Recent scholarship on children's literature displays a wide variety of interests in classic and contemporary children's books. While environmental and ecological concerns have led to an interest in 'ecocriticism', as yet there is little on the significance of the ecological imagination and experience to both the authors and readers -- young and old -- of these texts. This edited collection brings together a set of original international research-based chapters to explore the role of children's literature in learning about environments and places, with a focus on how children's literature may inform and enrich our imagination, experiences and responses to environmental challenges and injustice. Contributions from Australia, Canada, USA and UK explore the diverse ways in which children's literature can provide what are arguably some of the first and possibly most formative engagements that some children might have with 'nature'. Chapters examine classic and new storybooks, mythic tales, and image-based and/or written texts read at home, in school and in the field. Contributors focus on exploring how children's literature mediates and informs our imagination and understandings of diverse environments and places, and how it might open our eyes and lives to other presences, understandings and priorities through stories, their telling and re-telling, and their analysis. This book was originally published as a special issue of Environmental Education Research.

In this book, legal scholars, philosophers, historians and political scientists from Australia, Canada, New Zealand, the United Kingdom and the United States analyze the common law through three of its classic themes: rules, reasoning and constitutionalism. Their essays, specially commissioned for this volume, provide an opportunity for thinkers from different jurisdictions and disciplines to talk to each other and to their wider audience within and beyond the common law world. This book allows scholars and students to consider how these themes and concepts relate to one another. It will initiate and sustain a more inclusive and well-informed theoretical discussion of the common law's method, process and structure. It will be valuable to lawyers, philosophers, political scientists and historians interested in constitutional law, comparative law, judicial process, legal theory, law and society, legal history, separation of powers, democratic theory, political philosophy, the courts and the relationship of the common law tradition to other legal systems of the world.

How children think is one of the most enduring mysteries--and difficulties--of parenthood. The marketplace is full of gadgets and tools that claim to make your child smarter, happier, or learn languages faster, all built on the premise that manufacturers know something about your child's brain that you don't. These products are easy to sell, because good information about how children's minds really work is hard to come by.In their new book, neuroscientists Sandra Aamodt and Sam Wang separate fact from fiction about the inner workings of young minds. Martialing results from new studies and classic research, Aamodt and Wang provide the most complete answers out there on this subject. It liberates readers from superstitions and speculation, such as Freud's idea that all relationships are modeled on one's mother, or that it's not safe to eat sushi while pregnant. And it will reveal new truths about everything from how to make your baby sleep, to why we love to snuggle, to how children learn, forget, play, talk, walk, and feel.Welcome to Your Child's Brain is eye-opening and necessary, soon to become a staple for parents and children alike.

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Peter Carey's novel, set in London in 1837, is a thrilling story of mesmerism and possession, of dangerous bargains and illicit love. Jack Maggs, raised and deported as a criminal, has returned from Australia, in secret and at great risk. What does he want after all these years, and why is he so interested in the comings and goings at a plush townhouse in Great Queen Street? And why is Jack himself an object of such interest to Tobias Oates, celebrated author, amateur hypnotist and fellow-burglar - in this case of people's minds, of their histories and inner phantoms?

Peter Carey's novel, set in London in 1837, is a thrilling story of mesmerism and possession, of dangerous bargains and illicit love. Jack Maggs, raised and deported as a criminal, has returned from Australia, in secret and at great risk. What does he want after all these years, and why is he so interested in the comings and goings at a plush townhouse in Great Queen Street? And why is Jack himself an object of such interest to Tobias Oates, celebrated author, amateur hypnotist and fellow-burglar - in this case of people's minds, of their histories and inner phantoms?

This lovely anthology contains 87 classic poems of love from 48 poets that have continued to inspire over the years. The charmingly illustrated collection includes the timeless love lyrics of Geoffrey Chaucer, Sir Philip Sidney, William Shakespeare, Ben Johnson, John Donne, Robert Herrick, Andrew Marvell, Aphra Behn, John Dryden, Alexander Pope, Lady Mary Montagu, John Keats, Percy Bysshe Shelley, Lord Byron, William Wordsworth, Elizabeth Barrett Browning, Emily Bronte, Christina Rossetti, Thomas Hardy and Gerard Manley Hopkins among others.

These verses of love express a unique American voice on the subject. Charmingly illustrated gift edition, with nearly 100 poems of love from 50 American poets, including Anne Bradstreet, Edna St Vincent Millay, James Wright and Robert Lowell.

When the Templeton family from England takes up residence in a stately home in country Australia, they set the locals talking - and with good reason. From the outside, the seven Templetons seem so unusual . . . peculiar even. No one is more intrigued by the family than their neighbours, single mother Nina Donovan and her young son Tom. Before long, the two families' lives become entwined in unexpected ways, to the delight of Gracie, the youngest of the Templeton daughters. In the years that follow, the relationships between the Templetons and the two Donovans twist and turn in unpredictable and life-changing directions, until a tragedy tears them all apart. What will it take to bring them together again? From Australia's top-selling female novelist comes her best book yet - a wonderfully entertaining and touching story about the perils and pleasures of love, friendship and family. 'A modern-day Jane Austen' Sun Herald

Although not as well known as other big tenor men like John Coltrane, Hank Mobley, or Benny Golson, Ike Quebec was a major contributor to the classic era of jazz and this 1961 Blue Note date captures him in his prime. BLUE & SENTIMENTAL is indeed one of but a few discs that Quebec recorded for Blue Note, although he was involved with the legendary label as an A&R man and performed on many sessions by other artists. His huge, velvety tone and bluesy swagger are Quebec's signature as he lopes and swings through several classic tunes like Count Basie's lazy title track, the bouncing 'That Old Black Magic', and Cole Porter's hauntingly melodic 'It's Alright With Me'. Filling out the quartet are no less than Grant Green, Paul Chambers, and Philly Joe Jones, Blue Note regulars all, who shine brightly as always. Other choice moments on this disc include Quebec and Green's tight interaction on Quebec's catchy 'Minor Impulse', the smoky ballad 'Don't Take Your Love From Me', and the easy-going closer 'Count Every Star'.

