In the not-so-far future the polar ice caps have melted and the resulting rise of the ocean waters has drowned all the coastal cities of the world. Withdrawn to the interior of the continents, the human race keeps advancing, reaching the point of creating realistic robots (called mechas) to serve them. One of the mecha-producing companies builds David, an artificial kid which is the first to have real feelings, especially a never-ending love for his "mother", Monica. Monica is the woman who adopted him as a substitute for her real son, who remains in cryo-stasis, stricken by an incurable disease. David is living happily with Monica and her husband, but when their real son returns home after a cure is discovered, his life changes dramatically.
In the not-so-far future the polar ice caps have melted and the resulting rise of the ocean waters has drowned all the coastal cities of the world. Withdrawn to the interior of the continents, the human race keeps advancing, reaching the point of creating realistic robots (called mechas) to serve them. One of the mecha-producing companies builds David, an artificial kid which is the first to have real feelings, especially a never-ending love for his "mother", Monica. Monica is the woman who adopted him as a substitute for her real son, who remains in cryo-stasis, stricken by an incurable disease.
Souad Massi is that rarest of Algerian performers – she doesn't sing rai music. But more than that, she's an accomplished singer/songwriter, a kind of North African Tracy Chapman, although she works in the Maghrebi genre of sha'bi as much as she does in folk music or soft rock. Electric guitars and touches of flamenco, oud, and the Arabic bass gimbri all help bring a real distinctiveness to her sound, which certainly has more in common with many American '60s protest singers than her contemporaries in Africa (indeed, to some she's Joan Baez reborn). Coke's production (he has worked with Ben Harper) is very sympathetic, bringing a live feel to the record ("Matebkiche" is, in fact, completely live). "Bladi" is a perfectly catchy song, its oud line deftly leading into Massi's smoky voice, and "Nekreh El Kelb" has a vital urgency.
The first hits package from iconic singer/songwriter Mylene Farmer, 2001 release Mots, showcases her musical evolution from French pop chanteuse to feisty rock chick to futuristic dance diva. A celebration of her 17-year career, the two-CD collection includes 27 of her most popular singles and B-sides compiled in chronological order, from her 1989 debut "Maman a Tort" to 2001's "L'Histoire D'Une Fee, C'est…" alongside three new compositions, "C'est Une Belle Journee," "Pardonne-Moi," and the title track collaboration with Seal.
Here we have the first recording of Handel's final Italian opera with a period instrument orchestra, chorus and a superb American cast. Deidamia was Handel's last opera. He began work on it in October, 1740, at the same time he was completing its companion work, Imeneo, which he had begun two years earlier. On November 8, Handel presented his London winter season - with some new works, some revivals - and for this purpose had engaged the Theatre Royal at Lincoln's Inn Fields. Opening night saw a semi-staged version of the serenata Il Parnasso in festa; later in the month came the premiere of Imeneo. Despite a superb score and fine cast, the production was a failure and was offered only once again in early December. The fact is that opera - Italian opera - was passe in London by this time. The public had turned to other musical delights - stage works in English of a more frivolous nature than Handel's offerings.
Anna Bolena premiered in 1830 and was Donizetti’s first great success–and it remains one of his finest works. Aside from his usual endless fount of melodies, we find through-composed scenes wherein recitative seamlessly melds into arioso and into aria or ensemble. Anna manages to come across as a real character, as does the unfortunate Jane Seymour, who has the (bad) luck to be Henry VIII’s new love; and Henry’s music, too, is composed effectively for this royal villain. Less successfully portrayed but still with a couple of fine arias and some stunning ensemble music is Anna’s brother Percy. He’s an earthbound character but his music is wonderful and difficult (it was composed for the legendary Rubini).
Cybill Shepherd's first ever live CD release, recorded at the Cinegrill at the historic Hollywood Roosevelt Hotel in June of 2000. The act is a fusion of song and comedy from her thirty year rollercoaster of a career. Cybill is frank, funny and as bold as ever. It includes it all... the laughs, the tears, even cutlery against plates!
Pianist Larry Vuckovich revisits his landmark 1980 recording on this combined reissue and new release. Prefiguring the much-lauded work of Dave Douglas and the Tiny Bell Trio, guitarist Brad Shepik, and even John Zorn, the Yugoslavian-born Vuckovich combines the ethnic melodies and rhythms from his native Balkans with modal jazz. Never as avant-garde as his contemporaries, Vuckovich nonetheless pushes the boundaries of both jazz and folk styles. The original tracks featured the brilliant vibe playing of Bobby Hutcherson, who unfortunately does not reprise his role on the four new pieces.