title: In Case of Emergency

abstract: In Case of Emergency (ICE) is a programme designed to enable first responders, such as paramedics, firefighters, and police officers, as well as hospital personnel, to contact the next of kin of the owner of a mobile phone in order to obtain important medical or support information. The phone entry should supplement or complement written information or indicators. The programme was conceived in the mid-2000s and promoted by British paramedic Bob Brotchie in May 2005. It encourages people to enter emergency contacts in their mobile phone address book under the name 'ICE'. Alternatively, a person can list multiple emergency contacts as 'ICE1', 'ICE2', etc. The programme has been criticised by some emergency responders, and the HoaxBuster site.

text:
# In Case of Emergency

**In Case of Emergency** (**ICE**) is a programme designed to enable first responders, such as paramedics, firefighters, and police officers, as well as hospital personnel, to contact the next of kin of the owner of a mobile phone in order to obtain important medical or support information (the mobile phone must be unlocked and working). The phone entry (or entries) should supplement or complement written (such as wallet, bracelet, or necklace) information or indicators. The programme was conceived in the mid-2000s and promoted by British paramedic Bob Brotchie in May 2005. It encourages people to enter emergency contacts in their mobile phone address book under the name 'ICE'. Alternatively, a person can list multiple emergency contacts as 'ICE1', 'ICE2', etc.

The programme has been criticised by some emergency responders, and the HoaxBuster site.

## Overview

Following research carried out by Vodafone that showed that fewer than 25% of people carry any details of who they would like to be telephoned following a serious accident, a campaign encouraging people to do this was started in May 2005 by Bob Brotchie of the East of England Ambulance Service in the United Kingdom. The idea has taken off since the 7 July 2005 London bombings.

When interviewed on the BBC Radio 4 *Today* programme on 12 July 2005, Brotchie said:

> "I was reflecting on some difficult calls I've attended, where people were unable to speak to me through injury or illness and we were unable to find out who they were. I discovered that many people, obviously, carry mobile phones and we were using them to discover who they were. It occurred to me that if we had a uniform approach to searching inside a mobile phone for an emergency contact then that would make it easier for everyone."

Brotchie also urged mobile phone manufacturers to support the campaign by adding an ICE heading to the contact list of all new mobile phones.

With this additional information and medical information, first responders can access this information from the victim's phone in the event of an emergency. In the event of major trauma, it is critical to have this information within the golden hour, which can increase the chances of survival.

## Criticism

While some emergency responders lauded the suggestion, others have criticised it.

In Germany, the *In Case of Emergency* concept has been criticised for two reasons:

* Medical service personnel on site normally do not have the time to contact relatives. Information stored on a phone is thus useless for medical care prior to hospital.
* Contacting relatives of a seriously injured person is a sensitive task that is not carried out by telephone in the first place.

Other problems include language-dependent text (ICE in English, ECU in French, etc. etc.), the difficulty of accessing locked, discharged, or broken phones, differences among mobile models requiring training of emergency responders.

The French HoaxBuster site was critical of ICE from a francophone point of view and recommended that one carries contact information and relevant medical information in writing inside one's wallet, and not rely on ICE contacts as a primary means of identification.

Many smartphone models have dedicated ICE contact information functionality either built into the operating system, or available as an app. Saving duplicate phone numbers on a phone without dedicated ICE functionality may cause the ICE and regular contacts to be combined, or cause the caller ID to fail for incoming calls from a close friend or relative. (To avoid this, some use the *tel:* URI scheme to put the phone number in the ICE contact's 'home page' field.)

An alternate proposal was made within the ITU-T standard E.123 which recommended prefixing emergency contact names with numerals beginning with *0*.

## Locked phones

For security purposes, many mobile phone owners now lock their mobiles, requiring a passcode or PIN to be entered in order to access the device. This hinders the ability of first responders to access the ICE phone list entry. In response to this problem, many device manufacturers have provided a mechanism to specify some text to be displayed while the mobile is in the locked state. The owner of the phone can specify their 'In Case of Emergency' contact, and also a 'Lost and Found' contact. Android users running Android Nougat (Android 7.0) or higher also have the ability to store emergency information and contact details accessible by others through the emergency call screen when the device is locked. Emergency contacts can be added to iPhone lock screens with the iOS Health application, and accessed by tapping or swiping to the Emergency dialler, where calls to 911 or another pre-specified number can be made, and the Medical ID button is displayed as well. When accessing this Medical ID, the user's name, health information, allergies and medications can be listed, along with the ability to directly contact listed emergency contacts.

Alternatively, some handsets provide access to a list of ICE contacts directly from the lock screen. There are also smartphone 'apps' (applications) that allow custom ICE and emergency information to be displayed on the 'locked' screen.

## Popularity

The popularity of the programme is difficult to assess. A CNN article mentioned that the programme might be spreading into North America, but gave different instructions to its readers.


title: On Early English Pronunciation, Part V

abstract: On early English pronunciation: with especial reference to Shakspere [sic] and Chaucer, containing an investigation of the correspondence of writing with speech in England from the Anglosaxon [sic] period to the present day means of the ordinary printing types is an 1889 book by Alexander John Ellis. Since publication, it has been cited continuously by dialectologists of English and Scots, owing to its survey data on the dialects in the 19th century. The author is regularly cited by linguists as "A.J. Ellis" to distinguish him from Stanley Ellis, a prominent dialectologist of the 20th century.

text:
# On Early English Pronunciation, Part V

**On early English pronunciation: with especial reference to Shakspere  \[*sic*\] and Chaucer, containing an investigation of the correspondence of writing with speech in England from the Anglosaxon  \[*sic*\] period to the present day means of the ordinary printing types** is an 1889 book by Alexander John Ellis. Since publication, it has been cited continuously by dialectologists of English and Scots, owing to its survey data on the dialects in the 19th century. The author is regularly cited by linguists as "A.J. Ellis" to distinguish him from Stanley Ellis, a prominent dialectologist of the 20th century.

## Survey

A.J. Ellis attempted to record the dialect in all areas where English or Scots was habitually spoken. Work began around 1870. The data in England were collected through three tools of investigation:

1. In 1875, he produced a "comparative specimen", consisting of 15 sentences to be read by informants in order to obtain "dialect renderings of familiar words in various connections and some characteristic constructions"
2. A classified word list of 971 items, of which numbers 1-712 were "Wessex and Norse" words, numbers 713-808 were "English" and numbers 809-971 were "Romance". This list also included a small number of grammatical constructions and some instructions on how to characterise the intonation of speech. The time that the word list was constructed is not clear, but it seems to have been shortly after the comparative specimen.
3. In 1879, he created the Dialect Test. This was a passage of 76 words, containing an example of almost all West Saxon phonemes.

In the case of Scotland, most of the data came from a previous survey by JAH Murray, *Dialect of the Southern Counties of Scotland*, but Orkney and Shetland were surveyed in the same way as England. He rejected printed sources, in favour of direct observation. A.J. Ellis initially expected that his survey would require only 30 pages in his *On Early English Pronunciation* series, but it eventually took 835 pages.

A.J. Ellis was aware that many speakers were bidialectal and would not speak to him, as an educated man, in the same way that they spoke to their families and friends. He was only interested in the latter speech, which he saw as the real dialect. Anderson noted that A.J. Ellis obtained some material directly from railway porters and domestic servants, and suggested that his decision not to contact other dialect speakers directly was "a characteristic of the age and not just of the man".

Much of A.J. Ellis's data were collected by Thomas Hallam. The concentration of sites across the country was very uneven, with a bias towards those sites that Hallam could reach by train from Manchester. His main job was in the canals department of the Manchester, Sheffield and Lincolnshire Railway offices. The two other main fieldworkers were J.G. Goodchild and C.C. Robinson. There were a further 811 voluntary helpers, mostly educated people who did not speak in the dialects that A.J. Ellis was researching; the contributions of these latter helpers has been criticised as a source of error.

In one case, A.J. Ellis noted that the vicarage of Annfield Plain in County Durham could not be reached for the survey because of snow on a hill between the railway station and the vicarage. Anderson cited this as evidence of the difficulties in administering a survey in the days before modern cars and roads.

## Palaeotype

A.J. Ellis made an early attempt to write phonetically with his palaeotype. This made use of several symbols not in everyday use in English to illustrate the variety of sounds. The palaeotype was also used by JAH Murray in his work in Scotland. A transcription of the palaeotype to the modern International Phonetic Alphabet was made by Eustace in 1969.

## Appraisal

Joseph Wright initially questioned the value of Ellis's dialect tests, given what Ellis had recorded from Wright's home village of Windhill, West Riding of Yorkshire. He later praised the work in *English Dialect Grammar*, calling it a "monumental work" that had been "invaluable for checking and supplementing my own material". Peter Anderson later said that Wright had done Ellis "a disservice" in his assessment of the Windhill dialect test, as the differences were within the realm of what different linguists would transcribe. Köckeritz wrote that a word-for-word comparison showed that Wright took most of his Suffolk data from A.J. Ellis.

Eugen Dieth, a co-founder of the Survey of English Dialects, referred to the book as "a tragedy" that "every dialectologist consults, but, more often than not, rejects as inaccurate and wrong", and to the palaeotype as "often incomprehensible and defies all reasonable interpretation". This assessment has since been rejected as unfair by linguists such as K.M. Petyt, Graham Shorrocks and Warren Maguire. The other co-founder of the SED, Harold Orton, gave a more favourable assessment than Dieth, describing the work as an "astonishing publication far in advance of anything similar anywhere" but also as "defective and unreliable". Anderson has argued that the results of the SED in Yorkshire map closely on to A.J. Ellis's results, and the few discrepancies can be explained through linguistic changes over time.

Peter Trudgill has praised A.J. Ellis's work as pioneering. In 2004, Trudgill used the data to trace the origins of New Zealand English, using it as an indication for the language spoken at the time that New Zealand was colonised by British settlers.

Gerard Knowles saw A.J. Ellis's work as the first acknowledgement of a Scouse dialect, distinct from the rest of Lancashire, although A.J. Ellis considered Scouse to be "no dialect proper". An article in the Transactions of the Yorkshire Dialect Society noted that A.J. Ellis also excluded Brummie, Mackem and several dialects that showed influence of Irish influence, yet he included Cockney, which had been influenced by waves of immigrants, and the speech of the Isle of Man and Cornwall, which had only adopted English relatively recently in history.

## Bibliography

* Anderson, Peter (1977). "A NEW LIGHT ON *EARLY ENGLISH PRONUNCIATION*". *Transactions of the Yorkshire Dialect Society*. **14** (77): 32–41.

* Aveyard, Edward (2022). "What is Dialect?". *Transactions of the Yorkshire Dialect Society*. **23** (122): 25–36.

* Dieth, Eugen (1946). "A New Survey of English Dialects". *Essays and Studies*. **32**: 76.

* Köckeritz, Helga (1932). *Phonology of the Suffolk Dialect* (Thesis). Uppsala.