The Yellowjackets made a splash with their first record, an accessible mixture of jazz, rock, and funk bearing the unmistakable mark of the L.A. session scene that spawned them. In fact, the Yellowjackets had their roots in the sessions for Robben Ford's 1979 album The Inside Story. Russell Ferrante, Jimmy Haslip, and Ricky Lawson all appeared on that album and reenlisted Ford's help for their own debut, with the guitarist's fluid soloing often taking the lead role. As fun an album as it is -- and there are times when the melodies rise to a joyful exuberance that recalls Weather Report's 'Birdland' -- Yellowjackets isn't a true fusion record. Ricky Lawson provides rock beats to the material, Haslip's bass work is as funky as it is jazzy, and the arrangements tend to stick with the same groove (as ingratiating as they may be) rather than explore the musical themes like an esoteric jazz band might. The opening 'Matinee Idol' is as much the Jackson 5 (one of Lawson's previous gigs) as fusion, 'Rush Hour' is jazzy in a Steely Dan sense, while 'Sittin' in It' actually borrows from the old funk classic 'For the Love of Money.' There are some nice, chunky grooves that give the album a sense of substance ('The Hornet,' 'Imperial Strut'), a wistful track in 'It's Almost Gone,' and a neat melody tucked into 'Priscilla,' all of which contribute to the album's charm. But compared to their GRP recordings, the Yellowjackets' debut does seem a little one-dimensional. If you enjoy the smooth, guitar-led jazz from this period (e.g., Earl Klugh, Lee Ritenour), Yellowjackets is worth checking out, both for the upbeat melodies and Ford's seemingly effortless solos. ~ Dave Connolly

Nigerian vocalist Sade Adu has carved out a cosmpolitan niche for herself over the past decade, gathering together elements of cool jazz, samba, reggae, funk and pop all under the pastoral umbrella of her suede-and-velvet voice. A pop stylist with a musical universe all her own, Sade has endured and matured over the past decade, seemingly unaffected by changes in taste and fashion--a movement unto herself.As her most recent single (Percy Mayfield's 'Please Send Me Someone To Love' from the PHILADELPHIA soundtrack) illustrates, Sade's coy caressing voice speaks more of commitment and trust, of relationships in flux ('Nothing Can Come Between Us') than of the heat of the moment: from the the coy duplicity of 'Smooth Operator' to the positive reinforcement of 'The Sweetest Taboo' and the sweet ambiguities of 'Love Is Stronger Than Pride'.Outside of Sade's mentholated vocals, it is the serene, understated quality of her arrangements that lend THE BEST OF SADE its classic touch of elegance. Delicate washes of percussion and acoustic guitar, the coiled intensity of Stewart Matthewman's tenor saxophone counterpoint, Andrew Hale's suave, elusive keyboard colourations, and Paul S. Denman's discretely dancing bass provide a maximum of smoke, but precious little fire. The simmering aftermath of Sade's music is as deceptively powerful as a mixed drink: smooth and sweet going down, but with a surprisingly potent kick.

Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but concept from Isaac Asimov's classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence -- will it overtake man, what does it mean to be man, what responsibilities do mechanical beings have to their creators, and so on and so forth -- with enough knotty intelligence to make it a seminal text of late-'70s geeks, and while it is also true that appreciating I Robot does require a love of either sci-fi or art rock, it is also true that sci-fi art rock never came any better than this. Compare it to Jeff Wayne's War of the Worlds, released just a year after this and demonstrating some clear influence from Parsons: that flirts voraciously with camp, but this, for all of its pomp and circumstance, for all of its overblown arrangements, this is music that's played deadly serious. Even when the vocal choirs pile up at the end of 'Breakdown' or when the Project delves into some tight, glossy white funk on 'The Voice,' complete with punctuations from robotic voices and whining slide guitars, there isn't much sense of fun, but there is a sense of mystery and a sense of drama that can be very absorbing if you're prepared to give yourself over to it. The most fascinating thing about the album is that the music is restless, shifting from mood to mood within the course of a song, but unlike some art pop there is attention paid to hooks -- most notably, of course, on the hit 'I Wouldn't Want to Be Like You,' a tense, paranoid neo-disco rocker that was the APP's breakthrough. It's also the closest thing to a concise pop song here -- other tunes have plenty of hooks, but they change their tempo and feel quickly, which is what makes this an art rock album instead of a pop album. And while that may not snare in listeners who love the hit (they should turn to Eye in the Sky instead, the Project's one true pop album), that sense of melody when married to the artistic restlessness and geeky sensibility makes for a unique, compelling album and the one record that truly captures mind and spirit of the Alan Parsons Project. ~ Stephen Thomas Erlewine

