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Post by erik on Feb 28, 2018 9:56:38 GMT -5
John Williams' score to Spielberg's recent, and extremely masterful, political/journalistic drama THE POST. Not as mind-bustingly brash as some of the scores he's known for; but there are times when less is more. This is one of those times (IMHO).
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Post by the Scribe on Mar 15, 2018 22:44:12 GMT -5
Landfall
by Laurie Anderson for the Kronos Quartet full album: www.youtube.com/playlist?list=PL9FB6Uxm85XsryGLZU7M7fZdVkD-nrEzH
“These are stories with tempos. Threaded through the stories in Landfall is an account of Hurricane Sandy that blew through New York just as I was finishing the work. I’ve always been fascinated by the complex relationship of words and music whether in song lyrics, supertitles or voice over. In Landfall instruments initiate language through our new text software erst. In addition, the conflict between spoken and written text fractures the stories as well as creates an eye/ear polyphonic structure.
The blend of electronic and acoustic strings is the dominant sound of Landfall. Much of the music in this work is generated from the harmonies and delays of unique software designed for the solo viola and reinterpreted for the quartet. In addition, there were elements of the optigan, a keyboard that uses information stored on optical discs.”
–Laurie Anderson
“I have hoped that Laurie Anderson would write for Kronos since first encountering her work 30 years ago. She is the master magician musician who has always inhabited those secret places where technology has personality, where “real time” is questioned and where all the elements of performance meet and combine into music. Her process is to gather and continue to gather potentially useful aspects as she sculpts a shape. Her sense of play and fun and her continuous experimenting make her the ideal chemist [or is it alchemist?] in the laboratory of music. As Laurie discovers new essential elements, the world of thought is more encompassing and shapes of the future are becoming more apparent. What a thrill it is for Kronos to join her in Landfall as we explore what emerges together.”
—David Harrington Kronos Quartet
Laurie was married to the late Lou Reed who was brilliant in his own right.
Here is another wonderful collaboration from Kronos Quartet with Phillip Glass, Linda Ronstadt and Laurie Anderson.
Pangloss would definitely agree, we must be living in the best of all possible worlds. Here we have positively inspired music by Philip Glass, devastatingly minimalistic lyrics by Laurie Anderson, angelic vocals from Linda Ronstadt sweetly backed by the inimitable Roches, and the precise beauty of Kronos String Quartet. All to a backdrop of Eric Bigas' fascinating fractals, wherein art truly merges with science.
From 'Songs From Liquid Days' (1986) [Philip Glass] Music by Philip Glass. Words by Suzanne Vega. Vocals by Linda Ronstadt. With the Kronos String Quartet. www.ericbigas.com/fractals/index.htmlThe Simpsons: Concert Hall Scene
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Post by erik on Mar 15, 2018 23:52:05 GMT -5
Gustav Mahler's epic First Symphony (at 55 minutes in length), known as the Titan Symphony, and for good reason, in this Philips recording made in May 1972 by the Concertgebouw Orchestra of Amsterdam under their great music director Bernard Haitink. This work was featured in the 1974 crime drama THE GAMBLER, which starred James Caan.
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Post by the Scribe on Mar 16, 2018 1:43:18 GMT -5
another Phillip Glass composition. You can hear Linda's voice about half way through.
1000 Airplanes on the Roof
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Post by erik on Mar 26, 2018 23:27:47 GMT -5
A live performance from February 23, 1985 of the famous Coronation Anthem #1, "Zadok The Priest", by George Frideric Handel, done at London's Westminster Abbey on the 300th anniversary of the great composer's birth. Members of the Choir of Westminster Abbey and the London Philharmonic Choir join the English Chamber Orchestra, under the direction of Raymond Leppard, one of the foremost conductors of Handel's great works:
Expect to hear this at the royal wedding on May 19, 2018, as it has been for every royal celebration since the reign of King George II in the early 18th century.