* Orton, Harold (1949). "The Study of Dialectical English". *The Leeds Magazine*. **1**.


title: On Earth as It Is in Heaven

abstract: On Earth as It Is in Heaven is the third album by the rock band Angel. It is the last album with Mickie Jones who had been the band's bass guitar player since its formation. It was produced by Eddie Kramer and recorded in an actual castle in the Hollywood Hills. "Cast the First Stone" and "Just A Dream" are very similar in sound to the songs on Angel and Helluva Band. In fact, "Cast The First Stone" was written during the Helluva Band sessions. The band toured non-stop and it was during this time they made their only tour of Japan. The album peaked at #76 on the US Billboard charts. Lovember Records reissued On Earth... in a digitally remastered limited edition in August 2008. It included a 16-page booklet with liner notes by the journalist Dave Reynolds, a track-by-track run down by the singer Frank DiMino, all lyrics and previously unreleased photos. The LP originally contained a symmetrical poster of the album cover.

text:
# On Earth as It Is in Heaven

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Allmusic | link |
| Melodic.net | link |

***On Earth as It Is in Heaven*** is the third album by the rock band Angel. It is the last album with Mickie Jones who had been the band's bass guitar player since its formation. It was produced by Eddie Kramer and recorded in an actual castle in the Hollywood Hills. "Cast the First Stone" and "Just A Dream" are very similar in sound to the songs on *Angel* and *Helluva Band*. In fact, "Cast The First Stone" was written during the *Helluva Band* sessions. The band toured non-stop and it was during this time they made their only tour of Japan. The album peaked at #76 on the US Billboard charts.

Lovember Records reissued *On Earth...* in a digitally remastered limited edition in August 2008. It included a 16-page booklet with liner notes by the journalist Dave Reynolds (*Classic Rock* magazine and *Kerrang*), a track-by-track run down by the singer Frank DiMino, all lyrics and previously unreleased photos. The LP originally contained a symmetrical poster of the album cover.

## Track listing

All songs written by Frank DiMino, Gregg Giuffria and Punky Meadows, except where noted.

1. "Can You Feel It" - 4:44
2. "She's a Mover" - 3:37
3. "Big Boy (Let's Do It Again)" - 3:44
4. "Telephone Exchange" - 4:12
5. "White Lightning" - 4:40 (Punky Meadows, R. Morman)
6. "On the Rocks" - 3:39
7. "You're Not Fooling Me" - 4:03
8. "That Magic Touch" - 3:38
9. "Cast the First Stone" - 4:38
10. "Just a Dream" - 5:15

## Personnel

### Angel

### Additional personnel

* Dan Wyman: synthesizer, programming

## Production

* Produced and engineered by Eddie Kramer
* Mix assistant: Corky Stasiak
* Technical assistance: Art Kelm, Richard Landers, Peter Oreckinto, Lon LeMaster
* Tape operator: Rick Smith
* Digital editing: John Kubick
* Mastering: George Marino

## InfoBox

| On Earth as It Is in Heaven | |
| --- | --- |
|  | |
| Studio album by Angel | |
| Released | February 1977 |
| Genre | Hard rock |
| Length | 42:10 |
| Label | Casablanca, Mercury
Lovember Records (limited edition remaster) |
| Producer | Eddie Kramer |
| Angel chronology | |
| *Helluva Band*
(1976) ***On Earth as It Is in Heaven***
(1977) *White Hot*
(1978) | |


abstract: The Olympus Corporation Zuiko Digital ED 12–60mm 1:2.8–4 SWD is a Four Thirds System Pro series lens, sold in a kit with the Olympus E-3 camera body and available separately.

text:
# Olympus Zuiko Digital ED 12-60mm f/2.8-4 SWD

The Olympus Corporation **Zuiko Digital ED 12–60mm 1:2.8–4 SWD** is a Four Thirds System Pro series lens, sold in a kit with the Olympus E-3 camera body and available separately.

* Official Webpage
* Review on dpreview.com
* "Zuiko Digital ED 12-60mm F2.8-4 SWD". Olympus America. Archived from the original on October 14, 2008.

## InfoBox

Zuiko Digital ED 12–60mm
|  | |
| --- | --- |
| Maker | Olympus Corporation |
| Technical data | |
| Type | Zoom |
| Focal length | 12–60mm |
| Focal length (35mm equiv.) | 24-120mm |
| Aperture (max/min) | f/2.8 - f/22 |
| Close focus distance | 0.25m |
| Construction | 14 elements in 10 groups |
| Physical | |
| Weight | 575g |
| Filter diameter | Ø72mm |
| Accessories | |
| Lens hood | LH-75B |
| Case | LSC-0918 |
| Angle of view | |
| Diagonal | 84° |


title: Olympus Zuiko Digital ED 35-100mm f/2.0

abstract: The Olympus Zuiko Digital ED 35-100mm 1:2.0 is an interchangeable camera lens announced by Olympus Corporation on February 17, 2005.

text:
# Olympus Zuiko Digital ED 35-100mm f/2.0

The **Olympus Zuiko Digital ED 35-100mm 1:2.0** is an interchangeable camera lens announced by Olympus Corporation on February 17, 2005.

* "Zuiko Digital ED 35-100mm F2.0". Olympus America. Archived from the original on October 10, 2007.

## InfoBox

Olympus Zuiko Digital ED 35-100mm 1:2.0
| Maker | Olympus |
| --- | --- |
| Lens mount(s) | Four Thirds |
| Technical data | |
| Type | Zoom |
| Focus drive | Micromotor |
| Focal length | 35-100mm |
| Aperture (max/min) | f/2.0 |
| Close focus distance | 1.40 metres (4.6 ft) |
| Max. magnification | 0.09 |
| Diaphragm blades | 9 |
| Construction | 21 elements in 18 groups |
| Features | |
| Manual focus override | Yes |
| Weather-sealing | Yes |
| Lens-based stabilization | No |
| Aperture ring | No |
| Physical | |
| Diameter | 97 millimetres (3.8 in) |
| Weight | 1,650 grams (3.64 lb) |
| Filter diameter | 77mm |
| Accessories | |
| Lens hood | LH-82 |
| History | |
| Introduction | 2005 |


abstract: The Olympus Zuiko Digital ED 14-35mm 1:2.0 SWD is an interchangeable camera lens announced by Olympus Corporation on February 17, 2005.

text:
# Olympus Zuiko Digital ED 14-35mm f/2.0 SWD

The **Olympus Zuiko Digital ED 14-35mm 1:2.0 SWD** is an interchangeable camera lens announced by Olympus Corporation on February 17, 2005.

## InfoBox

Olympus Zuiko Digital ED 14-35mm 1:2.0 SWD
|  | |
| --- | --- |
| Maker | Olympus |
| Lens mount(s) | Four Thirds |
| Technical data | |
| Type | Zoom |
| Focus drive | Ultrasonic |
| Focal length | 14-35mm |
| Aperture (max/min) | f/2.0 |
| Close focus distance | 0.35 metres (1.1 ft) |
| Max. magnification | 0.12 |
| Diaphragm blades | 9 |
| Construction | 18 elements in 17 groups |
| Features | |
| Manual focus override | Yes |
| Weather-sealing | Yes |
| Lens-based stabilization | No |
| Aperture ring | No |
| Physical | |
| Diameter | 86 millimetres (3.4 in) |
| Weight | 915 grams (2.017 lb) |
| Filter diameter | 77mm |
| History | |
| Introduction | 2005 |


title: Omar Al-Safadi

abstract: Omar Al-Safadi is a Qatari handball player for Al-Rayan and the Qatari national team. He participated at the 2017 World Men's Handball Championship.

text:
# Omar Al-Safadi

**Omar Al-Safadi** (born 4 September 1994) is a Qatari handball player for Al-Rayan and the Qatari national team.

He participated at the 2017 World Men's Handball Championship.

## InfoBox

| Omar Al-Safadi | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Born | (1994-09-04) 4 September 1994 | | |
| Nationality | Qatari | | |
| Height | 1.82 m (5 ft 11+12 in) | | |
| Playing position | Centre back | | |
| Club information | | | |
| Current club | Al-Rayan | | |
| Number | 9 | | |
| National team | | | |
| Years | **Team** | **Apps** | **(Gls)** |
|  | Qatar | 23 | (48) |


title: On This Winter's Night

abstract: On This Winter's Night is the fourth studio album and first Christmas album by American country music trio Lady A. It was released on October 22, 2012, by Capitol Records Nashville. The production on the album was handled by the group's longtime producer Paul Worley. This album includes the six tracks from their previous 2010 Christmas EP A Merry Little Christmas as noted below. A music video was produced for "A Holly Jolly Christmas". On October 26, 2020, the group announced the release of a deluxe edition with 4 new tracks under their new name of Lady A.

text:
# On This Winter's Night

***On This Winter's Night*** is the fourth studio album and first Christmas album by American country music trio Lady A. It was released on October 22, 2012, by Capitol Records Nashville. The production on the album was handled by the group's longtime producer Paul Worley. This album includes the six tracks from their previous 2010 Christmas EP *A Merry Little Christmas* as noted below.

A music video was produced for "A Holly Jolly Christmas". On October 26, 2020, the group announced the release of a deluxe edition with 4 new tracks under their new name of Lady A.

## Commercial performance

*On This Winter's Night* debuted at number nine on the US *Billboard* 200 chart, selling 25,000 copies in its first week. This became Lady Antebellum's fourth US top-ten debut. In its sixth week, the album returned to the top-ten, reaching a new peak at number eight selling 59,000 copies. On December 13, 2012, the album was certified gold by the Recording Industry Association of America (RIAA) for shipments of over 500,000 copies in the US. As of November 2017, the album has sold 648,500 copies in the United States.

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "A Holly Jolly Christmas" | Johnny Marks | 2:03 |
| 2. | "Christmas (Baby Please Come Home)" | Jeff Barry, Ellie Greenwich, Phil Spector | 3:09 |
| 3. | "All I Want for Christmas Is You" |  | 3:35 |
| 4. | "I'll Be Home for Christmas" |  | 3:20 |
| 5. | "This Christmas" |  | 3:19 |
| 6. | "The First Noël" |  | 3:23 |
| 7. | "On This Winter’s Night" |  | 4:01 |
| 8. | "Let It Snow! Let It Snow! Let It Snow!" |  | 2:33 |
| 9. | "Have Yourself a Merry Little Christmas" |  | 4:09 |
| 10. | "Silent Night (Lord of My Life)" |  | 3:11 |
| 11. | "Blue Christmas" | * Billy Hayes * Jay W. Johnson | 3:28 |
| 12. | "Silver Bells" |  | 4:59 |

On This Winter's Night – Deluxe Edition
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 13. | "Wonderful Christmastime" | Paul McCartney | 3:20 |
| 14. | "Christmas Through Your Eyes" | * Scott * Kelley * Haywood | 3:59 |
| 15. | "Little Saint Nick" |  | 2:36 |
| 16. | "That Spirit of Christmas" | * Joel Webster * Mabel John * Parnell Davison | 3:57 |

* Source:. Lady. Antebellum. Christmas

## Personnel

**Lady Antebellum**

**Additional personnel**

## Charts

## Certifications

| Region | Certification | Certified units/sales |
| --- | --- | --- |
| Canada (Music Canada) | Platinum | 80,000^ |
| United States (RIAA) | Gold | 500,000^ |
| ^ Shipments figures based on certification alone.
 | | |

## InfoBox

| On This Winter's Night | |
| --- | --- |
|  | |
| Studio album by Lady Antebellum | |
| Released | October 22, 2012 (2012-10-22) |
| Recorded | Summer 2011, summer 2012. |
| Genre |  |
| Length | 41:10 |
| Label | Capitol Nashville |
| Producer | Paul Worley |
| Lady Antebellum chronology | |
| *Own the Night*
(2011) ***On This Winter's Night***
(2012) *Golden*
(2013) | |


title: In Gorbachev We Trust

abstract: In Gorbachev We Trust was the second album by the Scottish band The Shamen, released in 1989. It was an important landmark in The Shamen's transition from the psychedelic rock of Drop to the electronic dance music that would shortly bring them chart success. The "Gorbachev" of the album's title is Mikhail Gorbachev, the leader of the Soviet Union from 1985 to 1991.

text:
# In Gorbachev We Trust

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *Encyclopedia of Popular Music* |  |
| *The Great Rock Discography* | 7/10 |
| *Melody Maker* | favourable |
| *NME* | 9/10 |
| *Record Mirror* | 4/5 |

***In Gorbachev We Trust*** was the second album by the Scottish band The Shamen, released in 1989. It was an important landmark in The Shamen's transition from the psychedelic rock of *Drop* to the electronic dance music that would shortly bring them chart success. The "Gorbachev" of the album's title is Mikhail Gorbachev, the leader of the Soviet Union from 1985 to 1991.

