The fifth season of the science fiction television series The X-Files commenced airing on the Fox network in the United States on November 2, 1997, concluding on the same channel on May 17, 1998, and contained 20 episodes. The season was the last in Vancouver, Canada; subsequent episodes would be shot in Los Angeles, California. In addition, this was the first season of the show where the course of the story was planned in advance, due to the 1998 The X-Files feature film being filmed before it, but schedule to be released after it aired.
The fifth season of the series focused heavily on FBI federal agents Fox Mulder's (David Duchovny) loss of faith in the existence of extraterrestrials and his partner, Dana Scully's (Gillian Anderson), resurgence of health following her bout with cancer. New characters were also introduced, including agents Jeffrey Spender (Chris Owens) and Diana Fowley (Mimi Rogers) and the psychic Gibson Praise (Jeff Gulka). The finale, "The End", led up to both the 1998 film and the sixth season premiere "The Beginning".
11 CD collection includes: Spoke (1997); The Black Light (1998); Hot Rail (2000); Even My Sure Things Fall Through (2001) EP; Feast Of Wire (2003); Convict Pool (2004) EP; Black Heart (2004) Maxi Single; In the Reins (with Iron And Wine) (2005) EP; Garden Ruin (2006); Carried To Dust (2008); Algiers (2012).
A collection of 13 studio albums by highly acclaimed Denver, Colorado-based blues guitarist and singer-songwriter.. He is a multi-instrumentalist whose talents include the guitar, banjo, mandolin, harmonica, and vocals.
Celebrating his half-century as a Decca artist, as well as his eighty-fifth birthday, Sir Georg Solti here offers a nicely autobiographical collection of three sets of variations: the Peacock Variations of Kodaly representing his Hungarian roots, the lively Paganini Variations of Blacher a recognition of his years as German citizen, and finally a tribute to his unique Britishness in Elgar's Enigma Variations. The disc is also a tribute to the Vienna Philharmonic and Solti's special relationship with that orchestra, with whom he recorded these live performances in the Musikverein last April. You have only to compare this warmly expressive, subtly nuanced, and deeply felt account of the Elgar with Solti's earlier Chicago version of 1974 to appreciate not only the quality of this great Viennese orchestra, but the way in which Solti has mellowed over the last two decades.