The Italian word malinconia was very commonly used in the nineteenth century as a title for melancholy pieces. Yet the idea of malinconia covered a myriad of romantic notions, so that simply translating it as "melancholy" does not do it justice. It subsumes many other emotional states as well - all kinds of dejection, gloom, unknown sadness, desperation, depression and even frustration. Each language has evolved its own terms, and interpretations of the word itself also differ from region to region. Malinconia in sunny Italy or Spain is quite different from melancholy in Norway and in Finland, where the winters are harsh and long. The Nordic variant is expressed here in various musical examples; words alone are anyway inadequate.
Deep Purple fans were outraged, Heavy Metallurgists ran shrieking for cover. But Ian Gillan's first post-Purple project remains one of the hardest, loudest and most exciting of all the mothership's myriad offspring – and the fact that Child in Time is such a brutally funky album only amplifies its achievements…
By the time David Lindley made his move to a solo career, he was already a legend. Having toured and recorded with such names as Jackson Browne, Linda Ronstadt, and Crosby & Nash, his reputation as a multi-instrumentalist (on almost any stringed instrument) was awesome. Lindley scored a contract with Elektra Records and put together an excellent band that was able to keep up with his eclectic vision. Combining blues, rock & roll, Cajun, Zydeco, Middle Eastern music, and other elements, his debut album is an absolute joy.
The final El Rayo-X record, while lovely, does not exactly contain the power and fury of the first two. On Very Greasy, David Lindley and his cohorts explore a myriad of lighter, more Caribbean rhythms and textures, rendering a very pleasing album. Some great covers such as "Papa Was a Rolling Stone" and "Do You Wanna Dance" are pleasant enough, but the fact that hard rock Warrior drummer Ian Wallace – who was such a big part of the power of their second CD, Win This Record – is missing results in a weaker record. All in all, a very nice, eclectic slice, but not what this fine band was really about.
Ian Boddy has been at the forefront of the UK electronic music scene since 1983 when he both performed at the very first UK Electronica Festival in Milton Keynes and released his first vinyl album "The Climb". Ian Boddy provides the listener with a rich atmosphere of original timbres and floating soundscapes. He is one of the few of his generation to have successfully integrated electronic music styles as diverse as seventies-style sequencer structures, melodic neo-classicism and the post-rave Modern Ambient style. Next to Boddy's impressive solo career stands his collaborative live performance and studio efforts with several of Electronic Music's most innovative and interesting personalities including: Ron Boots, Chris Carter, Andy Pickford, Robert Rich, Markus Reuter, Erik Wollo, David Wright and the ongoing project ARC with Mark Shreeve…
When these recordings first came out, far in advance of the period instrument revolution, they were revelations. Though modern instruments were used, there was an effort to get performance practices right… And there was the incredibly powerful, absolutely heavenly sound of that chorus of men and boys, as well as the lifelike recordings that perfectly captured the vast space of the Chapel of King's College. Since that time there have been other performances that depict the letter of each work to a greater degree than these, but many listeners will argue that there are none that have better encapsulated the spirit of this music… These are star-studded "great singing" recordings in which the artists will be remembered as much as the music itself.
"Thick as a Brick 2", abbreviated TAAB 2 (pronounced /tæb tuː/ by Anderson) and subtitled Whatever Happened to Gerald Bostock?, is the fifth studio album by Jethro Tull frontman Ian Anderson, released in 2012 as a follow-up of Thick as a Brick, Jethro Tull's highly acclaimed 1972 parody concept album. It entered the Billboard chart at No. 55.