## Track listing

1. Synergy *Including the famous lyrics, "MDMA-zing... we are together in ecstasy"*
2. Sweet Young Thing *A cover of the Goffin/King/Nesmith song from the album* The Monkees *(1966)*
3. Raspberry Infundibulum *An infundibulum is a funnel-shaped cavity or organ.*
4. War Prayer *Mark Twain's "The War Prayer" set to music and layered with Cold War-era samples, such as "God will destroy Russia"*
5. Adam Strange *"Adam Strange is in my brain, I'm so glad to know him". "Adam" is a near-anagram of, and a slang term for, MDMA*
6. Jesus Loves Amerika (Fundamental)
7. Transcendental
8. Misinformation
9. Raptyouare
10. In Gorbachev We Trust
11. Yellow Cellophane Day
12. Mayhew Speaks Out *Samples of Christopher Mayhew MP, who in 1955 took a mescaline trip as part of an experiment for BBC Television*.

## 1999 reissue

*In Gorbachev We Trust* was reissued in 1999 on the Sequel label, with 3 extra tracks: "Long Gone", "Fire Engine", and "Knature Of A Girl".

## InfoBox

| In Gorbachev We Trust | |
| --- | --- |
|  | |
| Studio album by The Shamen | |
| Released | 30 January 1989 |
| Recorded | 1988–1989 |
| Genre | Dance-rock |
| Length | 45:37 |
| Label | Moksha Records
Demon Music Group |
| The Shamen chronology | |
| *Drop*
(1987) ***In Gorbachev We Trust***
(1989) *Phorward*
(1989) | |


title: OnePiece (music production team)

abstract: OnePiece (Korean: 원피스) is a Korean production team composed of musicians Yoon Sang, Davink, wan9u, and Spacecowboy. OnePiece made their debut without wan9u in November 2015 with a hip-hop and EDM genre mix of the song "Let's Get It" featuring Dok2. OnePiece has contributed extensively to the Korean girl group Lovelyz's music. Wan9u joined the group in 2016.

text:
# OnePiece (music production team)

**OnePiece** (Korean: 원피스) is a Korean production team composed of musicians Yoon Sang, Davink, wan9u, and Spacecowboy. OnePiece made their debut without wan9u in November 2015 with a hip-hop and EDM genre mix of the song "Let's Get It" featuring Dok2. OnePiece has contributed extensively to the Korean girl group Lovelyz's music. Wan9u joined the group in 2016.

## Formation and production history

OnePiece was formed around producer and singer Yoon Sang in 2014. Yoon Sang and Spacecowboy first collaborated when Spacecowboy provided the rhythm track for Yoon Sang's 2014 single "If you wanna console me…(날 위로하려거든)". Davink worked on Yoon Sang's *The Duets* album and, after their work on that album, the group officially formed.

Their sound is mostly electronica-based, using synthesizers to create a retro feel. OnePiece has provided a lot of the musical direction for Lovelyz's sound, and are credited with helping them maintain a distinctive "color" of music with consistent sales, and popularity. This popularity was especially reflected with the OnePiece-produced track "Ah-Choo" which ended up being sleeper hit that had a long life on Korean music charts in 2015.

## Songwriting and production credits

### Lovelyz

| Album |
| --- |
| *Girls' Invasion*

1. Introducing The Candy (composition: Spacecowboy) 2. Candy Jelly Love (composition: Yoon Sang, Spacecowboy) 3. 어제처럼 굿나잇 (composition: DAVINK) 4. 이별 Chapter 1 (composition: Yoon Sang, Spacecowboy) 5. 비밀여행 (co-composer: OnePiece) |
| *Hi~* (*Girls' Invasion* Repackage) 1. 안녕 (Hi~) (composer: OnePiece) 2. 놀이공원 (Amusement Park) (composer: OnePiece) |
| *Lovelyz8* 1. Ah-Choo (composer: OnePiece) |
| *Lovelinus* 1. Circle (composers: Yoon Sang, DAVINK) |
| *A New Trilogy* 1. Moonrise (Composed by Yoon Sang, Spacecowboy) 2. Destiny (나의 지구) (Composed by Yoon Sang, Spacecowboy) 3. 책갈피 (Composed by Yoon Sang, Spacecowboy, Choi Young-Jun) 4. 마음 (Composed by OnePiece) |
| *Fever Festival Compilation Album* 1. Take me somewhere (producer: OnePiece) |

### Infinite Challenge

| Album |
| --- |
| *Infinite Challenge Yeongdong Expressway Music Festival* 1. My Life (Feat. Hyolyn of Sistar) - Sangjuna (My Life) (composer and arranger: OnePiece) |

### Exo-CBX

| Album |
| --- |
| *Blade & Soul OST* 1. Crush U (composer: OnePiece) |

### Bae Suzy

| Album |
| --- |
| *Yes? No?* 1. Preference (Les Préférences) (composer and arrangement: OnePiece) |

## InfoBox

| OnePiece | |
| --- | --- |
| Also known as | 1Piece |
| Origin | South Korea |
| Genres | synthpop, electronica |
| Years active | 2014 (2014)–present |
| Labels | ode INC
Digitalian Studio |
|  | |
| Members | Yoon Sang, Davink(lm Hyung-bin) (다빈크), Spacecowboy(Park Sung-jin)(스페이스 카우보이), wan9u (Wan Gu) |


title: OnePixcel

abstract: "Sha La La La" OnePixcel was a Japanese idol girl group formed in 2015. They released their debut EP, Zero, on June 22, 2016. They disbanded on June 25, 2021.

text:
# OnePixcel

**OnePixcel** was a Japanese idol girl group formed in 2015. They released their debut EP, *Zero*, on June 22, 2016. They disbanded on June 25, 2021.

## History

OnePixcel was formed in late 2015 and debuted in June 2016 with the EP, *Zero*. Their first single "Tondeke / Analoganize" was released in November 2016, followed by their second single "Time" in April 2017. They released their first studio album, *Monochrome*, in October 2017. Their third single, "Lagrima", was released in March 2018 as their major label debut and was featured in *Dragon Ball Super* as the ending theme. Their fourth single, "Sparkle", was released in August 2018, followed by their fifth single, "Girls Don't Cry" in December 2018, and their sixth single, "Final Call", in May 2019. They released their second studio album, *Libre*, in February 2020. They released their seventh and final single, "Sha La La La", in November 2020. They announced on March 29, 2021, that they would hold their final concert on June 25.

## Members

### Final line-up

* Nanami Tanabe (田辺奈菜美)
* Ami Kanuma (鹿沼亜美)
* Ayaka Den (傳彩夏)

### Former

* Raia Kozuka (狐塚来愛)

## Discography

### Studio albums

| Title | Album details | Peak
chart
positions | |
| --- | --- | --- | --- |
| | | Oricon | Hot |
| *Monochrome* | * Released: October 18, 2017 * Label: Toho Entertainment Records * Formats: CD, digital download | 143 |  |
| *Libre* | * Released: February 26, 2020 * Label: Nippon Columbia * Formats: CD, digital download | 48 | 89 |
|

### Extended plays

| Title | Album details | Peak
chart
positions | |
| --- | --- | --- | --- |
| | | Oricon | Hot |
| *Zero* | * Released: June 22, 2016 * Label: Toho Entertainment Records * Formats: CD, digital download | 179 |  |
|

### Singles

| Title | Year | Peak
chart
positions | Album |
| --- | --- | --- | --- |
| | | Oricon | |
| "Tondeke / Analoganize" | 2016 | 143 | *Monochrome* |
| "Time" | 2017 | | 139 |
| "Lagrima" | 2018 | 49 | *Libre* |
| | "Sparkle" | | 25 |
| | "Girls Don't Cry" | | 19 |
| "Final Call" | 2019 | | 26 |
| "Sha La La La" (シャラララ) | 2020 | 25 | Non-album single |
|

## InfoBox

| OnePixcel | |
| --- | --- |
| Origin | Japan |
| Genres |  |
| Years active | 2015–2021 |
| Labels |  |
|  | |
| Past members | * Nanami Tanabe * Ami Kanuma * Ayaka Den * Raia Kozuka |
|  | |
| Website | www.onepixcel.jp |


title: Once Upon a Classic

abstract: Once Upon a Classic was an American television program hosted by Bill Bixby. The program aired on PBS from 1976 to 1980 as a production of WQED in Pittsburgh. The episodes consisted of adaptations of such classic literature as A Connecticut Yankee in King Arthur's Court, Leatherstocking Tales, The Talisman, and The Prince and the Pauper; some of these adaptations were produced by other broadcasters such as the BBC and ITV in the United Kingdom. There were also some original teleplays.

text:
# Once Upon a Classic

***Once Upon a Classic*** was an American television program hosted by Bill Bixby. The program aired on PBS from 1976 to 1980 as a production of WQED in Pittsburgh.

The episodes consisted of adaptations of such classic literature as *A Connecticut Yankee in King Arthur's Court* (which won a Peabody Award), *Leatherstocking Tales*, *The Talisman*, and *The Prince and the Pauper*; some of these adaptations were produced by other broadcasters such as the BBC and ITV in the United Kingdom. There were also some original teleplays.

1. Woolery, George W. (1985). *Children's Television: The First Thirty-Five Years, 1946-1981, Part II: Live, Film, and Tape Series*. The Scarecrow Press. pp. 380–382. ISBN 0-8108-1651-2.

## InfoBox

| *Once Upon a Classic* | |
| --- | --- |
| Presented by | Bill Bixby |
| Country of origin | United States |
| Production | |
| Production company | WQED |
| Original release | |
| Network | PBS |
| Release | October 9, 1976 (1976-10-09) <br>September 1980 (1980-09) |


title: Once Upon a Crime (album)

abstract: Once Upon a Crime is the debut studio album by American New York-based hip hop duo the Godfathers. It was released on November 19, 2013, through Psycho+Logical-Records. Production was handled by member Necro with one song, "Unsub", co-produced by member Kool G Rap. It features the lone guest appearance from Mr. Hyde. Songs "Heart Attack" and "Wolf Eyes" were released as singles.

text:
# Once Upon a Crime (album)

***Once Upon a Crime*** is the debut studio album by American New York-based hip hop duo the Godfathers. It was released on November 19, 2013, through Psycho+Logical-Records. Production was handled by member Necro with one song, "Unsub", co-produced by member Kool G Rap. It features the lone guest appearance from Mr. Hyde. Songs "Heart Attack" and "Wolf Eyes" were released as singles.