2006's Best of the J. Geils Band is the first single-disc collection to feature songs from the group's tenures at Atlantic and EMI. It would be nice to say it is a definitive look at their career, but perhaps due to the record being released by Capitol (a member of the EMI family), the record is tipped in favor of the group's more commercial, pop-oriented songs of the '80s. In fact five songs come from 1981's smash Freeze Frame, three from 1980's Love Stinks, and two from 1982's live disc Showtime! Add it up and three years account for more than half of the songs here. That may be fine for the casual fan, but anyone who wants a booster shot of the raucous, house party-starting J. Geils Band will be left unsatisfied. There are a handful of classic rockers from the mid-'70s: notably 'Whammer Jammer' and 'Looking for a Love' from 1972's Live -- Full House and 'Must Have Got Lost' and '(Ain't Nothing But A) Houseparty' from 1976's Blow Your Face Out but add the laid-back reggae tune 'Give It to Me from 1973's Bloodshot and that's it for the Atlantic years, a move that omits too many great songs to mention here. Surely relatively weak songs like the pseudo-rockabilly rave-up 'Piss on the Wall' or the bland ballad 'Teresa' could have sacrificed to make room for some more prime J. Geils Band. Granted more people remember the later hits like 'Centerfold,' 'Freeze-Frame,' 'Just Can't Wait' or 'Love Stinks,' and you can't deny that they had a run of great pop songs at EMI. Still, a fifty/fifty split on this best of would have done the band more justice. It also would have helped the compilation live up to the 'Best' in the title. As it is, the disc is suitable only for the most casual of J. Geils Band fans. Anyone who wants to get the real picture of one of the most exciting, wall-shaking bands of the '70s (with a fair chunk of their later work included) needs to investigate Rhino's two-CD set Houseparty: Anthology instead. ~ Tim Sendra

If you're planning on throwing a Christmas party with the emphasis on party, the Fleshtones have just dropped the album you've been waiting for -- New York's once and future kings of Super Rock have finally made their first holiday record, and Stocking Stuffer is in the grand hip-shaking tradition of their best work, with Keith Streng, Peter Zaremba, and their partners in crime rocking the holiday season as it hasn't been rocked in years. Kicking off with a high-octane cover of 'Hooray for Santa Claus' from the holiday semi-classic Santa Claus Conquers the Martians, Stocking Stuffer includes a handful of lesser-known Christmas favorites, such as Rolf Harris' 'Six White Boomers' (performed in the manner of AC/DC with Ross the Boss from the Dictators on lead guitar), 'Mr. Santa Claus' (first waxed by Detroit R&B wildman Nathaniel Meyer), 'You're All I Want for Christmas' (in an arrangement that takes it a long way from Brook Benton's version) and 'Run Rudolph Run' (with the Fleshtones giving both Chuck Berry and Keith Richards a run for their money in sheer moxie). There are also some similarly raucous originals from the boys, and if 'Super Rock Santa,' 'I Still Believe in Christmas,' 'Canadian Christmas,' and 'Christmas with Bazooka Joe' don't leap to the top of your Yuletide Hit Parade, then it's no wonder Hepcat Kringle keeps leaving coal in your stocking. Running a bit less than 27 minutes, Stocking Stuffer could stand to be a few tracks longer, but there's no arguing that the Fleshtones make every moment count on this seasonal shindig, and beneath the sweaty, beer-soaked action there's a genuine sense that these guys love Christmas for reasons other than the opportunity to throw a world-class bash. Break out the eggnog and crank it up -- Stocking Stuffer will bring a whole lotta joy to your world. ~ Mark Deming

'Songs For Elisabeth' is a compilation of Seasick Steve's songs, creating a blues alternative to the standard Valentine's release. The tracks are brought together from the Californian's four studio albums and include the unreleased 'Ready For Love', which retains the warm, classic blues sound alongside songs from his debut 'Cheap'. The artwork, created by his son Didrik Wold, is designed as a Valentine's card with a greeting written inside by Seasick Steve.

On her first record in six years -- and her debut for Simon Raymonde's Bella Union imprint -- Heidi Spencer & the Rare Birds don't stray far from the meld of classic-era British folk, Americana, and shimmering, low-key rock that established their well-deserved reputation. That said, Spencer's songcraft, while always poignant, has grown immeasurably. Her focus lyrically and musically is sharper: more unsettling in terms of its ability to create indelible portraits of her protagonists and their constant hunger and yearning. Under Streetlight Glow is not a bright recording, its darkness and melancholy are pervasive. Spencer's Rare Birds are drummer/producer Bill Curtis, pianist Jesse Hrobar, David Gelting on upright bass, Matt Hendricks on guitar, and harmony vocalist Renee Hendrix. She also gets help from a small string section, a concertina, and a lap steel on some cuts. On album-opener 'Alibi,' Spencer yearns to solidify a love that is mercurial and disintegrating, even as she struggles to accept that demise. The title track, with its haunting acoustic guitars, backroom piano, brushed snare, and ghostly lap steel commences with the words: 'Here I am, by my lonesome/laying low, laying low/Had enough, waitin' for my love to show/Under streetlight glow.' The hurt in her voice saturates the track, but she shifts the narrative to an imaginary Brooklyn in 1940 to draw some metaphorical -- and perhaps metaphysical -- understanding of her longing and frustration. Other standouts include the lilting, parlor room country-rock in 'Gone to France': the languid 'Red Sky,' whose soulful vocal would carry the song's meaning even if she weren't singing words, and the skeletal 'Carry Me On,' on which Spencer, accompanying herself only on an acoustic guitar with Hendrix's deadpan harmony vocal, desires so ardently for the wind to carry away from an impossible situation: it feels like a prayer. Under Streetlight Glow makes no apologies for its melancholy: it is an album of meditation on longing, heartbreak, loss, and the difficult space between endings and starting over in the wreckage. The Rare Birds are a well-seasoned group who lend her all the support she needs without once pushing Spencer into emotional overload: they know these songs are loaded on their own. Under Streetlight Glow is a genuinely moving -- and beautifully performed -- record from start to finish. ~ Thom Jurek

