Kristoffer "Kris" Kristofferson is an American country music singer, songwriter, musician, and film actor. He is known for such hits as "Me and Bobby McGee", "For the Good Times", "Sunday Mornin' Comin' Down", and "Help Me Make It Through the Night". Kristofferson is the sole writer of most of his songs, and he has collaborated with various other figures of the Nashville scene such as Shel Silverstein. In 1985, Kristofferson joined fellow country artists Waylon Jennings, Willie Nelson and Johnny Cash in forming the country music supergroup "The Highwaymen". In 2004, Kristofferson was inducted into the Country Music Hall of Fame.
Cardboard sleeve (mini LP) reissue from Peter, Paul and Mary featuring 2012 remastering, using the original master tape. Includes a description and lyrics. Part of a eleven-album Peter, Paul and Mary cardboard sleeve reissue series featuring albums "Peter, Paul And Mary I", "Moving", "In The Wind", "Peter, Paul And Mary in Concert", "A Song Will Rise", "See What Tomorrow Brings", "The Peter, Paul And Mary Album", "Album 1700", "In Japan", "Late Again", and "Peter, Paul And Mommy".
Therion is a Swedish symphonic metal band founded by Christofer Johnsson in 1987. The word 'therion' comes from the Greek therion (θηρίον), meaning 'Beast,' i.e., that of the Christian Book of Revelation. However, the band's name is a homage to the Celtic Frost album To Mega Therion. Beginning as a death metal band, they later turned to combining orchestral elements with their metal music, employing heavy use of choirs and classical musicians, not only as additions to but also as integral parts of the composition. Therion is the first metal band with fully live orchestra featured. It is also the band which originated, popularised and influenced the symphonic metal genre, cited as 'the most adventurous metal band at present'. Because of these extents they take in conducting their music, they have been dubbed as 'Opera Metal'.
These new CDs are not being introduced as a simple addition to the consumer market, as they were produced with the consciousness that authentic Byzantine melody is not music intended for popular consumption, nor can it become an object of commercialization. On the contrary, Byzantine music belongs to the realm of transcendence. It is word [logos] in musical form, the word of revelation and disclosure of truth and the experience of the Church that is not related to the provocation of the senses, emotion, pleasure, or delight. The beauty, therefore, of Byzantine music does not have an aesthetic basis, but rather an ontological one, which imprints and defines this beauty in both an iconic and Eucharistic fashion in the Divine Services.