## Background

Necro and Kool G Rap first announced their Godfathers project and collaboration in 2011 and released two mix CDs consisting of fifty previously released songs from the pair, *The Pre-Kill Volume I* in November 2011 and then *The Pre-Kill Volume II* in July 2012. They had initially announced that their first official album would be released in the first half of 2012, but *Once Upon a Crime* would not launch until November 2013. The album was executive produced by Necro and Domingo.

## Critical reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| *Exclaim!* | 7/10 |
| *HipHopDX* | 3/5 |
| RapReviews | 6/10 |

*Once Upon a Crime* received generally mixed to positive reviews from music critics. Mark Bozzer of *Exclaim!*gave the album 7 out of 10, praising the duo's synergy. Jay Balfour of *HipHopDX* noted, "the casual fan or those keeping up with G Rap's late career output might find a handful of songs worth mining, but without a previous investment in the over-the-top style, listening through is a test of endurance". Matt Jost of RapReviews concluded: "yet despite some fundamental flaws *Once Upon a Crime* is a record hip-hop can be proud of, one that represents the part of the family with ties to the underworld (and sometimes the afterworld) with aplomb".

## Track listing

| No. | Title | Producer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Teflon Dons" | Necro | 2:35 |
| 2. | "The City" | Necro | 2:47 |
| 3. | "High Tension" | Necro | 3:07 |
| 4. | "Punched Dead in the Face (Skit)" | Necro | 0:17 |
| 5. | "Black Medicine" | Necro | 2:40 |
| 6. | "Omerta" | Necro | 3:00 |
| 7. | "The Pain" | Necro | 3:44 |
| 8. | "Hustler" | Necro | 3:19 |
| 9. | "We'll Kill You" | Necro | 2:53 |
| 10. | "Crook Catastrophe & the Gunblast Kid" | Necro | 3:46 |
| 11. | "Unsub" |  | 4:40 |
| 12. | "I Hate You (Skit)" | Necro | 0:11 |
| 13. | "Gangsta" | Necro | 4:16 |
| 14. | "Trigga 4 Hire" | Necro | 3:16 |
| 15. | "American Sickos" | Necro | 2:36 |
| 16. | "Wolf Eyes" (featuring Mr. Hyde) | Necro | 4:15 |
| 17. | "Heart Attack" | Necro | 3:24 |
| 18. | "Once Upon a Crime" | Necro | 4:27 |
| Total length: | | | 55:13 |

## Personnel

* Ron "Necro" Braunstein – vocals, producer, executive producer
* Nathaniel "Kool G Rap" Wilson – vocals, co-producer (track 11)
* Christopher "Mr. Hyde" Catenacci – vocals (track 16)
* Domingo Padilla – executive producer

## InfoBox

| Once Upon a Crime | |
| --- | --- |
|  | |
| Studio album by the Godfathers | |
| Released | November 19, 2013 (2013-11-19) |
| Recorded | 2011–2013 |
| Genre |  |
| Length | 55:13 |
| Label | Psycho+Logical |
| Producer |  |
|  | |
| Kool G Rap chronology | |
| *Riches, Royalty, Respect*
(2011) ***Once Upon a Crime***
(2013) *Return of the Don*
(2017) | |
| Necro chronology | |
| *DIE!*
(2010) ***Once Upon a Crime***
(2013) *The Notorious Goriest*
(2018) | |
|  | |


title: One Over The Eight

abstract: One Over the Eight was a comedy revue which opened on April 5, 1961. It was written by Peter Cook and starred Kenneth Williams. The material included a "One Leg Too Few" sketch and "Interesting Facts" sketch with Williams playing an E. L. Wisty character. It also featured Sheila Hancock, Lance Percival and Lance Mulcahy. The Evening News said it was "Scandalously funny" while the Evening Standard said it was "Snappy and gay." It was performed at the Duke of York's Theatre, London. It was the sequel to Pieces of Eight.

text:
# One Over The Eight

***One Over the Eight*** was a comedy revue which opened on April 5, 1961. It was written by Peter Cook and starred Kenneth Williams.

The material included a "One Leg Too Few" sketch and "Interesting Facts" sketch with Williams playing an E. L. Wisty character. It also featured Sheila Hancock, Lance Percival and Lance Mulcahy.

The *Evening News* said it was "Scandalously funny" while the *Evening Standard* said it was "Snappy and gay." It was performed at the Duke of York's Theatre, London.

It was the sequel to *Pieces of Eight*.


title: One More Song

abstract: One More Song is the second solo studio album by former Eagles bassist Randy Meisner. Released in October 1980 by Epic Records in the United States, and in the United Kingdom. The album is to date Meisner's most successful album as a solo artist, peaking at number 50, on the US Billboard 200 chart. The single, "Deep Inside My Heart" featuring Kim Carnes, peaked at number 22 on the US Billboard Hot 100, and the single "Hearts on Fire" peaked at number 19, three months later.

text:
# One More Song

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *Billboard* | (unrated) |

***One More Song*** is the second solo studio album by former Eagles bassist Randy Meisner. Released in October 1980 by Epic Records in the United States, and in the United Kingdom. The album is to date Meisner's most successful album as a solo artist, peaking at number 50, on the US *Billboard* 200 chart.

The single, "Deep Inside My Heart" featuring Kim Carnes, peaked at number 22 on the US *Billboard* Hot 100, and the single "Hearts on Fire" peaked at number 19, three months later.

## Critical reception

Retrospectively reviewing for AllMusic, critic Mike DeGagne wrote of the album "One More Song highlights Meisner's knack for writing honest, heartfelt love songs with a countrified rock candor that reveals his rustic, down-home roots." and he added that, "One More Song ends up being a pleasurable set of modest songs from a musician who was glad to be home."

## Track listing

**Side one**

1. "Hearts on Fire" (Eric Kaz, Meisner) – 2:48
2. "Gotta Get Away" (Kaz, Meisner, Wendy Waldman) – 4:03
3. "Come on Back to Me" (Kaz, Meisner, Waldman) – 3:51
4. "Deep Inside My Heart" duet with Kim Carnes (Kaz, Meisner) – 3:29
5. "I Need You Bad" (Kaz, Meisner, Waldman) – 3:11

**Side two**

1. "One More Song" (Jack Tempchin) – 3:55
2. "Trouble Ahead" (Kaz, Meisner, Waldman) – 4:12
3. "White Shoes" (Tempchin) – 4:11
4. "Anyway Bye Bye" (Richie Furay) – 4:30

## Personnel

* Randy Meisner – lead vocals, backing vocals, bass
* Sterling Smith – keyboards
* Craig Hull – acoustic guitars, electric guitars, pedal steel guitar
* Bryan Garofalo – bass
* Craig Krampf – drums
* Don Francisco – percussion, backing vocals

with:

* Wendy Waldman – acoustic guitar (3), backing vocals (3)
* Kim Carnes – backing vocals (4)
* Bill Cuomo – synth strings (5, 6)
* Michael Jacobson – saxophone (5)
* Glenn Frey – backing vocals (6)
* Don Henley – backing vocals (6)

## Production

* Val Garay – producer, recording
* Niko Bolas – assistant engineer
* James Ledner– assistant engineer
* Mike Reese – mastering
* Doug Sax – mastering
* The Mastering Lab (Hollywood, California) – mastering location
* Aaron Rapoport – photography
* John Kosh – art direction, design
* Trudy Green Management – management

## Charts

| Chart (1980) | Peak
position |
| --- | --- |
| Australia (Kent Music Report) | 83 |
| Canada Top Albums/CDs (*RPM*) | 44 |
| US Top LPs & Tape (*Billboard*) | 50 |

### Singles

Billboard (North America)

| Year | Single | Chart | Position |
| --- | --- | --- | --- |
| 1980 | "Deep Inside My Heart" | Hot 100 | 22 |
| 1981 | "Hearts On Fire" | Top Rock Tracks | 14 |
| 1981 | "Hearts On Fire" | Hot 100 | 19 |
|

## InfoBox

| One More Song | |
| --- | --- |
|  | |
| Studio album by Randy Meisner | |
| Released | October 1980 |
| Recorded | May 26, 1980–August 20, 1980 |
| Studio | Record One (Hollywood) |
| Genre |  |
| Length | 33:43 |
| Label | Epic |
| Producer | Val Garay |
| Randy Meisner chronology | |
| *Randy Meisner*
(1978) ***One More Song***
(1980) *Randy Meisner*
(1982) | |


title: One More Song for You

abstract: One More Song for You is the 26th studio album by the Christian music group The Imperials, released in late 1979 on DaySpring Records. It was the first of two albums that the group collaborated with well-known musician/producer Michael Omartian, moving them to a more contemporary pop sound, with the second being their next album Priority (1980). "I'm Forgiven" went to number one on the Christian radio charts and stayed there for 13 weeks. The Imperials were winners at the 12th GMA Dove Awards winning three for Group of the Year, Artist of the Year and Pop/Contemporary Album of the Year with lead singer Russ Taff winning Male Vocalist of the Year. One More Song for You was nominated for a Grammy Award for Best Gospel Performance, Contemporary or Inspirational at the 23rd Grammy Awards. The album reached number one on the Billboard Inspirational Albums chart. CCM Magazine has ranked One More Song for You at number 75 on their 2001 book The 100 Greatest Albums in Christian Music.

text:
# One More Song for You

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |

***One More Song for You*** is the 26th studio album by the Christian music group The Imperials, released in late 1979 on DaySpring Records. It was the first of two albums that the group collaborated with well-known musician/producer Michael Omartian, moving them to a more contemporary pop sound, with the second being their next album *Priority* (1980). "I'm Forgiven" went to number one on the Christian radio charts and stayed there for 13 weeks. The Imperials were winners at the 12th GMA Dove Awards winning three for Group of the Year, Artist of the Year and Pop/Contemporary Album of the Year with lead singer Russ Taff winning Male Vocalist of the Year. *One More Song for You* was nominated for a Grammy Award for Best Gospel Performance, Contemporary or Inspirational at the 23rd Grammy Awards. The album reached number one on the *Billboard* Inspirational Albums chart. *CCM Magazine* has ranked *One More Song for You* at number 75 on their 2001 book *The 100 Greatest Albums in Christian Music*.