Booker T. Jones could have gone in any direction after 2009's Grammy-winning Potato Hole. He's traveled the musical map with his ubiquitous MG's as recent reissues -- 1977's disco-centric Universal Language and the 1970 classic McLemore Avenue, a collection of Beatles covers -- attest. On The Road from Memphis, Jones and his B-3 choose to do some non-linear musical storytelling: in the title lies the key. This set reveals Jones' musical odyssey from the early days in Memphis to the places that influenced his thought and playing: the soul sounds that emerged from Detroit, Philly, and Los Angeles: all along a labyrinthine, groove-laden path into the present day. He enlisted the Roots -- the seemingly ubiquitous go-to house band of the 21st century -- with Amhir ?uestlove Thompson and Rob Schnapf as co-producers, with Dap-Kings' Gabriel Roth engineering. The Road from Memphis is loaded with treats: Detroit Funk Brother Dennis Coffey adds his trademark wah-wah and the Roots' Captain Kirk Douglas adds his jazz guitar sounds. Both men do excellent work, adding buckets of feel to Jones' B-3, ?uestlove's breaks and beats, and bassist Owen Biddle's low-end theory. Vocalists appear on some of the album's key tracks: Sharon Jones and the National's Matt Berninger duet on the slow, summery, 'Representing Memphis': My Morning Jacket's 'Yim Yames' does a stunning turn as a soul singer on the Motown-inspired 'Progress' (who knew?): Jones takes his own authoritative turn on the deep, funky fingerpop of 'Down in Memphis' (even his voice has rhythm). And even Lou Reed gets in on the act on album-closer 'The Bronx,' doing his usual 'real life happening on the streets' croak. It's in the instrumentals, however, that Jones reveals his story best. Opener 'Walking Papers' uses the main vamp from Johnnie Taylor's classic 'Who's Making Love,' (he was backed by Jones and the MG's on the original), and perform it more like the 'Cissy Strut'-era Meters. The reading of Gnarls Barkley's 'Crazy' offers some of Jones most subtly inventive melodic organ work. 'The Hive,' 'Rent Party,' and 'The Vamp' have exactly one transcendent idea each (how often can anyone say that about a song?): the band works them to death firing on all levels. The Road from Memphis has grease, grit, groove, and yes, greatness. Jones' story is compelling listening, but more than that , it's a backbone-slipping monster of a dance record. ~ Thom Jurek

Showing a bit of growth and a lot more understanding of the album format, M.E.D.?s sophomore release for the Stones Throw label is a serious step up for the rapper who?s always an asset on the mike, yet you?d be hard-pressed to find listeners who would declare him their favorite. Check the serviceable rhymes on ?Int?l? and you?ll hear that the funky Georgia Anne Muldrow production is the real reason your head is bobbing, while the highlight title cut sounds like M.E.D. adjusting to a Talib Kweli cut, even if the mighty TK is only a guest. Still, M.E.D.'s the M.A.N. when it comes to covering Stones Throw-styled soul with rhymes that please both backpackers and street kids, and as the album goes from a set of tracks from well-revered producers -- including the fine ?War & Love? from the Alchemist -- to a nine-track run of Madlib productions, it?s an interesting transition from mixtape style to the world of Madlib?s DJ-oriented, 12-volume series called Medicine Show. Add the Aloe Blacc feature ?Where I?m From? and faithful fans of the neo-soul underground should consider this a necessary acquisition. ~ David Jeffries

In this classic work, often described as "The History of the Rise, Decline, and Fall of the Love Affair," Denis de Rougemont explores the psychology of love from the legend of Tristan and Isolde to Hollywood. At the heart of his ever-relevant inquiry is the inescapable conflict in the West between marriage and passion--the first associated with social and religious responsiblity and the second with anarchic, unappeasable love as celebrated by the troubadours of medieval Provence. These early poe

From Australia's favourite new health-food chef comes the follow up to the bestselling Fabulous Food Minus the Boombah. Like most of us, Jane Kennedy can't eat anything she wants because she gets FAT. After having five children in six years and trying every fad diet known to man in an attempt to shift excess weight, Jane decided to take matters into her own hands. A lifetime love of cooking, teamed with a refusal to give up the flavours of her favourite meals, led Jane to develop her own dishes that are delicious but also good for you. In Jane's second book, OMG! I can eat that?, she shares some of her favourite recipes, just without all the unwanted fat. Chapters include Nibbles, Soups, Piemakins, Chicken & Duck, Beef, Lamb & Pork, Fish & Seafood, Comfort Classics, Vegetables and Dessert. And these recipes aren't your typical 'diet' recipes either, with delicious meals such as Chicken, Leek and Mushrooms 'piemakins' (pies in ramekins minus the pastry), Beef Bourguignon, Boombahfree burgers, and even sweet treats like Rhubarb and strawberry crumble, you'll forget you're even eating food minus the boombah!

From Australia's best known and most loved cookery writer comes this collection of essential recipes from a lifetime of cooking. Recipes include classics such as French onion soup, risotto alla Milanese, and beef stroganoff, alongside modern dishes such as wonton soup, salt and pepper calamari, and tandoori chicken. There are also plenty of delicious sweet recipes such as pavlova, sticky date pudding, and pears in red wine. Recipes also include variations, as well as plenty of hints and tips. There are introductions for each recipe, where Margaret vividly recalls the people, events and travel that have influenced her cooking. The recipes are triple-tested so will work brilliantly every time and are easy to follow, making them ideal for beginner cooks. This is a book that belongs in every kitchen. It contains recipes you will love to cook over and over again, from the woman who taught Australia to cook.

