Since John Hiatt and the major labels decided to go their separate ways around the turn of the century, his approach to record making has been direct and organic; most of his albums have sounded as if Hiatt and his sidemen put them together without a lot of fuss, placing the emphasis squarely on Hiatt's dependably strong material and tough, flinty vocal style. But 2011's Dirty Jeans and Mudslide Hymns is a more polished and ambitious affair than Hiatt has delivered in years. The sessions were produced by Kevin Shirley, who has previously worked with Aerosmith, the Black Crowes, Dream Theater, and Journey, and though his approach isn't especially intrusive, the sound of this record is certainly more luxurious, with the guitars sounding bigger, the drums booming a bit louder, and strings and keyboards decorating several tracks and the arrangements, gaining a greater sense of drama along the way.
Cyrus Chestnut covers a wide range of hymns, carols and spirituals on this outstanding solo piano CD. A very dramatic "Holy, Holy, Holy" would inspire any congregation, while the rich voicings in "We Three Kings" are subtle yet moving. "Sometimes I Feel Like a Motherless Child" is the most compelling track, with a thought-provoking arrangement that makes great use of space.
Universal will celebrate the 20th anniversary of The Verve‘s Urban Hymns in September with a reissue campaign that includes a 5CD+DVD super deluxe edition and a massive 6LP vinyl box set. All formats feature a remastered version of the album (the work of Chris Potter and Metropolis’ Tony Cousins) and the super deluxe edition box set adds four further CDs offering B-sides, remixes, session tracks, BBC Sessions and two discs of unreleased live performance from the era, including the May 1998 hometown show in front of around 35,000 fans at Haigh Hall, Wigan.
Soprano sorceress Isabel Bayrakdarian, acclaimed internationally for her glittering accomplishments on both stage and screen, presents – in this hypnotically alluring album of Armenian sacred music – a more spiritual aspect of her multifaceted musical persona…
2016 marks Madeleine Peyrouxs twentieth anniversary as a recording artist with the release of Secular Hymns, a spirited and soulful masterwork of loping, skipping, sassy, feisty and sexy tunes delivered in a captivating melange of funk, blues and jazz.
Act V: Hymns with the Devil in Confessional is the seventh full-length studio album by American rock band The Dear Hunter. It was released on September 9, 2016 via Cave and Canary Goods and Equal Vision Records. The album is the fifth installment in a six-part series. It follows the conclusion of Act IV: Rebirth in Reprise, in which the story's main character is confronted by his nemesis and forced into blackmail.
A beautifully-recorded album from master violinist Gidon Kremer and his Kremerata, Baltica, spanning a wide range of music, all of it broached with conviction. Hungarian composer and pianist Stevan Kovacs Tickmayer from the Serbian province of Vojvodina has written eight hymns in commemoration of the film director Andrei Tarkovsky, an artist he has called a homo moralis whose remarkable visions cast a small but significant light on the tragic world of the previous century. Georgian composer Giya Kancheli contributes a silent prayer for two of his most important musical associates: the cellist and conductor Mstislav Rostropovich and the violinist Gidon Kremer.
This 2014 Hyperion collection of 22 hymns sung by the Choir of Westminster Abbey is a straightforward presentation of familiar versions for choir and organ. For the most part, the arrangements are conventional four-part settings, with occasional interpolations of seldom-heard harmonizations and descants, and the performances by the men and boys are appropriately reverent and joyous. The majority of selections are hymns of praise, including Praise, my soul, the king of heaven; Thine be the glory; and Praise to the Lord, the Almighty, though Drop, drop slow tears; I bind unto myself today; and Let all mortal flesh keep silence bring a more somber and penitential mood to the program. The recordings were made in late 2012 and early 2013 in Westminster Abbey, so the sound of the album is typically resonant and spacious, and the choir has a well-blended tone, though the trade-off for the glorious acoustics is a loss of clarity in some of the words.