Allan Taylor is one of England's most-respected singer/songwriters. His songs have been covered by artists on both sides of the Atlantic, including Don Williams, Frankie Miller, Fairport Convention, Dick Gaughan, the McCalmans, the Fureys, the Clancy Brothers, and De Dannan. Folk Roots praised him for his "ability to crystallize a mood and evoke an era with the ease of a computer memory access, crafting perfect songs with dramatic changes in the spirit of Brecht, Bikel, and Brel." The Oxford Book of Traditional Verse felt as strongly, writing that Taylor was "one of the most literate and sensitive of contemporary songwriters in terms of words and music and one who is capable of exploring more complex subjects than most of his contemporaries"…
Magnus Lindberg burst onto the contemporary music scene in the 1980s with his early work Kraft (as in "power", and not the American food conglomerate and inventor of Velveeta cheese by-product substance), an avant-garde spectacular that took the "sound mass" procedures of Berio or Xenakis and wedded them to an explosive rhythmic energy. He's broadened his style since then, taking in tonal elements and even the occasional tune, but the rhythmic vitality remains, and his coloristic gifts, his ear for ever new and remarkable instrumental sound combinations, have only increased. Aura is a four-movement symphony as indescribable as it is a joy to hear. Dedicated to the memory of Lutoslawski, the piece shows its composer similarly possessed of a vibrant, communicative personal musical language. Although it plays continuously for about 37 minutes, newcomers to Lindberg's sound creations should start with the finale, a sort of dance that begins with simple tunefulness before finding itself in a sort of riotous minimalist hell. It's hugely fun, as is the entire work.
This album, recorded the same two days as Man Here Plays Fine Piano, is the equal of its companion. Five pieces are taken as piano solos by Don Ewell (including Jelly Roll Morton's "Chicago Breakdown" and "Just You, Just Me"), "Blue Turning Grey over You" has Ewell joined by drummer Minor Hall and the remaining five numbers are quartet explorations by Ewell, Hall, bassist Pops Foster and the fine New Orleans-style clarinetist Darnell Howard; of the latter tunes "Wolverine Blues" and "Blues My Naughty Sweetie Gives to Me" are most memorable.
Death Walks Behind You is the second studio album by British rock band Atomic Rooster. It was their first album to receive US release, albeit in a different sleeve. It is commonly thought of as the archetypal Atomic Rooster album, recorded by the 'classic' line-up of Vincent Crane, John Du Cann and Paul Hammond. It is certainly, critically and commercially, their most successful album and often hailed as a classic of the progressive rock genre. It also produced the hit single "Tomorrow Night" (UK #11), which became one of the band's best-known songs. The album's cover features the William Blake monotype Nebuchadnezzar.
Astro-Creep: 2000 – Songs of Love, Destruction and Other Synthetic Delusions of the Electric Head (or simply Astro-Creep: 2000) is the fourth and final studio album by White Zombie, released on April 11, 1995 by Geffen Records. The album proved to be their most commercially successful recording, peaking at number six on the Billboard 200 with the aid of the popular hit singles "More Human than Human" and "Super-Charger Heaven". It was the band's only album to feature John Tempesta on drums.
In the autumn of 2005 Hyperion released their complete Schubert song edition, some 18 years after they started recording. The composition of these songs spanned the same number of years. Between Lebenstraum … gesang in c”, a fragment dating from 1810 when he was thirteen and Der Taubenpost written a few weeks before his death late in 1828, Schubert set over 700 texts, mostly solo songs but also part songs and for ensemble. Almost all were with piano accompaniment. Everything that has survived is included