Celebrated whisky expert Dominic Roskrow presents a bespoke collection of the world's best and most exciting whiskies, covering countries as diverse as India, Sweden, Australia, Germany, France and Wales as well as the whiskey homelands of Scotland, Ireland, America, Japan and Canada. His personal selection of the finest drams includes those from heavyweight distilleries such as Ardbeg, Laphroaig, Macallan and Talisker and lesser known gems like Mortlach, Brora and Glendronach. And that's just for Scotland! This comprehensive and engaging collection covers all parts of the world, classic distilleries and maverick newcomers, detailing a diverse range of whiskies from Australia's Sullivan's Cove and Sweden's Mackmyra to American boutique outfit Woodford Reserve. Accompanying this intoxicating selection are explanations of global whisky styles and how the drink is produced, maps, tasting notes and symbols sure to delight both the whisky traveller and the armchair connoisseur. What's more, stories and legends of the world's best-loved distilleries sit alongside top tips for food matching, and details of the tastiest whisky cocktails and liqueurs.This is a book no whisky lover will want to be without.

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Peter Carey's novel, set in London in 1837, is a thrilling story of mesmerism and possession, of dangerous bargains and illicit love. Jack Maggs, raised and deported as a criminal, has returned from Australia, in secret and at great risk. What does he want after all these years, and why is he so interested in the comings and goings at a plush townhouse in Great Queen Street? And why is Jack himself an object of such interest to Tobias Oates, celebrated author, amateur hypnotist and fellow-burglar - in this case of people's minds, of their histories and inner phantoms?

Although not as well known as other big tenor men like John Coltrane, Hank Mobley, or Benny Golson, Ike Quebec was a major contributor to the classic era of jazz and this 1961 Blue Note date captures him in his prime. BLUE & SENTIMENTAL is indeed one of but a few discs that Quebec recorded for Blue Note, although he was involved with the legendary label as an A&R man and performed on many sessions by other artists. His huge, velvety tone and bluesy swagger are Quebec's signature as he lopes and swings through several classic tunes like Count Basie's lazy title track, the bouncing 'That Old Black Magic', and Cole Porter's hauntingly melodic 'It's Alright With Me'. Filling out the quartet are no less than Grant Green, Paul Chambers, and Philly Joe Jones, Blue Note regulars all, who shine brightly as always. Other choice moments on this disc include Quebec and Green's tight interaction on Quebec's catchy 'Minor Impulse', the smoky ballad 'Don't Take Your Love From Me', and the easy-going closer 'Count Every Star'.

The Yellowjackets made a splash with their first record, an accessible mixture of jazz, rock, and funk bearing the unmistakable mark of the L.A. session scene that spawned them. In fact, the Yellowjackets had their roots in the sessions for Robben Ford's 1979 album The Inside Story. Russell Ferrante, Jimmy Haslip, and Ricky Lawson all appeared on that album and reenlisted Ford's help for their own debut, with the guitarist's fluid soloing often taking the lead role. As fun an album as it is -- and there are times when the melodies rise to a joyful exuberance that recalls Weather Report's 'Birdland' -- Yellowjackets isn't a true fusion record. Ricky Lawson provides rock beats to the material, Haslip's bass work is as funky as it is jazzy, and the arrangements tend to stick with the same groove (as ingratiating as they may be) rather than explore the musical themes like an esoteric jazz band might. The opening 'Matinee Idol' is as much the Jackson 5 (one of Lawson's previous gigs) as fusion, 'Rush Hour' is jazzy in a Steely Dan sense, while 'Sittin' in It' actually borrows from the old funk classic 'For the Love of Money.' There are some nice, chunky grooves that give the album a sense of substance ('The Hornet,' 'Imperial Strut'), a wistful track in 'It's Almost Gone,' and a neat melody tucked into 'Priscilla,' all of which contribute to the album's charm. But compared to their GRP recordings, the Yellowjackets' debut does seem a little one-dimensional. If you enjoy the smooth, guitar-led jazz from this period (e.g., Earl Klugh, Lee Ritenour), Yellowjackets is worth checking out, both for the upbeat melodies and Ford's seemingly effortless solos. ~ Dave Connolly

Nigerian vocalist Sade Adu has carved out a cosmpolitan niche for herself over the past decade, gathering together elements of cool jazz, samba, reggae, funk and pop all under the pastoral umbrella of her suede-and-velvet voice. A pop stylist with a musical universe all her own, Sade has endured and matured over the past decade, seemingly unaffected by changes in taste and fashion--a movement unto herself.As her most recent single (Percy Mayfield's 'Please Send Me Someone To Love' from the PHILADELPHIA soundtrack) illustrates, Sade's coy caressing voice speaks more of commitment and trust, of relationships in flux ('Nothing Can Come Between Us') than of the heat of the moment: from the the coy duplicity of 'Smooth Operator' to the positive reinforcement of 'The Sweetest Taboo' and the sweet ambiguities of 'Love Is Stronger Than Pride'.Outside of Sade's mentholated vocals, it is the serene, understated quality of her arrangements that lend THE BEST OF SADE its classic touch of elegance. Delicate washes of percussion and acoustic guitar, the coiled intensity of Stewart Matthewman's tenor saxophone counterpoint, Andrew Hale's suave, elusive keyboard colourations, and Paul S. Denman's discretely dancing bass provide a maximum of smoke, but precious little fire. The simmering aftermath of Sade's music is as deceptively powerful as a mixed drink: smooth and sweet going down, but with a surprisingly potent kick.

Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but concept from Isaac Asimov's classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence -- will it overtake man, what does it mean to be man, what responsibilities do mechanical beings have to their creators, and so on and so forth -- with enough knotty intelligence to make it a seminal text of late-'70s geeks, and while it is also true that appreciating I Robot does require a love of either sci-fi or art rock, it is also true that sci-fi art rock never came any better than this. Compare it to Jeff Wayne's War of the Worlds, released just a year after this and demonstrating some clear influence from Parsons: that flirts voraciously with camp, but this, for all of its pomp and circumstance, for all of its overblown arrangements, this is music that's played deadly serious. Even when the vocal choirs pile up at the end of 'Breakdown' or when the Project delves into some tight, glossy white funk on 'The Voice,' complete with punctuations from robotic voices and whining slide guitars, there isn't much sense of fun, but there is a sense of mystery and a sense of drama that can be very absorbing if you're prepared to give yourself over to it. The most fascinating thing about the album is that the music is restless, shifting from mood to mood within the course of a song, but unlike some art pop there is attention paid to hooks -- most notably, of course, on the hit 'I Wouldn't Want to Be Like You,' a tense, paranoid neo-disco rocker that was the APP's breakthrough. It's also the closest thing to a concise pop song here -- other tunes have plenty of hooks, but they change their tempo and feel quickly, which is what makes this an art rock album instead of a pop album. And while that may not snare in listeners who love the hit (they should turn to Eye in the Sky instead, the Project's one true pop album), that sense of melody when married to the artistic restlessness and geeky sensibility makes for a unique, compelling album and the one record that truly captures mind and spirit of the Alan Parsons Project. ~ Stephen Thomas Erlewine

2006's Best of the J. Geils Band is the first single-disc collection to feature songs from the group's tenures at Atlantic and EMI. It would be nice to say it is a definitive look at their career, but perhaps due to the record being released by Capitol (a member of the EMI family), the record is tipped in favor of the group's more commercial, pop-oriented songs of the '80s. In fact five songs come from 1981's smash Freeze Frame, three from 1980's Love Stinks, and two from 1982's live disc Showtime! Add it up and three years account for more than half of the songs here. That may be fine for the casual fan, but anyone who wants a booster shot of the raucous, house party-starting J. Geils Band will be left unsatisfied. There are a handful of classic rockers from the mid-'70s: notably 'Whammer Jammer' and 'Looking for a Love' from 1972's Live -- Full House and 'Must Have Got Lost' and '(Ain't Nothing But A) Houseparty' from 1976's Blow Your Face Out but add the laid-back reggae tune 'Give It to Me from 1973's Bloodshot and that's it for the Atlantic years, a move that omits too many great songs to mention here. Surely relatively weak songs like the pseudo-rockabilly rave-up 'Piss on the Wall' or the bland ballad 'Teresa' could have sacrificed to make room for some more prime J. Geils Band. Granted more people remember the later hits like 'Centerfold,' 'Freeze-Frame,' 'Just Can't Wait' or 'Love Stinks,' and you can't deny that they had a run of great pop songs at EMI. Still, a fifty/fifty split on this best of would have done the band more justice. It also would have helped the compilation live up to the 'Best' in the title. As it is, the disc is suitable only for the most casual of J. Geils Band fans. Anyone who wants to get the real picture of one of the most exciting, wall-shaking bands of the '70s (with a fair chunk of their later work included) needs to investigate Rhino's two-CD set Houseparty: Anthology instead. ~ Tim Sendra

If you're planning on throwing a Christmas party with the emphasis on party, the Fleshtones have just dropped the album you've been waiting for -- New York's once and future kings of Super Rock have finally made their first holiday record, and Stocking Stuffer is in the grand hip-shaking tradition of their best work, with Keith Streng, Peter Zaremba, and their partners in crime rocking the holiday season as it hasn't been rocked in years. Kicking off with a high-octane cover of 'Hooray for Santa Claus' from the holiday semi-classic Santa Claus Conquers the Martians, Stocking Stuffer includes a handful of lesser-known Christmas favorites, such as Rolf Harris' 'Six White Boomers' (performed in the manner of AC/DC with Ross the Boss from the Dictators on lead guitar), 'Mr. Santa Claus' (first waxed by Detroit R&B wildman Nathaniel Meyer), 'You're All I Want for Christmas' (in an arrangement that takes it a long way from Brook Benton's version) and 'Run Rudolph Run' (with the Fleshtones giving both Chuck Berry and Keith Richards a run for their money in sheer moxie). There are also some similarly raucous originals from the boys, and if 'Super Rock Santa,' 'I Still Believe in Christmas,' 'Canadian Christmas,' and 'Christmas with Bazooka Joe' don't leap to the top of your Yuletide Hit Parade, then it's no wonder Hepcat Kringle keeps leaving coal in your stocking. Running a bit less than 27 minutes, Stocking Stuffer could stand to be a few tracks longer, but there's no arguing that the Fleshtones make every moment count on this seasonal shindig, and beneath the sweaty, beer-soaked action there's a genuine sense that these guys love Christmas for reasons other than the opportunity to throw a world-class bash. Break out the eggnog and crank it up -- Stocking Stuffer will bring a whole lotta joy to your world. ~ Mark Deming

'Songs For Elisabeth' is a compilation of Seasick Steve's songs, creating a blues alternative to the standard Valentine's release. The tracks are brought together from the Californian's four studio albums and include the unreleased 'Ready For Love', which retains the warm, classic blues sound alongside songs from his debut 'Cheap'. The artwork, created by his son Didrik Wold, is designed as a Valentine's card with a greeting written inside by Seasick Steve.

