The Greatest Hits Volume III album includes hits from 1983 to 1997. Two previously unreleased studio tracks are included, "To Make You Feel My Love" and "Hey Girl", while the third new track, "Light as the Breeze", was originally recorded for a Leonard Cohen tribute album known as Tower of Song in 1995. All three tracks are newly recorded covers (a rare occurrence in his catalogue). Chronologically, Greatest Hits Volume III overlaps slightly with Volume II, as the first two tracks, "Keeping the Faith" and "An Innocent Man", first appeared on his album An Innocent Man.
The only recording Ella Fitzgerald made as a duo with a pianist is re-created with this new and exciting duo. Very intimate, moving, grooving, a feast of the senses, this tribute CD to Ella Fitzgerald will make you remember the Great American Songbook!
Although it's missing a few important (not to mention big) hits, Greatest Hits, Vols. 1 & 2 is an excellent retrospective of the first half of Billy Joel's career. Beginning with "Piano Man," the first disc runs through a number of early songs before arriving at the hit-making days of the late '70s; some of these songs, including "Captain Jack" and "New York State of Mind," weren't strictly hits, but were popular numbers within his stage show and became radio hits…
Varese's original soundtrack to Psycho finds Joel McNeely conducting the Royal Scottish National Orchestra through Bernard Herrmann's classic original score. This album is the first time the entire score has been recorded for an album and its remarkable how eerie and evocative the music is, even when its separated from the film. Psycho stands as one of Herrmann's finest moments, and even if many collectors and film buffs would prefer the original soundtrack recording, this version is essential for fans of the composer, since it is the clearest, cleanest edition of score yet produced.
The least popular of Alfred Hitchcock's late-'50s thrillers – perhaps because it is really a comedy – The Trouble with Harry also has the least well-known of the scores that Bernard Herrmann wrote for Hitchcock's movies. All of that is a shame, because – in keeping with the comedic nature of the movie – Herrmann assumed a lighthearted and upbeat, ironic mask that led to some of the most gorgeous and hauntingly beautiful music of his career; the composer himself clearly felt a fondness for it, as he revived it in 1968 as the basis for his "A Portrait of Hitch." The reed and horn passages are playful and ironic, and the signature string part, bridging the small-town innocence of the movie's setting, is one of the finest things that Herrmann conceived. It all makes for delightful listening, and is some of the best programmatic music to come out of Hollywood in the 1950s. The performance by Joel McNeely and the Royal Scottish National Orchestra is of excellent quality, capturing the finest nuances of the score, and the recording does it full justice.
Originally recorded in 1989, The Sacred Bridge contains a speculative program linking various genres of Christian and Jewish religious music, most of it medieval. The Boston Camerata continued to perform the program in various forms in subsequent years.