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Post by the Scribe on Mar 31, 2018 4:16:06 GMT -5
Halie Loren - A Whiter Shade of Pale (Procol Harum)
www.youtube.com/playlist?list=PLsGRkP7SiZRbtDLCKEAZHvsZ8r3V6txz0
Halie Loren is an American jazz singer and songwriter from Sitka, Alaska. She has recorded nine jazz albums, three of which reached number one on the Billboard Japan Top 20 Jazz Albums chart. Her debut album, They Oughta Write a Song, won best vocal jazz album at the 2009 Just Plain Folks awards, and in 2010 became Japan's second highest-selling jazz album. Loren tours with her trio and performs with orchestras and big bands in Canada, Japan, China, Italy, Hong Kong, South Korea, and Haiti. Loren grew up in Sitka, Alaska, making her performing debut at age ten at the Sitka Fine Arts Camp. She received a degree in visual arts from the University of Oregon. She lives in Eugene, Oregon.
en.wikipedia.org/wiki/Halie_Loren
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Post by erik on Apr 1, 2018 11:47:23 GMT -5
Handel's epic oratorio "Messiah" is a work suitable for both Christmas (marking the birth of Jesus) and Easter (marking His Resurrection). This is the most famous part of the work, the "Hallelujah" chorus that concludes the second part, as performed in this 1976 recording by the English Chamber Orchestra and Choir under Raymond Leppard:
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Post by the Scribe on Apr 2, 2018 14:42:31 GMT -5
Happy Birthday Marvin Gaye!!born April 2, 1939
died April 1, 1984
Marvin Gaye - (I'm Afraid) the Masquerade Is Over
www.youtube.com/playlist?list=PL63z1S4600QMicimgK-Cbw_VkpGvhn8vq
Shortly after Gaye signed to Tamla, the label and the young singer soon clashed with musical direction. While the label was recording R&B music for teenagers, Marvin, who admired Nat King Cole and Ray Charles, wanted to record more "adult" music, including jazz and pop standards. Gay had noted that Cole and Charles had found bigger success recording more adult music, and after seeing that Charles had had success recording jazz music, rather than just R&B, he felt he could do similar. Gaye, who later admitted that growing up, he was told not to dance, also wanted to "sit on a stool and croon" rather than "shake my ass onstage" saying that his voice was what people paid attention to and not his dancing. After much push, Gaye finally was allowed to record an album of jazz standards with a compromise that he'd record a couple of songs with an R&B feel. Recording his vocals in a relaxed tone, Gaye also played drums and piano on the album while Berry Gordy oversaw much of the album's production. Anna Gordy was another collaborator, co-writing the R&B song "Never Let You Go (Sha-Lu-Bop)" for her boyfriend. The album was recorded over two weeks and was released on June 8, 1961. Before the release of his first single, the Berry Gordy-composed ballad "Let Your Conscience Be Your Guide", Gaye added an extra 'e' to his last name, to look "more professional".
The album was not given much attention upon its release. "Let Your Conscience Be Your Guide" failed to become a major hit, though it was a regional hit in the Midwest and on the West Coast. The label released two more singles from the album, which featured Gaye still singing in a smooth tenor. His style soon changed to include gospel infections, which helped to bring him success after he released his first hit, "Stubborn Kind of Fellow", in 1962. Motown Records, at the time of this album's release, was still a fledgling operation, with only The Miracles, The Marvelettes, and Mary Wells as successful acts. Gaye's jazz ambitions continued after the album's release and throughout the 1960s. He recorded three more albums featuring jazz covers, none of which resonated well with audiences used to the singer's grittier R&B work during the sixties.
