In 1990, I moved to California after trying my luck in about 20 different cities across the United States, singing and playing guitar in different rock bands. It all started when I got my first jaywalking ticket, a $10 ticket for not crossing the street at the light. For a former New Yorker, this was an amazing experience of one of the unique aspects of California reality. The weirdest part was that the following day, 20 miles away in a different part of town, I got a second $10 jaywalking ticket.I put these two tickets in my junk drawer, figuring that since I had a Minnesota driver’s license, these tickets would never catch up with me. But somehow they found my new California address and each month they would send me an updated ticket that doubled every time. I also managed to get an $80 speeding ticket while driving through Beverly Hills practicing my creative visualization, imagining that my red Plymouth Duster was a Porsche.
You'd get differing answers to the question of whether John Adams is America's greatest living composer, but he's the one to whom the country turned in the aftermath of the terrorist attacks of September 11, 2001. The demand for new work from him has only increased since he achieved senior citizen status. Fortunately, he's been able to meet that demand with distinctive large-scale works. Consider 2016's Scheherazade.2, recorded here by the violinist who premiered the work, Leila Josefowicz, with the St. Louis Symphony Orchestra under David Robertson. The piece succeeds on several levels. It is, outwardly, as close as Adams has come to writing a big Romantic violin concerto, and it will no doubt be welcomed into the concert repertory as such. Yet go into it more deeply, and it seems less a concerto than – well, what, exactly? Adams calls it a "dramatic symphony." English critic Nick Breckenfield has compared it to Berlioz's Harold in Italy, with the soloist representing an individual making her way through a series of adventures that may have a threatening tinge.
BOWIE - LEGACY will be released via Parlophone in November. The album collects together a selection of Bowie’s most popular tracks and singles, from 1969’s ‘Space Oddity’, through to the final singles ‘Lazarus’ and ‘I Can’t Give Everything Away’, issued earlier this year. BOWIE - LEGACY will be available as a 1 CD and a Deluxe 2 CD from November 11th. These will be followed by a double vinyl album version on January 6th, 2017. All formats of BOWIE - LEGACY feature a previously unreleased version of the classic 1971 Hunky Dory track, ‘Life On Mars?’, remixed by its original producer Ken Scott. From his very first recordings over fifty years ago, right through to his last album Blackstar, David Bowie was at the vanguard of contemporary culture as a musician, artist, icon and a constant influence on generations of writers, artists and designers. He was, and remains, a unique presence in contemporary culture. Bowie left a legacy of inspiration in every discipline from art and fashion to acting and beyond. But, it is for his ground-breaking music that he will be best remembered. BOWIE - LEGACY is an introduction to a world of incredible music, just waiting to be enjoyed by a whole new generation.
David Bowie had dropped hints during the Diamond Dogs tour that he was moving toward R&B, but the full-blown blue-eyed soul of Young Americans came as a shock. Surrounding himself with first-rate sessionmen, Bowie comes up with a set of songs that approximate the sound of Philly soul and disco, yet remain detached from their inspirations; even at his most passionate, Bowie sounds like a commentator, as if the entire album was a genre exercise. Nevertheless, the distance doesn't hurt the album – it gives the record its own distinctive flavor, and its plastic, robotic soul helped inform generations of synthetic British soul.