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "What I Can Do For You" | Michael Omartian, Stormie Omartian | 2:59 |
| 2. | "I'm Forgiven" | M. Omartian, Bruce Hibbard, Hadley Hockensmith | 3:54 |
| 3. | "All My Life" | M. Omartian, S. Omartian | 3:24 |
| 4. | "Living Without Your Love" | Tom Hemby | 3:27 |
| 5. | "Eagle Song" | Russ Taff, Tori Taff | 3:14 |
| 6. | "Closer Than Ever" | M. Omartian, S, Omartian | 4:23 |
| 7. | "One More Song for You" | M. Omartian, S. Omartian | 4:38 |
| 8. | "Higher Power" | Denny Correll | 4:20 |
| 9. | "More Like You" | M. Omartian, S. Omartian | 3:30 |

## Personnel

**The Imperials**

* Russ Taff – lead vocals
* Jim Murray – tenor, vocals
* David Will – baritone, vocals
* Armond Morales – bass, vocals

**Musicians**

**Production**

* Michael Omartian – producer
* John Guess – engineer, remixing
* John Banuelos – additional engineer
* Jack Lees – additional engineer
* Bernie Grundman – mastering at A&M Mastering Studios (Hollywood, California)
* Bob Anderson – album design, photography

## Charts

| Chart (1980) | Peak
position |
| --- | --- |
| US Top Inspirational Albums (*Billboard*) | 1 |

### Radio singles

| Year | Singles | Peak positions | |
| --- | --- | --- | --- |
| | | CCM AC |
| 1980 | "What I Can Do For You" | 12 |
| 1980 | "I'm Forgiven" | 1 |
| 1980 | "One More Song for You" | 10 |

## Accolades

**GMA Dove Awards**

* 1981 Group of the Year
* 1981 Artist of the Year

| Year | Winner | Category |
| --- | --- | --- |
| 1981 | *One More Song for You* | Pop/Contemporary Album of the Year |
| 1981 | Russ Taff (lead singer) | Male Vocalist of the Year |

## InfoBox

| One More Song for You | |
| --- | --- |
|  | |
| Studio album by The Imperials | |
| Released | 1979 |
| Studio | Jennifudy Studios, North Hollywood, CA
Hollywood Central Recorders, Los Angeles, CA |
| Genre |  |
| Length | 34:02 |
| Label | DaySpring/Word Records |
| Producer | Michael Omartian |
| The Imperials chronology | |
| *Heed the Call*
(1979) ***One More Song for You***
(1979) *Christmas with the Imperials*
(1980) | |


title: Imagabalin

abstract: Imagabalin was an investigational drug that acts as a ligand for the α2δ subunit of the voltage-dependent calcium channel, with some selectivity for the α2δ1 subunit over α2δ2. It was under development by Pfizer as a pharmaceutical medication due to its hypothesized anxiolytic, analgesic, hypnotic, and anticonvulsant-like activity. It reached phase-III clinical trials for treatment of generalized anxiety disorder; however, the trials were terminated by the manufacturer. The drug is no longer under development.

text:
# Imagabalin

**Imagabalin** (INN, USAN; **PD-0332334**) was an investigational drug that acts as a ligand for the α2δ subunit of the voltage-dependent calcium channel, with some selectivity for the α2δ1 subunit over α2δ2. It was under development by Pfizer as a pharmaceutical medication due to its hypothesized anxiolytic, analgesic, hypnotic, and anticonvulsant-like activity. It reached phase-III clinical trials for treatment of generalized anxiety disorder; however, the trials were terminated by the manufacturer. The drug is no longer under development.

## InfoBox

Imagabalin
|  | |
| --- | --- |
| Clinical data | |
| Other names | PD-0332334; PD-332,334 |
| ATC code | * None |
| Identifiers | |
| IUPAC name * (3*S*,5*R*)-3-amino-5-methyloctanoic acid | |
| CAS Number |  |
| PubChem CID |  |
| ChemSpider |  |
| UNII |  |
| KEGG |  |
| CompTox Dashboard (EPA) |  |
| Chemical and physical data | |
| Formula | C9H19NO2 |
| Molar mass | 173.256 g·mol−1 |
| 3D model (JSmol) |  |
| SMILES * O=C(O)C\[C@@H\](N)C\[C@@H\](CCC)C | |
| InChI * InChI=1S/C9H19NO2/c1-3-4-7(2)5-8(10)6-9(11)12/h7-8H,3-6,10H2,1-2H3,(H,11,12)/t7-,8+/m1/s1 * Key:JXEHXYFSIOYTAH-SFYZADRCSA-N | |


title: One World (Uniting Nations album)

abstract: One World is the debut studio album by UK-based dance group Uniting Nations. It was released on November 14, 2005 under Gusto Records. Prior to the release of the album on November 14, 2005, Uniting Nations had seen chart success with two consecutive singles, the debut "Out of Touch" and the follow-up "You and Me" that both reached respectively #7 and #15 on the UK charts. The third single taken off the album, "Ai No Corrida", that came with the release of the album itself, featured the vocal talents of Laura More and peaked at #18 in the charts.

text:
# One World (Uniting Nations album)

***One World*** is the debut studio album by UK-based dance group Uniting Nations. It was released on November 14, 2005 under Gusto Records.

Prior to the release of the album on November 14, 2005, Uniting Nations had seen chart success with two consecutive singles, the debut "Out of Touch" (a Hall & Oates cover song) and the follow-up "You and Me" that both reached respectively #7 and #15 on the UK charts.

The third single taken off the album, "Ai No Corrida", that came with the release of the album itself, featured the vocal talents of Laura More (of Eric Prydz' "Call on Me" fame) and peaked at #18 in the charts.

## Track listing

* 1. "Out of Touch" - 2:48
* 2. "You and Me" - 3:06
* 3. "She's Special" - 3:21
* 4. "Music in Me" - 2:40
* 5. "Tonight (In the City)" - 3:12
* 6. "Ai No Corrida" - 2:47
* 7. "Loving You" - 3:08
* 8. "Feels Like Heaven" - 3:13
* 9. "Make Love" - 2:52
* 10. "We're Gonna Make It" - 2:36
* 11. "Destiny" - 3:18
* 12. "Blues and Twos" - 3:40
* 13. "Out of Touch (I Love You So Much)" (Extended Version) - 7:40

Uniting Nations DJ Tools * 14. "Music in Me (Acapella)" - 0:24
* 15. "Tonight (In the City) (Acapella)" - 0:52
* 16. "Loving You (Acapella)" - 0:51
* 17. "Feels Like Heaven (Acapella)" - 1:19
* 18. "Make Love (Acapella)" 0:39
* 19. Drum Sample - 0:13
* 20. Funky Guitar Sample - 0:17

Enhanced CD version section * 21. "Out of Touch" music video
* 22. "You and Me" music video
* 23. "Ai No Corrida" music video

## Credits

* Artwork by – Jo Lane
* Mastered by – Chris Potter
* Performers
    + All tracks (all instruments (except "Ai No Corrida")) – Daz Sampson, Paul Keenan
    + For "Ai No Corroda" -
        - Miles Martin (bass)
        - Rob Harris (guitar)
        - Ben Somers (saxophone)
        - Neil Waters (trumpets)
        - Hal Ritson (keyboards and recorded by \[Sample\])
* Photography – Kirsty Barton and John Dawson
* Producers – Daz Sampson, Paul Keenan
    + Producer \[Original\] – Essex Buddha (for "Ai No Corrida")
    + Engineer \[Vocals\]) - Andy Parker (for "Ai No Corrida)
    + Producer \[Sample Replay\] – Hal Ritson
* Recorded vocals –
* Written by –

## InfoBox

| One World | |
| --- | --- |
|  | |
| Studio album by Uniting Nations | |
| Released | November 14, 2005 |
| Genre |  |
| Length | 49:07 |
| Label | Gusto |
| Producer |  |
|  | |
| Singles from  *One World* | |
| 1. "Out of Touch"
Released: November 15, 2004 2. "You and Me"
Released: 25 July 2005 3. "Ai No Corrida"
Released: 7 November 2005 | |
|  | |


title: One World (John Martyn album)

abstract: One World is the seventh studio album by Scottish guitarist and singer John Martyn, released in November 1977 by Island Records. The album, produced by Island owner Chris Blackwell at his Berkshire farm, was recorded with myriad musicians, including Steve Winwood, Danny Thompson, John Stevens, Hansford Rowe and Rico. The album followed a sabbatical where, at Blackwell's invite, Martyn holidayed in Jamaica in 1976 with his family, having become disillusioned with the music business. The trip helped revitalise his interest in music. The album combines Martyn's experimental tendencies with more pop-leaning material, with influences from the dub music of Lee "Scratch" Perry, with whom Martyn worked during the trip to Jamaica and co-wrote the song "Big Muff". The record features a relaxing, echoing sound with usage of Martyn's distinctive Echoplex guitar effects, while his lyrics discuss love, specific people and his disintegrating marriage. Some of the recording was achieved outdoors, with Island's mobile recording studio being used to operate a live feed across the farm's surrounding lake; microphones picked up the full ambience of the area, including natural reverb and surrounding geese and trains, helping contribute to the album's sweeping sound. Upon its release, One World received acclaim from music critics who hailed its inventive, unique sound and lyrics. Martyn toured in promotion of the album in late 1977, whilst a televised performance at the Collegiate Theatre, London in January 1978 helped the album become Martyn's first chart success, reaching number 54 on the UK Albums Chart. "Dancing" was released as the album's sole single a month later. In later times, the album has been credited for helping develop trip hop music. In 2004, a deluxe edition of the album was released by Island, containing bonus live material. The album is included in the music reference book 1001 Albums You Must Hear Before You Die.

text:
# One World (John Martyn album)

***One World*** is the seventh studio album by Scottish guitarist and singer John Martyn, released in November 1977 by Island Records. The album, produced by Island owner Chris Blackwell at his Berkshire farm, was recorded with myriad musicians, including Steve Winwood, Danny Thompson, John Stevens, Hansford Rowe and Rico. The album followed a sabbatical where, at Blackwell's invite, Martyn holidayed in Jamaica in 1976 with his family, having become disillusioned with the music business. The trip helped revitalise his interest in music.

The album combines Martyn's experimental tendencies with more pop-leaning material, with influences from the dub music of Lee "Scratch" Perry, with whom Martyn worked during the trip to Jamaica and co-wrote the song "Big Muff". The record features a relaxing, echoing sound with usage of Martyn's distinctive Echoplex guitar effects, while his lyrics discuss love, specific people and his disintegrating marriage. Some of the recording was achieved outdoors, with Island's mobile recording studio being used to operate a live feed across the farm's surrounding lake; microphones picked up the full ambience of the area, including natural reverb and surrounding geese and trains, helping contribute to the album's sweeping sound.

Upon its release, *One World* received acclaim from music critics who hailed its inventive, unique sound and lyrics. Martyn toured in promotion of the album in late 1977, whilst a televised performance at the Collegiate Theatre, London in January 1978 helped the album become Martyn's first chart success, reaching number 54 on the UK Albums Chart. "Dancing" was released as the album's sole single a month later. In later times, the album has been credited for helping develop trip hop music. In 2004, a deluxe edition of the album was released by Island, containing bonus live material. The album is included in the music reference book *1001 Albums You Must Hear Before You Die*.