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Post by the Scribe on Apr 4, 2018 22:42:28 GMT -5
I started listening to this music after Mark's interesting interview. He had a crazy childhood. For instance, his Dad was the physicist who came up with the Parallel Universe Theory but the whole time living in his parents house his dad was more of a piece of furniture that never interacted with the family. www.youtube.com/playlist?list=PLLilNh23N5Dlx6Gsec_tCBy_hn6f3IhQSmarkolivereverett.com/main.phpEels' Four-Year Break Led To Songs About Falling Apart, Bouncing Back And Being A DadListen· 44:18 ondemand.npr.org/anon.npr-mp3/npr/fa/2018/04/20180404_fa_01.mp3?orgId=427869011&topicId=1105&d=2658&p=13&story=599318158&siteplayer=true&dl=1April 4, 2018·2:17 PM ET Heard on Fresh Air "It's a very natural process for me to write a song where there's absolutely no filter and really get down and peel all the different layers of the onion until I get to the heart of the matter," says Everett. Gus Black/Courtesy of the artist Four years ago, Eels founder Mark Oliver Everett decided to take a break. After 25 years of making music, he says, "I got to the point where if you do any one thing too much in your life, it catches up to you and makes it clear that you need to do something else." Everett went on what he calls a project of self-improvement, during which he got married, got divorced and, at the age of 54, had a son. He also spent time reckoning with the losses he'd experienced earlier in life, including his sister's suicide, his mother's death from cancer and his father's fatal heart attack. Now he's back, with a new album, The Deconstruction: a reflection on both the pain and joy of life. He says the point of the record is that "life is constant motion." "We spend most of our lives after we're born slowly building up these defenses and walls around ourselves," Everett explains. "I just thought, 'What's underneath all that? What would happen if you tore down those defenses?'" Interview Highlights On experiencing life without processing it through music I'm the classic example of an artist-type personality who pours everything into that, and that's how I know how to relate to things. It's a very natural process for me to write a song where there's absolutely no filter and really get down and peel all the different layers of the onion until I get to the heart of the matter. It's very easy to deal with things in this very intimate way — as long as it's in a song. That's another reason why I had to take a four-year break: I was like, 'What happens if it's not in a song?' ... It started out in exhaustion and confusion and not really knowing what to do, but I even thought at first I might even just be done working. For a while, it just felt like that. I just had no desire for it, which was very unusual for me to finally get to that point. But normal people would've taken some little vacations along the way, and then there's people like me — we do it all or nothing. And the mistake I think I made was I took that same obsessive energy that I put into all the years of work and said, "OK, now I'm going to put all that focus on the other sides of life," and treated it a little too much like a to-do list. So I'm still in the process of it all, and I guess the process never ends. The one that probably set me on that path very early on was, for some reason when I was 10 years old, I think, my favorite record was Plastic Ono Band, the first John Lennon solo album. And I didn't have any perspective for it at the time, but it's unusual looking back on it — for a 10-year-old kid to be so into that record — because it's an extremely raw, personal record. It's the one that's got him howling for his mother that abandoned him. But it was around the house or something and I would just play it all the time, and for whatever reason as a kid I just completely responded to it. So that just was ingrained in me, [to think] that's normal for songwriting. I think that really did change everything. I don't know if it ever would've occurred to me otherwise. On finding his father dead from a heart attack It was particularly surreal, since I had this weird relationship with him where he was always there but we didn't interact that much. Then just literally the night before he died, we had a lot more conversation, kind of a fun time together, ... And then the next morning I found him dead. It was very strange, because I was learning CPR on the phone [from 9-1-1] ... To be touching his body was very strange to me because I don't think we had ever touched before and the fact that he was dead while it was happening; it was just incredibly sad. On writing a song about his sister's first suicide attempt, "Elizabeth On The Bathroom Floor" I didn't know about most of [her suicide] attempts. I was there for the first attempt, and luckily her boyfriend called and we discovered her asleep on the bathroom floor and got her to the hospital just as her heart stopped, and they revived her. And then there was a bunch of attempts in between that time and the time that she actually died that I didn't know about until after she died, and her friends were telling me about these other attempts. Eels: A World Of Futile Yearning www.npr.org/templates/story/story.php?storyId=105840129 She died right as the first Eels album was coming out. I finally got to a point where something was happening with my life and it was this really exciting time, and I think it was right as the album was coming out, or right before, she died, and so it was just this really intense time for me. I don't know how I got through that time. On the optimism behind his 'sad' songsFor a long time, I didn't ever consider writing songs about what was going on with these tragedies in my family because it just felt too personal and I was just so immersed in it. And then one day when I was back there visiting my mom while she was sick, I was laying on my childhood bed, laying there just sad and depressed over the whole situation and in my imagination. I was laying there looking up at the ceiling, I saw a blue sky, and that was this big moment where I suddenly realized, 'Oh, I can write about this stuff and make it something that can help me and help people, I think.' And that's why I did it. ... If you look at pretty much all of the albums ... the point is always an optimistic point. Mark Oliver Everett Often we get saddled with, "Oh this is the sad band," and all that, but it's really missing the point, because if you look at pretty much all of the albums ... the point is always an optimistic point. It's always saying, "This is part of life." If I can say, "You can go through these kinds of experiences like I've been through and still find the beauty and the positivity in life, then you can, too." Amy Salit and Mooj Zadie produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the web.
