John Hammond Wicked Grin Rarlab
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Silicon is a chemical element with symbol Si and atomic number 14. A hard and brittle crystalline solid with a blue-gray metallic luster, it is a tetravalent metalloid. It is a member of group 14 in the periodic table, along with carbon above it and germanium, tin, lead, and flerovium below. It is rather unreactive, though less so than germanium, and has great chemical affinity for oxygen; as such, it was first prepared and characterized in pure form only in 1823 by J?ns Jakob Berzelius.
Silicon is the eighth most common element in the universe by mass, but very rarely occurs as the pure element in the Earth's crust. It is most widely distributed in dusts, sands, planetoids, and planets as various forms of silicon dioxide (silica) or silicates. Over 90% of the Earth's crust is composed of silicate minerals, making silicon the second most abundant element in the Earth's crust (about 28% by mass) after oxygen.
The outer electron orbital of silicon, like that of carbon, has four valence electrons. The 1s, 2s, 2p and 3s subshells are completely filled while the 3p subshell contains two electrons out of a possible six. Silicon is a semiconductor.
It has a negative temperature coefficient of resistance, since the number of free charge carriers increases with temperature.
John Hammond Wicked Grin Rarlabs
After 35 years into a career that spans 35 albums recorded for seven labels, you'd think might get a little complacent. Thankfully the opposite is true, as 2001's is the artist's most daring musical departure and arguably greatest achievement to date. Mining the rich catalog for 12 of its 13 tracks (the closing is a traditional gospel tune) and bringing himself along as producer has resulted in a stunning collection that stands as one of the best in 's bulging catalog. Never a songwriter, the singer/guitarist/harmonica bluesman has maintained a knack for picking top-notch material from the rich blues tradition without resorting to the hoary, over-covered classics of the genre. It's that quality that transforms these tunes into songs, regardless of their origin.
His history of working with exceptional session musicians is also legendary, and this album's band, which features sideman on keyboards, harmonica wiz, longtime associate on bass, and himself poking around on various songs, is perfect for the spooky, swampy feel he effortlessly conjures here. Choosing from a wide variety of ' material, infuses these unusual tracks with a bluesman's spirit and a crackling energy that practically reinvents the songs, instilling them with an ominous, rhythmic swampy feel. The producer contributes two new tracks ('2:19' and 'Fannin' Street,' the latter is the album's only acoustic cut) that maintain the creepy but upbeat voodoo spirit that trickles and twists throughout.
Sings with a renewed spirit, adding a smoother but no less intense edge than ' typical rusty razor blade soaked whisky growl. With his dusky croon and idiosyncratic delivery, tears into this material with relish, spitting out the often offbeat, stream of consciousness lyrics as if he wrote them himself. Only the slow, ambling blues of 'Murder in the Red Barn' would comfortably slot into 's existing oeuvre; the remainder push the bluesman into previously uncharted territory with results that reveal fascinating layers of his own interpretive abilities. An experiment whose success will hopefully yield another volume, this partnership of and brings out the best in both artists' substantial talents.
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