## Background

John Martyn's sixth album *Sunday's Child* (1975) was more conventionally song-oriented than his previous works, particularly its more adventurous direct predecessor *Inside Out* (1973). He spent 1975 touring to an excessive schedule, but by the end of the year had become disillusioned with the music industry, particularly session musicians who he believed prioritised finance over creativity in their decisions, deceitful managers and agencies, and threatened to end his career. He felt he needed to tour excessively to help aid his wife Beverley Martyn and their children. A live album from the tour, *Live at Leeds* (1976), was released through mail order from the Martyns' home and sold successfully, but Martyn's bad moods, drinking problems and poor relationship with his wife continued, later worsening when Paul Kossoff, the guitarist on tour with Martyn in 1975, died. His death, combined with the earlier death of Nick Drake, caused Martyn to lose two of his closest friends in close succession, and expanded the musician's weariness of the music industry.

Tired of his incessant "tour-record-tour-record" cycle, Martyn spent his savings on a year-long sabbatical where he could reassess his career. As part of this break, Chris Blackwell, founder of Martyn's label Island Records, invited the musician and his family to his home in Jamaica, a trip during which Martyn's enthusiasm for music was generally regained. The length of his trip is unknown; Martyn later said "I may have been there for seven weeks; it may have been seven months. I stayed rather longer than my visa extended." The trip has been seen as a busman's holiday, as the artist socialised with reggae musicians Burning Spear, Max Romeo and Lee "Scratch" Perry, the latter of whom co-wrote the *One World* song "Big Muff" with Martyn. Blackwell introduced Martyn to Perry at the latter's Black Ark Studios due to the musicians' similar recording techniques involving echo. Martyn said: "I was using rhythm boxes and Echoplex, and my man Scratch was into the same effect, a dub thing, man. It was the echo thing that invented dub for Scratch – and I just came across my version of it by accident." While at the studios, he appeared on Spear's *Man in the Hills* (1976), and recorded a cover of "Johnny Too Bad" by reggae band The Slickers from *The Harder They Come* soundtrack (1972).

After returning home from Jamaica, Martyn began recording demos of the songs on *One World* at his home near Hastings, having set up a "little thing in the conservatory", which included black curtains for sound insulation and two rhythm boxes. Martyn's song structures became tighter in this era, a result of him becoming disillusioned with the attitudes of jazz musicians, who he found more competitive than folk singers. He later said: "I found them even more hustly, and even more petty. And I've never been one for coteries; I don't like scenes. Fuck the scene — there ain't no 'scene' — the whole thing's a scene." The new compositions downplayed acoustic guitar and instead focused on rock, world and jazz fusion. He began performing live again in 1976, with gigs including a solo benefit performance in Nottingham, and in early 1977 Island released the compilation *So Far So Good* – dedicated to Martyn's first decade as an Island artist – which was later certified Gold, although it did not chart. Despite Martyn's general low sales, Blackwell did not lose faith in him, having started to view him as "more of a jazz artist", and offered to produce *One World*, a comeback record for the singer. Music writers have described *One World* as the result of Martyn's sabbatical.

## Recording

*One World* was recorded during July–September 1977 at Blackwell's Woolwich Green Farm in Theale, Berkshire. According to Martyn, the location was chosen because Blackwell did not want to travel to and from London on a daily basis to record the album. The musician said of the farm: "Vast grounds, lovely lake, a fine environment. It was my way of saying, it's not all rock'n'roll and mirrors". While at the farm, Martyn and engineer Phill Brown resided in two converted stables. Although Martyn had said he brought his wife and children to the cottage, he also claimed that Beverley did not attend the sessions and felt she may have erroneously thought he was living a hedonistic lifestyle at the farm. Martyn trusted Blackwell, a personal friend of his, with choosing which songs he should record for the album, later explaining: "he has what I call 'cross-over ears,' he'd as soon listen to Coltrane as anyone else. He knows what people will dig, right, which is something I've lost sight of. I don't honestly know what's strongest of my material."

Island Records' mobile recording unit was operated in a courtyard over half a mile away from the main farmhouse. Brown recalled that a typical day's recording would begin at 2pm, occasionally working through to 4 or 5am. At Blackwell's recommendation, microphones were used to record the lapping sounds of the lake and the resident geese, with speakers shipped out onto a punt at the centre of the water, creating what Martyn deemed a unique sound. As an engineer, Brown had developed the idea of outdoor recording when working with Murray Head in 1973, but it was when using these techniques on Robert Palmer's *Pressure Drop* (1975) that he inspired Blackwell. Brown later recalled: "That was possibly the seed of recording *One World* that way. I don't think at this point there was any great plan about using the water. That just kind of evolved once we got set up and realised the possibility of the place." He credited the outdoor recording, "pumping whatever John was playing through a PA system and across the lake and miking it up", for making the sessions seem "magical".

Blackwell booked a large array of musicians to play on *One World*, resulting in what biographer Daryl Easlea compared to an "underground supergroup" with members and ex-members of Gong, Fairport Convention, Pentangle, Brand X, John Stevens Away, Gilgamesh and Traffic, among them Martyn's regular collaborators Danny Thompson, Steve Winwood, Dave Pegg, John Stevens and Kesh Sathie. Stevens, a drummer, brought jazz influences, and Winwood was responsible for a variety of instrumentation, whilst reggae trombonist Rico also makes an appearance. Rhythm sections vary between songs, with Winwood, Hansford Rowe, Thompson and Pegg variably appearing as bassist while Andy Newmark and Bruce Rowland appear as drummers. When not working, Martyn and the musicians spent time relaxing on a rubber dinghy on the lake or sunbathing; a large supply of opium also fuelled Martyn's drug habits during the stay at the farm. Brown felt that the opium generally helped keep Martyn's moods up during recording, with only occasional times when he would become drunk and difficult.

## Composition

> "Recorded mostly outdoors by a Berkshire lake, a watery spaciousness haunts grooves never cluttered despite a support cast including Lee Perry, ska trombonist Rico Rodriguez, Steve Winwood and most of Traffic among a score of musos from the Island family."

Mat Snow, *Mojo*

*One World* features an echoing, meditative sound with heavy usage of guitar effects. According to writer Wilson Neate, the album combines the experimental nature of *Inside Out* with the traditional song structures of *Sunday's Child*, with subtle explorations of mood influenced by the experimentation of dub music. Particularly, the dub recordings made by Perry at Black Ark influenced the album's usage of space, especially on "Smiling Stranger" and "Big Muff". Martyn's aim for the record, relative to earlier efforts, was for "the nasty bits to get nastier and the gentle bits to get more gentle." While some songs are in the vein of the "rootsy jazzy folk-rock" of Martyn's earlier work, others move into pop territory. The album's rhythm tracks feature a jazz-funk base of bass and drums overlaid with chiming guitars and intricate, delicate cross-rhythms; a Rhythm Doctor drum machine is used on "Small Hours" and "One World". Hubert Adjei-Kontoh of *Pitchfork* describes *One World* as an experimental pop record.

Martyn sings on the record in a breathy, laid-back style, ranging from smooth, warm tones to a more abrasive, bluesy style; however, his voice bore a new huskiness, described by Rob Young of *The Wire* as "a weary grinding of words in the throat's mill." Martyn's lyrics, which highlight universal themes of love and people and occasionally social commentary, were described by journalist Monty Smith as "sensitive, sly, obsessional and elliptical, but always passionate." The lyrics also reflect the musician's troubled personal life, particularly the disintegrating relationship with his wife. "Dealer" and "Smiling Stranger" were written about Martyn's experiences with people "of dubious legality," and more explicitly divulged Martyn's drug habits than earlier songs.

### Side one

"Dealer" features heavy usage of Echoplex-created reverb, blending echoing guitar with heavy drums and sinuous Moog synthesizer work to create a "dub-soaked" sound. Among the gentler songs, the title track is ethereal in style with febrile guitar, multitracked flutes and a walking bass line, eventually fading with a breathy wail. Martyn felt the theme of the title track did not need an explanation, adding: "regardless of political boundaries it is one world whether you like it or not, just because people look different on the other side of the world doesn't mean to say that they are different." In the song, the realisation that people share "one world" leaves Martyn "cold and lonely." The "dubby suspension" of "Smiling Stranger" features a complex, layered bed of voice, guitar, bass, drums, Moog synthesizer, tabla, saxophone and strings, in which George Lee's brief modal saxophone solo disrupts the shifting melody lines. Inspired by "gangsters and lowlives", the song was described by Martyn as "a piece of advice to the public", adding "I've always distrusted a smiling stranger".

Co-written with Lee Perry, "Big Muff" originated when Martyn and Perry were eating breakfast with Blackwell and his girlfriend Marianne with tea cups shaped like animals. Martyn recalled: "Scratch is going, ‘Boy, look at the muff on that!’, looking at this horse. ‘Now put this with the pig, see? Now boy, this is one big muff!’ And he was going on about his big muff, and how it was going to get away with the powder puff and everything. That guy's sense of humour is in the song. It's silly, Jamaican silly." The pair wrote the lyrics together at the breakfast table while Martyn later added the song's simplistic chords. Described by critic Vivien Goldman as resembling "a new musical form, jazz-dub", the song's reverb-heavy guitar serves as counterpoint to soft funk bass, while Moog synthesiser phases from left to right. Goldman adds that Martyn's voice "performs abrupt disappearances, bobbing up immediately at some other angle to the ears."

### Side two

Side two largely comprises love songs, starting with "Couldn't Love You More", a ballad of unrequited love featuring a soft organ part from Winwood, an incessant bass line and high notes from Martyn on the line "move". The "samba-esque" "Certain Surprise" is a moderately upbeat love song featuring dense orchestration and a trombone solo from Rico. Munro said the track's bossa nova feel likely harked back to Martyn's days with session musicians Mike Kowalski and Ed Carter, who had introduced him to Latin music. "Dancing" is a joyous song with a swirling rhythm and a few momentary guitar phrases influenced by highlife music, though Munro interpreted its lyrics as "a plea – presumably to Beverley – asking that she understands how a music man must live in a world." He further described this trio of songs as some of Martyn's more commercial-leaning material to date.

The closing, eight-and-a-half minute "Small Hours" is a relaxed piece, featuring Winwood's Moog work, Echoplex-treated guitar and subtle background percussion, with a short slurred lyric centred around the refrain "Keep on loving till your love is gone, keep on loving till your love is strong, all the way." According to Blackwell, the song was recorded outdoors in the early hours, with the sound of geese audible in the background, as well as a passing train at the two-and-a-half minute mark, according to Martyn. Martyn later recalled: "I remember thinking this is fucking wonderful, recording from a speaker a half a mile away across a load of water. It was just a cool thing to do. That was ambience. They talk about ambient music now – that was *real* ambience". Blackwell considers the song to be "one of the best tracks I ever worked on. I think it's just magical," while musician Ralph McTell, a friend of Martyn's, has said: "If that doesn't move you, there's something wrong with you... It's a hymn to the night: reflective, dark, experimental, absolutely beautiful."

## Release

Martyn's first studio album for almost three years, *One World* was released by Island on 4 November 1977. The sleeve, designed by Tony Wright, depicts a mermaid rising from the ocean in an arc, with sea creatures trailing behind her alongside several cultural symbols. The track listing on the back cover listed the two sides in reversed order, due to the design being completed before the album was delivered. Martyn announced a tour of the United Kingdom for the second half of November 1977, ending with a performance at the Newcastle Polytechnic. On 20 November, when playing at the Rainbow Theatre, London, Martyn and his backing band of Rowe, Thompson and Pierre Moerlen were joined by Steve Winwood, making his first live appearance in almost a year. Martyn received criticism from fans for using the Rhythm Doctor drum machine on stage. He recalled: "People thought it was so funny, that this geezer would walk onstage with a glorified metronome. They could not see that it was in fact a bass drum, with a kick drum at the top. A lot of the things I used to fiddle about with confused people at first."