On her first record in six years -- and her debut for Simon Raymonde's Bella Union imprint -- Heidi Spencer & the Rare Birds don't stray far from the meld of classic-era British folk, Americana, and shimmering, low-key rock that established their well-deserved reputation. That said, Spencer's songcraft, while always poignant, has grown immeasurably. Her focus lyrically and musically is sharper: more unsettling in terms of its ability to create indelible portraits of her protagonists and their constant hunger and yearning. Under Streetlight Glow is not a bright recording, its darkness and melancholy are pervasive. Spencer's Rare Birds are drummer/producer Bill Curtis, pianist Jesse Hrobar, David Gelting on upright bass, Matt Hendricks on guitar, and harmony vocalist Renee Hendrix. She also gets help from a small string section, a concertina, and a lap steel on some cuts. On album-opener 'Alibi,' Spencer yearns to solidify a love that is mercurial and disintegrating, even as she struggles to accept that demise. The title track, with its haunting acoustic guitars, backroom piano, brushed snare, and ghostly lap steel commences with the words: 'Here I am, by my lonesome/laying low, laying low/Had enough, waitin' for my love to show/Under streetlight glow.' The hurt in her voice saturates the track, but she shifts the narrative to an imaginary Brooklyn in 1940 to draw some metaphorical -- and perhaps metaphysical -- understanding of her longing and frustration. Other standouts include the lilting, parlor room country-rock in 'Gone to France': the languid 'Red Sky,' whose soulful vocal would carry the song's meaning even if she weren't singing words, and the skeletal 'Carry Me On,' on which Spencer, accompanying herself only on an acoustic guitar with Hendrix's deadpan harmony vocal, desires so ardently for the wind to carry away from an impossible situation: it feels like a prayer. Under Streetlight Glow makes no apologies for its melancholy: it is an album of meditation on longing, heartbreak, loss, and the difficult space between endings and starting over in the wreckage. The Rare Birds are a well-seasoned group who lend her all the support she needs without once pushing Spencer into emotional overload: they know these songs are loaded on their own. Under Streetlight Glow is a genuinely moving -- and beautifully performed -- record from start to finish. ~ Thom Jurek

Booker T. Jones could have gone in any direction after 2009's Grammy-winning Potato Hole. He's traveled the musical map with his ubiquitous MG's as recent reissues -- 1977's disco-centric Universal Language and the 1970 classic McLemore Avenue, a collection of Beatles covers -- attest. On The Road from Memphis, Jones and his B-3 choose to do some non-linear musical storytelling: in the title lies the key. This set reveals Jones' musical odyssey from the early days in Memphis to the places that influenced his thought and playing: the soul sounds that emerged from Detroit, Philly, and Los Angeles: all along a labyrinthine, groove-laden path into the present day. He enlisted the Roots -- the seemingly ubiquitous go-to house band of the 21st century -- with Amhir ?uestlove Thompson and Rob Schnapf as co-producers, with Dap-Kings' Gabriel Roth engineering. The Road from Memphis is loaded with treats: Detroit Funk Brother Dennis Coffey adds his trademark wah-wah and the Roots' Captain Kirk Douglas adds his jazz guitar sounds. Both men do excellent work, adding buckets of feel to Jones' B-3, ?uestlove's breaks and beats, and bassist Owen Biddle's low-end theory. Vocalists appear on some of the album's key tracks: Sharon Jones and the National's Matt Berninger duet on the slow, summery, 'Representing Memphis': My Morning Jacket's 'Yim Yames' does a stunning turn as a soul singer on the Motown-inspired 'Progress' (who knew?): Jones takes his own authoritative turn on the deep, funky fingerpop of 'Down in Memphis' (even his voice has rhythm). And even Lou Reed gets in on the act on album-closer 'The Bronx,' doing his usual 'real life happening on the streets' croak. It's in the instrumentals, however, that Jones reveals his story best. Opener 'Walking Papers' uses the main vamp from Johnnie Taylor's classic 'Who's Making Love,' (he was backed by Jones and the MG's on the original), and perform it more like the 'Cissy Strut'-era Meters. The reading of Gnarls Barkley's 'Crazy' offers some of Jones most subtly inventive melodic organ work. 'The Hive,' 'Rent Party,' and 'The Vamp' have exactly one transcendent idea each (how often can anyone say that about a song?): the band works them to death firing on all levels. The Road from Memphis has grease, grit, groove, and yes, greatness. Jones' story is compelling listening, but more than that , it's a backbone-slipping monster of a dance record. ~ Thom Jurek

Showing a bit of growth and a lot more understanding of the album format, M.E.D.?s sophomore release for the Stones Throw label is a serious step up for the rapper who?s always an asset on the mike, yet you?d be hard-pressed to find listeners who would declare him their favorite. Check the serviceable rhymes on ?Int?l? and you?ll hear that the funky Georgia Anne Muldrow production is the real reason your head is bobbing, while the highlight title cut sounds like M.E.D. adjusting to a Talib Kweli cut, even if the mighty TK is only a guest. Still, M.E.D.'s the M.A.N. when it comes to covering Stones Throw-styled soul with rhymes that please both backpackers and street kids, and as the album goes from a set of tracks from well-revered producers -- including the fine ?War & Love? from the Alchemist -- to a nine-track run of Madlib productions, it?s an interesting transition from mixtape style to the world of Madlib?s DJ-oriented, 12-volume series called Medicine Show. Add the Aloe Blacc feature ?Where I?m From? and faithful fans of the neo-soul underground should consider this a necessary acquisition. ~ David Jeffries

From the author of the highly acclaimed }Cazalet Chronicles{, this is a moving, melancholic and elegiac novel set in the late 1960s in Melton, a small town in the West Country. Filled with post war dissonance, it encompasses all forms of love, and reads like a classic movie such as }Brief Encounter{. Will receive widespread publicity and review cov

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Netter's Orthopaedic Clinical Examination: An Evidence-Based Approach, by Joshua Cleland and Shane Koppenhaver, helps you apply best practices to get the most clinically significant information from each physical examination. Classic Netter artwork and anatomy/biomechanics tables provide a handy anatomy and pathophysiology overview, while an evidence-based approach helps you focus on the examination techniques, tests, and measures that have been proven to yield the most meaningful diagnostic findings.