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Post by the Scribe on Apr 6, 2018 5:14:38 GMT -5
www.youtube.com/channel/UCsi5FYDzbQw9Gh0Gdv1GOeg
'Johnny Cash: Forever Words' to Feature Chris Cornell, Willie Nelson
All-star lineup includes Elvis Costello, Rosanne Cash, John Mellencamp and Alison Krauss
'Johnny Cash: Forever Words' features songs culled from his unknown poetry, lyrics and letters with music created by an all-star roster. Don Hunstein/Sony Music By Althea Legaspi
February 8, 2018
Johnny Cash: Forever Words – a collaborative album featuring Johnny Cash's unknown poetry, lyrics and letters – will be released on April 6th via Legacy Recordings. The icon's words will be set to music and performed by an all-star lineup that includes Chris Cornell, Willie Nelson, Elvis Costello, Rosanne Cash and John Mellencamp, among others. Johnny Cash: Inside the Country Legend's Forgotten Poetry A new book, 'Forever Words: The Unknown Poems,' collects 41 of the singer's compositions
Co-produced by Johnny and June Carter Cash's son John Carter Cash, the material is culled from what their son described in a statement as a "monstrous amassment" of Johnny Cash's handwritten letters, poems and documents that were uncovered following the deaths of his parents. From love letters ("To June This Morning") to Cash's final poem ("Forever/I Still Miss Someone"), the words were written across the span of Johnny Cash's lifetime.
Recorded primarily at the Cash Cabin Studio in Hendersonville, Tennessee, over the past two years, album producers Cash and Steve Berkowitz invited the A-list album cast – which also includes T Bone Burnett, Kacey Musgraves, Kris Kirtofferson, Brad Paisley, Carlene Carter and the Jayhawks – to craft new music to pair with the newly found writings.
"Determining the artist for each song was truly a matter of the heart," John Carter Cash said in a statement. "I picked the artists who are most connected with my father, who had a personal story that was connected with Dad. It became an exciting endeavor to go through these works, to put them together and present them to different people who could finish them in a way that I believed that Dad would have wanted."
The album serves as a musical complement to Forever Words: The Unknown Poems, which contains Cash's formerly unpublished writing and served as inspiration for some of the album's songs. The 16-song set is available for preorder and will come in CD, two-LP vinyl and digital formats.
Johnny Cash: Forever Words Track List
1. "Forever/I Still Miss Someone" – Kris Kristofferson and Willie Nelson 2. "To June This Morning" – Ruston Kelly and Kacey Musgraves 3. "Gold All Over the Ground" – Brad Paisley 4. "You Never Knew My Mind" – Chris Cornell 5. "The Captain's Daughter" – Alison Krauss and Union Station 6. "Jellico Coal Man" – T Bone Burnett 7. "The Walking Wounded" – Rosanne Cash 8. "Them Double Blues" – John Mellencamp 9. "Body on Body" – Jewel 10. "I'll Still Love You" – Elvis Costello 11. "June's Sundown" – Carlene Carter 12. "He Bore It All" – Dailey & Vincent 13. "Chinky Pin Hill" – I'm With Her 14. "Goin', Goin', Gone" – Robert Glasper featuring Ro James,and Anu Sun 15. "What Would I Dreamer Do?" – The Jayhawks 16. "Spirit Rider" – Jamey Johnson
Spotlight...Linda's Cover of I Still Miss Someone (not on this album)
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Post by MokyWI on Apr 7, 2018 0:09:45 GMT -5
I put this in my new car. I've listened to it five times in a row, have always loved this album. I lived in L.A. at the time and lived blocks from the Roxy. I remember going to see him and everyone thought Linda was going to be his surprise guest. It did not work out that way. We got Weird Al Yankovic. "Postcards from Paris" is breathtaking.