After his late 1977 tour, the musician played at the Collegiate Theatre, London on 10 January 1978; the performance was filmed by the BBC for a special edition of *The Old Grey Whistle Test* dedicated to introducing Martyn's music to a wider audience. Aired later the same night with an introduction from presenter Bob Harris, it helped *One World* debut and peak at number 54 on the UK Albums Chart at the end of the month, becoming Martyn's first charting album, although it only stayed on the chart for one week. Its success was despite being one of the musician's more experimental records of the era, and for being released at the height of the British punk rock movement; Simon Reynolds of *The Guardian* wrote that the album's "oceanic funk and ambient ethereality was gloriously out of step with the UK rock scene in 1977." "Dancing" was released as a single in February, backed with "Dealer". As of 1981, *One World* was Martyn's biggest-selling album.

## Critical reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *Encyclopedia of Popular Music* |  |
| *The Great Rock Discography* | 7/10 |
| *Mojo* |  |
| *Record Mirror* |  |
| *The Rolling Stone Album Guide* |  |
| *Sounds* |  |
| *Uncut* |  |

Upon release, *One World* received acclaim from music critics. In a review for *Record Mirror*, Mary Ann Ellis praised it as a "beautiful album with an ability to touch you with a lazy line or high/low note," adding that its sensitive, sincere nature would prevent it from selling well, but "\[s\]omehow I wouldn't want it to." Steven X Rea of *Crawdaddy!* similarly said the album – with its "private territory" feel – was not radio friendly, despite the short lengths of four songs and appearances from Winwood, Newmark and Fairport Convention's rhythm section. Describing Martyn's style as a mix of blues, jazz and rock, he hailed *One World* for being "as blotto and as blessed with sometimes hazy, sometimes crystalline music, as anything he's ever done," drawing comparisons with Bessie Smith, Hoagy Carmichael and Skip James. Monty Smith of *NME* felt the "mean, moogy and magnificent" album was the most "mesmerising" he had heard that year, deeming it "plain better than anything else."

Mark Prendergast of *Melody Maker* commented that Martyn "seems fated to inspire madness and mayhem, no matter how utterly shambolic the circumstances he finds himself in," feeling this may be due to his uniquely "foggy" voice and ability to "trick out what are invariably simple songs with ravishing detail." In *Sounds*, Vivien Goldman hailed Blackwell's deeply sympathetic production and the inventive music, praising Martyn for carrying the "spirit of John Cale/Terry Riley music expansion", while feeling he is "not taken as seriously as he should be". Dave Belbin of *Gongster* described the album as very warm and "full-sounding", comparable to "an armchair before an open fire, somewhat stoned, keeping the cold winter at bay." In an article for *Liverpool Echo*, Chris Salewicz said the "strong and very worthwhile" *One World* features a more brittle and creative side to Martyn's "always powerful emotions and moods." In their critics' polls, *NME* ranked it the 26th best album of 1977, whilst *OOR* ranked it 42nd best of 1978.

Among retrospective reviews, Wilson Neate of AllMusic felt that the "electrified swagger" of "Big Muff" was the highlight of the pop-leaning songs, while finding the album's "understated explorations of mood" to be even more compelling, particularly citing the title track and "Small Hours" for their "mesmerizing, smoky grooves". Reviewing the reissue, *Uncut* hailed the album as "\[t\]rue, liquid essence", saying Martyn "achieved the sort of rich sonic brine that perfectly depicts the state of his soul," with songs taking listeners to "a place of solitude and intimacy like only he can," highlighting "Small Hours" for being arguably Martyn's finest song. In *The Great Rock Discography*, Martin C. Strong said that *One World* was, despite Martyn's increasing fan base in 1977, as "esoteric as ever" with its influences from dub and "oblique ambience." Nick Dale listed the "pretty drugged-out record" among Martyn's essential albums in *Rock: The Rough Guide*, saying it contained some of the musician's most powerful and enduring songs, and highlighting the guitar effects and overall "wonderful echoing and meditative soundscape".

## Legacy

*One World* is considered one of Martyn's best-loved albums. The musician, who had a noted distaste for some of his previous records, was pleased with the album, and continued to play some of its songs live for the rest of his life. He later said: "You can really tell we were somewhere else when we made it. I was really pleased with it." The album's more pop-oriented songs signalled the slicker pop direction Martyn began exploring with *Grace and Danger* (1980), an album which expanded on the personal themes of *One World* following John and Beverley's divorce. Easlea considers *One World* to bridge Martyn's earlier, more simple folk-based music with the "strutting, jazz-inflected rock" he began exploring in the 1980s and 1990s. In 2004, Island Records released a "Deluxe Edition" of the record with bonus material, including alternate versions of songs and five live performances.

Due to its dubby, "echoing soundscapes" and experimental nature, *One World* has been cited as originating trip hop music, which emerged in earnest in the 1990s with groups like Portishead, whom Martyn later covered. According to Brian Boyd of *The Irish Times*, the "weirdly experimental" album – which he considers possibly Martyn's most underrated – is regarded as the first album in the genre. "Smiling Stranger" has been described as a forerunner to the sound of Massive Attack and was called "one of the great moments in dub" by world music pioneer Jah Wobble. In *The Guardian*, Reynolds credited "Small Hours" for anticipating the Durutti Column, feeling this possibly exemplified Factory Records's "hippy-dippy side" – the staff had been fans of Martyn – for returning "after the rupture of punk". In his liner notes for the reissue, Easlea credits the album's sonic developments, namely being able to operate a live feed across a lake so sessions could be taped in the open air, "picking up the full ambience of the surroundings", as an innovation which would prove as important as Giorgio Moroder's contemporary production of "I Feel Love" by Donna Summer.

*One World* was ranked number 948 in Colin Larkin's *All Time Top 1000 Albums* (2000), comparing its lack of indifference to Martyn's temperament. It is listed in the book *1001 Albums You Must Hear Before You Die* (2008), where Easlea describes it as "an almost perfect piece of work, a smart album made by one very smart hippie." In 2005, *The Word* included the album in their list "Hidden Treasure: Great Underrated Albums of Our Time", having been chosen for inclusion by Anton Corbijn, who directed music videos for Martyn. When selecting Martyn as part of a "100 Great Voices" feature, *Mojo* chose the title track as an example of his talent. "Small Hours" was later reworked by Martyn into the track "Anna" as the backdrop for Esben Storm's 1978 Australian film production of *In Search of Anna*. Martyn later re-recorded the acoustic ballad "Couldn't Love You More" for *Glorious Fool* (1981). In 2007, the song was covered by Lisa Hannigan in collaboration with Faultline.

## Track listing

All tracks composed by John Martyn except where indicated.

### Side one

1. "Dealer" – 4:58
2. "One World" – 4:10
3. "Smiling Stranger" – 3:29
4. "Big Muff" (Martyn, Lee Perry) – 6:30

### Side two

1. "Couldn't Love You More" – 3:07
2. "Certain Surprise" – 3:52
3. "Dancing" – 3:43
4. "Small Hours" – 8:45

### Deluxe Edition track listing

#### Disc one (original album remastered)

1. "Dealer" – 4:59
2. "One World" – 4:04
3. "Smiling Stranger" 3:30
4. "Big Muff" – 6:32
5. "Couldn't Love You More" – 3:08
6. "Certain Surprise" – 3:52
7. "Dancing" – 3:56
8. "Small Hours" – 8:44

#### Disc two

1. "Certain Surprise" (Live) – 3:06
2. "Couldn't Love You More" (Live) – 3:12
3. "One World" (Live) – 5:20
4. "Dealer" (Live) – 6:11
5. "Small Hours" (Live) – 7:23
6. "Black Man At Your Shoulder" – 5:54
7. "Dealer" (Alternate Version #1) – 4:31
8. "One World" (Alternate Version) – 4:06
9. "Smiling Stranger" (Instrumental) – 4:43
10. "Big Muff" (Alternate Version) – 6:47
11. "Certain Surprise" (Alternate Version) – 4:48
12. "Dancing" (Alternate Version) – 3:44
13. "Big Muff" (Drum Machine Version) – 4:53
14. "Dealer" (Alternate Version #2) – 4:56
15. "Small Hours" (Instrumental) – 10:20

