self within tall tales of authority, menace, and, later, questionable contrition. He got one of the greatest rap albums of all time, and a remarkable life, out of that truth bending. But there is always a cost. I asked Hittman, back in 2014, on 2001’s 15th anniversary, whether he had any regrets. He quickly told me no. “And while I may have squandered any remnants of a career, I never compromised my character in exchange for one,” he said, sitting outside at a frozen yogurt shop, watching his two young daughters play.
“So I can live with that.”I wonder if Dre can, or if he can say the same. I think of a scene in The Defiant Ones when Dre is sitting alone in his mansion, the Pacifc Ocean crashing outside, as Dee Barnes’s testimony narrates the details of his abuse. His face remains placid as his history is unspooled in front of him in what feels like a final attempt to find the person at its center. He’s the greatest producer of all time, the craftsman behind two of the best albums in history, a mogul worth $800 million and beloved by his city, and an absolute enigma.
The waves thunder; the furniture casts shadows. He stares and blinks. Barnes goes on. Dre’s having trouble living with himself, he’s learned how to hide it.is an assistant editor at Farrar, Straus and Giroux. His writing has appeared in Pitchfork, them., The Fader, W., and elsewhere.
Dutch, English, French, German, Italian, Japanese, Polish, SwedishWebsiteFinale is the flagship program of a series of developed and released by MakeMusic for the and operating systems. First released in 1988, version 26 was released in 2018. Finale has been regarded as one of the industry standards for music notation software.Finale is one of a number of types of used by, and for creating, including the score for an entire ensemble (e.g., etc.) and parts for the individual musicians.
A scorewriter is to what a is to text, in that they both allow fast corrections (via the ' button), flexible editing, easy sharing of content (via the Internet or compact ), and production of a clean, uniform layout. In addition, most scorewriters, including Finale, are able to use software-based to 'play' the sounds of the notated music and record the music—an especially useful feature for novice, when no are readily available, or if a composer cannot afford to hire musicians.MakeMusic also offers several less expensive versions of Finale (currently available for Microsoft Windows only), which do not contain all of the main program's features. These include PrintMusic and a program, Finale Notepad, which allows only rudimentary editing. Discontinued versions include Finale Guitar, Notepad Plus, Allegro, SongWriter, and the free Finale Reader. Contents.Appearance The default Untitled document is a 31- piece for a single instrument. A Setup Wizard, an alternative method of starting a project, consists of a sequence of dialogs allowing the user to specify the, title, composer, and some aspects of score and page layout.
Finale's current default music notation font is Maestro.Functionality Finale's tools are organized into multiple hierarchically organized palettes, and the corresponding tool must be selected to add or edit any particular class of score element, (e.g., the Smart Shape tool to generate and edit lines and 'hairpins' (so-named because the symbols resemble ); the Staff tool to add and edit the parameters of individual staves). Alongside these tools, additional controls are available to view or hide up to four superimposed layers of music that can be entered onto any particular staff, for purposes of organizing multiple contrapuntal voices on the same staff. Several of Finale's tools provide an associated menu just to the left of the Help menu, available only when that particular tool is selected. Thus, the operation of Finale bears at least some surface similarities to.On the screen, Finale provides the ability to color code several elements of the score as a visual aid; on the print-out all score elements are black (unless color print-out is explicitly chosen).
With the corresponding tool selected, fine adjustment of each set of objects in a score are possible either by clicking and dragging or by entering measurements in a dialog box. A more generalized selection tool is also available to select large measure regions for editing key and time signatures, or transposing, among other uses. This tool also provides the ability to reposition several classes of score object directly, and more recent versions of the software have implemented extensive contextual menuing via this tool.Finale automatically manages many of the basic rules of harmony and music notation, such as correct stem direction, vertical alignment of multiple rhythmic values, and established rules for positioning noteheads on chords. In other situations, without careful advance user customization, the program makes what can be described as good guesses, especially in the area of of newly entered data generated from a keyboard, while respecting the current key signature. It is 'smart' enough to spell an pitch when are used in a piece.
Nicholl & Grudzinski (2007) Music Notation: Preparing Scores and Parts. Berklee Press, 1st ed. 'The industry standard program (if there is one) is generally considered to be Finale.' .
Purse, Bill (2005). The Finale Primer: Mastering the Art of Music Notation with Finale (3rd ed.). San Francisco: Backbeat Books. Finale uses an approach frequently encountered in computer graphics programs, which is a combination of a tool palette and menu interfaces to access all of the commands for creating a document. Johnson, Mark (2008). Finale 2008 Power. New York: Penolope Press.
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P. 288. VanDerBosch, Karen (2009). Archived from (Press release) on October 4, 2011. Spenillo, Carol (November 4, 2013). Adler, Mark (August 16, 2016). Archived from on August 20, 2016.
Retrieved December 7, 2018. The Finale Blog. October 10, 2018. Ross Feller, 'E-sketches: Brian Ferneyhough's use of computer-assisted compositional tools', in A Handbook to Twentieth-Century Musical Sketches, ed. Patricia Hall and Friedemann Sallis, p.177.
(Press release). Retrieved January 6, 2015.
Business & Entertainment Editors (September 30, 2002). Archived from (Press release) on September 30, 2002. Retrieved May 7, 2008. CS1 maint: extra text: authors list. DuBrock, Andrew (January 2005). Acoustic Guitar.
New England Conservatory. Small, Mark. Berklee Today. Retrieved March 30, 2012.
All homework is done in Finale music-notation software. (Press release). Retrieved March 30, 2012. Braus, Danielle; Spenillo, Carol (2013). (Press release). Alfred Music – via MakeMusic.com. Ferrisi, Dan (March 23, 2015).
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