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Post by erik on Apr 28, 2018 22:36:44 GMT -5
Beethoven's First and Third Symphonies, with the San Francisco Symphony Orchestra under their now Conductor Laureate, Herbert Blomstedt: Lindi Ortega's new album Liberty, her Southwest/Mexico concept album, inspired in part by Linda's Canciones De Mi Padre. An absolute must-have (IMHO):
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Post by Deleted on Apr 30, 2018 13:26:59 GMT -5
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Post by Al Toids on Apr 30, 2018 13:35:36 GMT -5
Watched Elvis: The Searcher documentary on HBO some time back and loved it. So I've been listening to its soundtrack alot!
The King
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Post by the Scribe on May 7, 2018 7:01:04 GMT -5
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Post by erik on Aug 9, 2018 23:06:38 GMT -5
The famous Chaccone from the Violin Partita No. 2 In D Minor by Johann Sebastian Bach. This large orchestration of it was made in the 1930s by none other than Leopold Stokowski, who made this recording in 1974 with the London Symphony Orchestra. He was 92 at the time (YIPE!!!):
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Post by erik on Sept 15, 2018 22:01:42 GMT -5
Probably one of the great recordings released this year. a monumental recording of Franz Joseph Haydn's great oratorio "The Creation", one of two that he composed during the final years of the eighteenth century. Andres Orozco-Estrada conducts the Houston Symphony Orchestra, Chorus, and vocal soloists in this:
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Post by erik on Dec 17, 2018 23:23:58 GMT -5
Somehow, although these symphonies of Franz Schubert were actually recorded in 1971, it took Deutsche Grammophon forty-seven years to dust them off and remaster them. Thankfully, however, they are here before us in this recent release, with Schubert's hometown orchestra under the direction of the late Claudio Abbado, who was only 38 years old at that time:
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Post by the Scribe on Jan 16, 2019 22:39:57 GMT -5
All Over Now (Edit)A Year After Dolores O'Riordan's Death, The Cranberries Unveil 'All Over Now'January 15, 2019 11:16 AM ET Joshua Bote JOSHUA BOTE
The Cranberries' Dolores O'Riordan performs at the Cognac Blues Passion festival in Cognac in 2016. Guillaume Souvant/AFP/Getty Images
Exactly a year after the death of Cranberries singer Dolores O'Riordan, the band's surviving members have unveiled "All Over Now" — the first material released from the Irish band's eighth and final album In the End, set for release in April.
The song has the stately, lovely feel of a Cranberries staple, weighed down and made somber by O'Riordan's repetition of the titular refrain: "It's all over now."
The Cranberries: Tiny Desk Concert TINY DESK The Cranberries: Tiny Desk Concert www.npr.org/2012/02/23/147191308/the-cranberries-tiny-desk-concert "All Over Now" and In the End were both in the works prior to O'Riordan's untimely passing. The band had started the recording process in 2017, cutting a demo with completed vocals by O'Riordan by the end of the year. Plans to complete the album were postponed after her death, but in a statement released on The Cranberries' website, the band explained the motivation behind finishing the album.
www.npr.org/2019/01/15/685484427/a-year-after-dolores-oriordan-s-death-the-cranberries-unveil-all-over-now
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Post by erik on Jan 16, 2019 22:59:30 GMT -5
SoCal-based Americana singer/songwriter Alice Wallace releases her album Into The Blue on the indie label Rebelle Road this Friday. She is very much in the "old school" Linda/Emmylou tradition of combining traditional and progressive country values (so much so that, at last October's tribute to the now-defunct North Hollywood C&W nightspot The Palomino, she performed Linda's 1970 classic "Long Long Time"). and this is likely to be reflected in her new album. Here's a track from that forthcoming album, "Santa Ana Winds", which refers to the hot, dry winds that hit us every autumn here in Southern California, turning most of our vegetation into kindling and aiding in the explosive growth of wildfires:
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Post by Muse on Jan 20, 2019 13:13:13 GMT -5
For the Full,,,,or nearly full (It eclipses tonite! Watch it!) Moon...out on the balcony deck
I did my bike cardio and blasted Robert Plant
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Post by erik on Jan 21, 2019 10:07:43 GMT -5
On a day when we honor one of the great Americans of all time, Martin Luther King Jr.: The music of three great African-American composers: William Grant Still (his Symphony No. 2, "Song Of A New Race"); William Levi Dawson ("Negro Folk Symphony"), and Edward Kennedy "Duke" Ellington ("Harlem"), on a great 1992 recording by the Detroit Symphony Orchestra under Neeme Jarvi.