## Personnel

Adapted from the liner notes of *One World*

Technical     1. Munro JN (2008): *Some People Are Crazy – The John Martyn Story*, p. 125, Polygon. ISBN 978-1-84697-058-0
2. "Rocklist.net...Steve Parker...1001 Albums". Rocklistmusic.co.uk. Retrieved 11 January 2012.
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7. Easlea, Daryl. "The Gentlest Circus: One World". *Rocks Back Pages*. Retrieved 15 July 2020.
8. Salewicz, Chris (26 November 1977). "A beautiful sound from a rising star". *Liverpool Echo*: 8.
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21. Neate, Wilson. "AllMusic Review by Wilson Neate". *AllMusic*. Retrieved 14 July 2020.
22. Robert Dimery (2008). "The Seventies". *1001 Albums You Must Hear Before You Die* (2nd ed.). London: Cassell Illustrated. p. 381. ISBN 978-1844036240.
23. Adjei-Kontoh, Hubert (12 June 2020). "Westerman Your Hero Is Not Dead". *Pitchfork*. Retrieved 15 July 2020.
24. Reynolds, Simon (2007). "John Martyn". In Freeman, Phil (ed.). *Marooned: The Next Generation of Desert Island Discs*. Cambridge, Massachusetts: Da Capo Inc. ISBN 978-0306814853. Retrieved 16 January 2024.
25. Ellis, Marry Ann (7 January 1978). "Albums" (PDF). *Record Mirror*: 11. Retrieved 28 June 2020.
26. Rea, Steven X (April 1978). "John Martyn: One World (Island)". *Crawdaddy!*. Retrieved 28 June 2020.
27. Young, Rob (1998). "John Martyn: Feeling Gravity's Pull". *The Wire*. Retrieved 28 June 2020.
28. "John Martyn – Read His Final Uncut Interview!". *Uncut*. 29 January 2009. Retrieved 22 June 2020.
29. "John Martyn – One World". *Uncut*. 1 November 2004. Retrieved 22 June 2020.
30. Belbin, Dave (24 January 1978). "Martyn's One World". *Gongster*. Retrieved 5 July 2020.
31. "John Martyn Gigging Soon". *New Musical Express*. 15 October 1977. Retrieved 5 July 2020.
32. Evans, Jim (15 October 1977). "Newsdesk" (PDF). *Record Mirror*: 4. Retrieved 28 June 2020.
33. Evans, Jim (22 October 1977). "Newsdesk" (PDF). *Record Mirror*: 5. Retrieved 28 June 2020.
34. Evans, Jim (29 October 1977). "Newsdesk" (PDF). *Record Mirror*: 5. Retrieved 28 June 2020.
35. Evans, Jim (19 November 1977). "Winwood backs Martyn" (PDF). *Record Mirror*: 4. Retrieved 28 June 2020.
36. Sexton, Paul (4 February 2020). "'One World': The Chart Debut That Took John Martyn A Decade". *UDiscoverMusic*. Retrieved 15 July 2020.
37. Reynolds, Simon (23 March 2009). "Island Records: The secret of its success". *The Guardian*. Retrieved 15 July 2020.
38. Brown, Mick (23 May 1981). "John Martyn: Making Tracks to the Top". *The Guardian*. Retrieved 28 June 2020.
39. One World at AllMusic
40. Larkin, Colin (2007). *Encyclopedia of Popular Music* (4th ed.). Oxford University Press. ISBN 978-0195313734.
41. Strong, Martin C. (1994). *The Great Rock Discography*. Edinburgh: Canongate Press. pp. 683–684. ISBN 0862413850.
42. DeCurtis, Anthony; Henke, James; George-Warren, Holly, eds. (1992). "John Martyn". *The Rolling Stone Album Guide* (3rd ed.). Random House. p. 453. ISBN 0-679-73729-4.
43. "Search Results Web results 1977 Best Albums And Tracks Of The Year". *NME*. 10 October 2016. Retrieved 15 July 2020.
44. "Jaarlijst". *OOR* (25–26). December 1978. Retrieved 16 January 2024.
45. "One World Deluxe Edition | Big Muff". Johnmartyn.info. 1 November 2004. Retrieved 11 January 2012.
46. "Introduction". John Martyn. Retrieved 11 January 2012.
47. "John Martyn: guitarist and singer". *The Times*. 30 January 2009. Retrieved 15 July 2020.
48. Boyd, Brian (29 April 2008). "In Jamaica, Martyn scratched an itch with trip-hop classic". *The Irish Times*. Retrieved 22 June 2020.
49. Dombal, Ryan (29 January 2009). "Folk-Jazz Icon John Martyn, R.I.P." *Pitchfork*. Retrieved 22 June 2020.
50. Colin Larkin (2000). *All Time Top 1000 Albums* (3rd ed.). Virgin Books. p. 287. ISBN 0-7535-0493-6.
51. "The Word – Hidden treasure : great underrated albums of our time". *Muzieklijstjes.nl*. Retrieved 15 July 2020.
52. "Screen 6 Special: Anton Corbijn's Music Videos". *BBC*. Retrieved 15 July 2020.
53. "Rocklist.net...Mojo Lists". Rocklistmusic.co.uk. Retrieved 11 January 2012.
54. "In Search of Anna (1978) principal credits on ASO – Australia's audio and visual heritage online". Aso.gov.au. Retrieved 11 January 2012.
55. "Book Feature: 'Small Hours' a new John Martyn Biography (Karine Polwart Session)". *Folk Radio UK*. 8 July 2020. Retrieved 15 July 2020.
56. Carroll, Jim (29 March 2007). "Live after rice". *The Irish Times*. Retrieved 15 July 2020.
57. *One World* (liner notes). John Martyn. Island Records. 1977.`{{cite AV media notes}}`: CS1 maint: others in cite AV media (notes) (link)

## InfoBox

| One World | |
| --- | --- |
|  | |
| Studio album by John Martyn | |
| Released | 4 November 1977 |
| Recorded | 16 July–September 1977 |
| Studio | Woolwich Green Farm, Theale, Berkshire, England |
| Genre |  |
| Length | 38:38 |
| Label | Island |
| Producer | Chris Blackwell |
| John Martyn chronology | |
| *Sunday's Child*<br>(1975) ***One World***<br>(1977) *Grace and Danger*<br>(1980) | |
|  | |
| Singles from  *One World* | |
| 1. "Dancing"<br>Released: February 1978 | |
|  | |


title: One Heart (Celine Dion song)

abstract: "One Heart" is a song recorded by Canadian singer Celine Dion, for her eight English studio album, One Heart (2003). It was written and produced by John Shanks and Kara DioGuardi. "One Heart" is a dance-pop song, about the power of love. It was released on 26 May 2003 as the second single outside North America, while in Canada, it was released as the third single after "Have You Ever Been in Love". "One Heart" became a top 40 single in most European countries, including number 27 in the United Kingdom. The song received favorable reviews from music critics, who deemed it "catchy" and picked as one of the best tracks on the album. The music video for "One Heart" was directed by Antti Jokinen and released on 30 May 2003. It was included on the UK enhanced double A-side single "One Heart/I Drove All Night". The making of the video was shown on the A New Day... Live in Las Vegas bonus DVD, called One Year...One Heart. In October 2008, it was included on the European version of Dion's My Love: Ultimate Essential Collection greatest hits.

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# One Heart (Celine Dion song)

"**One Heart**" is a song recorded by Canadian singer Celine Dion, for her eight English studio album, *One Heart* (2003). It was written and produced by John Shanks and Kara DioGuardi. "One Heart" is a dance-pop song, about the power of love. It was released on 26 May 2003 as the second single outside North America, while in Canada, it was released as the third single after "Have You Ever Been in Love". "One Heart" became a top 40 single in most European countries, including number 27 in the United Kingdom.

The song received favorable reviews from music critics, who deemed it "catchy" and picked as one of the best tracks on the album. The music video for "One Heart" was directed by Antti Jokinen and released on 30 May 2003. It was included on the UK enhanced double A-side single "One Heart/I Drove All Night". The making of the video was shown on the *A New Day... Live in Las Vegas* bonus DVD, called *One Year...One Heart*. In October 2008, it was included on the European version of Dion's *My Love: Ultimate Essential Collection* greatest hits.

## Background and release

On 15 April 2003, it was announced that after the success of "I Drove All Night," two new singles from 'One Heart' were set to impact radio. In the United States and Canada, the ballad "Have You Ever Been in Love" was selected as the next single. In Europe, the upbeat title-track "One Heart" was chosen instead. On 17 June 2003, it was announced that the song was getting some serious airplay around the world and that "One Heart" was added to radio playlists in Europe and was gaining ground at Canadian radio. The CD single for "One Heart" was available in record stores in Europe around June 2003. The track listing includes remixes of the track. The song was released in October 2003 in Japan, while it was released as a double a-side single along with "I Drove All Night", on 8 September 2003 in the UK, becoming Dion's first double a-side release in the UK.

## Composition

"One Heart" was composed and produced by John Shanks and Kara Dioguardi. It is an upbeat, dance-pop song, which draws from club-friendly house anthems, about the power of love and how determination and support can help a person through their problems. Keyboards, resembling the twinkling beats of a music box, begin the single. As it shortly plays, Dion says "one heart you are following". In the beginning, she advises to look on the bright side, with lyrics such as, "When you're down, you can start again/ Turn around anything you're in/ Love will find a place yeah". In the chorus, she says if they let their hearts lead them, they will be able to stay focused on their dream. ("If you got one heart you are followin'/One dream keeps you wondering/Love lights your way through the night/One wish keeps you tryin'/What's your silver lining/Loves lights your way through the night".) A jaunty acoustic guitar and equally cheerful drums accompany Dion in the bridge. She stresses that people have to have a dream to believe in, in lines like, "Everybody needs something to hold on to". Towards the end, she begins to wail a bit and extending some notes. At the end, she quietly says "love will find a way/love will find a way in your heart".

## Critical reception

This song received favourable reviews. AllMusic senior editor Stephen Thomas Erlewine wrote that "the song is sunny and catchy" and picked it as one of the best tracks on the album. A very positive review came from *Traveling to the Heart* reviewer, who went to comment about her voice, stating: "Dion is low-key and mostly melisma-free. She sings in her lower register throughout the entire time. The change reveals her voice to be pleasing but bland and mechanical. " The reviewer concluded the analysis, writing: "The genial 'One Heart' is well-intentioned advice set to a paint-by-numbers, riskless dance beat". Acclaim came from *Billboard*: "Dion is particularly strong on the percolating title cut (a vibrant, infectious future hit helmed by Kara DioGuardi and John Shanks)". Jam!'s Darryl Sterdan wrote negatively that the song is "a blatant Shania soundalike".

## Commercial performance

The song became a top forty hit in most European countries that it charted. In Austria, "One Heart" debuted at number 48 on the Ö3 Austria Top 40, on 29 June 2003. Later, the song jumped to number 27, cracking the top forty. However, the song fell to number 37 the following week, but it climbed to number 25, its peak position, in its fourth week. The song spent another 6 weeks inside the top forty, before falling to number 46. It spent 14 weeks on the chart. In Sweden, the song debuted at number 43 on the Swedish Singles Chart, on 26 June 2003. The song climbed to number 42, in its second week, while it reached number 40, on 11 July 2003. However, the song dropped the Swedish charts the following week, only returning on 8 August 2003, at number 60. Curiously, the song also dropped the chart the following week, only returning on 7 November 2003, at number 34, its peak position. The following and last week, the song left the chart at number 38.

In France, it debuted and peaked at number 63 on the SNEP chart. Although it not reached higher position, the song kept falling and climbing for 11 weeks, spending a total of 12 weeks inside the chart. In the UK, the song entered the UK Singles Chart at number 27, on 20 September 2003. It fell to number 57, on 29 September 2003, dropping the chart and spending only two consecutive weeks there. "One Heart" debuted and peaked at number 30 on the Irish Singles Chart, for the week ending 11 September 2003. It fell to number 44 the following week, while it dropped to number 49, in its third week, leaving the charts and spending three weeks inside the Irish chart.

## Music video

Dion filmed the music video back-to-back with the "Have You Ever Been in Love" video in Los Angeles on 29 and 30 April 2003, with director Antti Jokinen. On 7 June, "TeamCeline" members got an exclusive preview of the music video on her official website. On 22 June 2003, both videos were released. The video shows Dion dancing and having fun at a club, where many people are also dancing to the song and it also features the singer Melissa Molinaro as the girl kissing her boyfriend at the bar.

## Track listing and formats

## Charts

## Credits and personnel

Recording locations Personnel * Songwriting John Shanks, Kara DioGuardi
* Production – John Shanks, Kara DioGuardi
* Mixing  \- John Shanks, Jeff Rothschild
* Guitars  \- Shanks
* Keyboards \- Jamie Muhoberad
* Bass  \- Chris Chaney
* Backing Vocals  \- Kara Dioguardi

Credits adapted from the liner notes of *One Heart*, Epic Records.

## Release history

| Region | Date | Format(s) | Label(s) | Ref. |
| --- | --- | --- | --- | --- |
| Denmark | 26 May 2003 | CD | Columbia |  |
| Australia | | 21 July 2003 | Epic |  |
| Japan | | 20 August 2003 | SMEJ |  |
| United Kingdom | | 8 September 2003 | Epic |  |

## InfoBox

| "One Heart" | |
| --- | --- |
|  | |
| Single by Celine Dion | |
| from the album  *One Heart* | |
| B-side | "I Drove All Night" (UK) |
| Released | 26 May 2003 (2003-05-26) |
| Recorded | 2002;
 |
| Genre | Dance-pop |
| Length | 3:24 |
| Label |  |
| Songwriter(s) |  |
| Producer(s) | * John Shanks * Kara DioGuardi |
| Celine Dion singles chronology | |
| "I Drove All Night"
(2003) "**One Heart**"
(2003) "Tout l'or des hommes"
(2003) | |
|  | |
| Music video | |
| "One Heart" on YouTube | |
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