"e;This is a wonderful book. I recommend it to all families as required reading."e; —Harville Hendrix, Ph.D. author, Getting the Love You Want and Giving the Love That Heals: A Guide for Parents"e;This is a beautiful book—timely, passionate, and powerful. It is also so well written, it's a page-turner and you'll find wealth of insight on every page. If you have specific questions about how to make family love last, this book has practical answers."e; —Michael Gurian author, The Minds of Boys and The Wonder of Girls"e;Scott Haltzman's writing is so engaging, it's the kind of book you pick up in a bookstore and find yourself still reading a half hour later. Inspiring and enlightening, it is filled with fascinating facts, educational anecdotes, and wise advice that you will remember, use, and repeat to others, even years from now. Don't miss this outpouring of love from a seasoned writer and psychiatrist."e; —Susan Page author, Why Talking Is Not Enough and If I'm So Wonderful, Why Am I Still Single?"e;Few well-written and easily read books treat us to solid research, a wide range of thoughtful quotes, and the author's real-life experience on perhaps life's most important subject: creating a happy family. This book does it all!"e; —Warren Farrell, Ph.D. author, Women Can't Hear What Men Don't Say and Why Men Are the Way They Are "e;Haltzman's latest entry into the 'advice to families' genre is a gem. Grounded in solid family research and his own survey of families, Haltzman offers sound, practical, and compassionate advice for families. His recognition of the diversity of contemporary families is one of the great strengths of this book. The accessible style is sure to please a wide range of readers from parents to family professionals."e; —Ross D. Parke, Ph.D. Distinguished Professor of Psychology, Emeritus, University of California, Riverside; and past president, Society for Research in Child Development

From the internationally bestselling author of Too Soon Old, Too Late Smart, an invigorating exploration of how and who best to love

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As a techie, you're a special breed, with special challenges facing you in the job search. Your competition is smart, tech-savvy, and highly resourceful. Expectations among employers are higher. Your competition will run you over if you're not up to the challenge. Land the Tech Job You Love gives you the background, the skills, and the hard-won wisdom to bypass the mistakes of those who don't prepare.You might not think you need this book. Conventional Wisdom has it that finding a job is simple: send some resumes, go on some interviews, and take the offer that sounds best. But that's only the start. You've got the background and skills to work the Web and other resources that the general job seeker doesn't. This book shows you how to take advantage of those skills or be left behind by competing techies who do.It all starts with an examination of you, your strengths, and where you want your career to take you. Without a roadmap, you'll wind up in any old job. Life's too short to spend in a job that you don't love. From there, you'll see how to find the job you want that fits you and the employer, using your technical and web savvy to find the hidden jobs that never make it into the classifieds or Monster."Marketing" is not a dirty word, and you'll learn how to present yourself, your skills, and your background in the way that shows the hiring company that you're the right person for the job. Create a resume that tosses out conventional wisdom, write cover letters that sell your background, and assemble a portfolio of work that will wow the interviewer.Social networking has been the darling of the Web in the past few years, but it's no substitute for the sort of personal interaction that makes relationships that help in future careers. As one manager said, "One recommendation is worth a million resumes." This book shows you how to make and maintain the connections that will drive your future career moves.

The cognitive revolution in the 1950s and 1960s led researchers to view the human mind--like a computer--as an information-processing system that encodes, represents, and stores information and is constrained by limits on hardware (the brain) and software (learning strategies and rules). The emergence of new behavioral, computational, and neuroscience methodologies, has deeply expanded psychologists' understanding of the workings of the infant, child, and adult mind. One result is that research has focused on mechanisms of change, over developmental time, in the information-processing mind. In this book, Lisa Oakes, Cara Cashon, Marianella Casasola, and David Rakison bring together the recent findings and theories about the origins and early development of the information-processing mind, and provide insight into the future directions in the study of infant perception and cognition. The contributors represent a wide-range of research areas in the study of infant perception and cognition, who emphasize the use of diverse methodological techniques to address key questions about development.Their chapters demonstrate how the combination of historical perspectives on the information-processing approach to cognition and recent advances in behavioral, computational, and neuroscience approaches to cognition has contributed to our understanding of how abilities ranging from visual attention to face processing to object categorization have developed during infancy. Across this broad range of topics, it is clear that much of our modern understanding of infant perceptual and cognitive development emerges from the foundation of classic information-processing models of development, such as that of Leslie B. Cohen (1991). The recent advances illustrated in this book show how researchers have built on this foundation to uncover the mechanisms that drive developmental change.

This book brings together many of the important results in this field. From the reviews: "A classic gets even better...The edition has new material including the Novelli-Pak-Stoyanovskii bijective proof of the hook formula, Stanley's proof of the sum of squares formula using differential posets, Fomin's bijective proof of the sum of squares formula, group acting on posets and their use in proving unimodality, and chromatic symmetric functions." --ZENTRALBLATT MATH