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Post by erik on Feb 23, 2019 23:03:18 GMT -5
Revisiting what I consider the best "pop" album of 2018, Liberty, by Canadian alt-country firebrand Lindi Ortega: SoCal Americana singer Alice Wallace and her new album Into The Blue: ...and, of course, Linda (hero to tons of female singers, including the aforementioned two) and her album Live In Hollywood:
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Post by erik on May 17, 2019 9:02:23 GMT -5
Quote by Alex (Malcolm McDowell) in director Stanley Kubrick's ultra-disturbing 1971 classic A CLOCKWORK ORANGE:
The second movement (Scherzo) from Beethoven's Ninth Symphony that was used to such sinister effect in that Kubrick film, here performed in this 1979 recording by the Vienna Philharmonic Orchestra under Leonard Bernstein:
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Post by erik on Aug 5, 2019 18:55:58 GMT -5
A work of interstellar proportions by the same Spanish composer who gave us the immortal "Concierto De Aranjuez"--the symphonic tone poem "A La Busca Del Mas Alla" (roughtly translated as "In Search Of The Beyond") composed by Joaquin Rodrigo in 1976. The performance is by the London Symphony Orchestra under the direction of Enrique Batiz:
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Post by erik on Oct 18, 2019 8:48:03 GMT -5
Matt Morton's brilliant period-electronic score ("period" being his use of Moog synthesizers from 1968-69!) for director Todd Douglas Miller's brilliant documentary film APOLLO 11: Mega-Linda fan Trisha Yearwood's new album Every Girl, her first album of totally new material since 2007, returns her to the contemporary country scene with a few loose homages to her spiritual role model: her cover of a Karla Bonoff song from 1976 ("Home"), and "The Matador", written by Gretchen Peters and utilizing Mexicana elements:
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Post by erik on Mar 16, 2020 9:12:37 GMT -5
Mandy Moore's new one Silver Landings, the first album by the former teen-pop princess and current star of the NBC-TV drama This Is Us since 2009's Amanda Leigh, finds her very much with a 21st century approach to the classic California singer/songwriter approach, and occasionally evokes Linda at times (like on the opening track "I'd Rather Lose"): And here's some interstellar modern music, the work "Einstein's Dream" by the contemporary American composer Cindy McTee. Her husband Leonard Slatkin conducts the Detroit Symphony Orchestra in this recording:
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Post by germancanadian on Mar 16, 2020 17:17:50 GMT -5
Saints and Sinners were a short lived Canadian glam metal band. They only released one album in 1992 before breaking up but were really talented.
Shotgun Messiah, a Swedish glam metal band active from the mid 80s to early 90s.
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Post by Partridge on Mar 21, 2020 14:45:59 GMT -5
I have picked two country artists, Skeeter Davis and Waylon Jennings, and am listening to all their albums in chronological order.
It took Skeeter quite a while to find her groove. Much of that blame can be placed on Chet Atkins. The first album from 1959 is very good, but that double-tracking of the vocals can get tiresome. And the concept for the second album is a total loser- "Here's the Answer"- to take 6 hit songs and provide 6 answer songs. So it's only half a Skeeter Davis album to begin with, and only two of the answers are worth hearing. And I suppose she will always be remembered for the title of her third album- The End of the World. At least on this album they did not double-track her vocals, and I actually prefer her version of My Coloring Book to the Streisand.
Waylon Jennings was also produced by Chet Atkins and he spent the entire 1960s complaining about the arrangements and musicians because he would have preferred using his own band. Still, from the very beginning, each album has several gems. And you can credit that to his amazing baritone. Certainly one of the best country singers ever.
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Post by germancanadian on Mar 21, 2020 15:14:28 GMT -5
I love the artwork on that Mad Magazine cover, it really looks a lot like her. I miss Mad already.
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