One of the most interesting aspects about the Alan Parsons Project is the band's ability to forge a main theme with each of its songs, while at the same time sounding extremely sharp and polished. Much of this formula is used in Ammonia Avenue, only this time the songs rise above Parsons' overall message due to the sheer beauty of the lyrics partnered with the luster of the instruments. The album touches upon how the lines of communication between people are diminishing, and how we as a society grow more spiritually isolated and antisocial. But aside from the philosophical concepts prevalent in the lyrics, it is the music on this album that comes to the forefront…
"Merry Christmas" is a Christmas album by American pop singer Andy Williams that was released by Columbia Records in 1965. This, his second holiday LP, is focused exclusively on 20th century compositions, unlike 1963's The Andy Williams Christmas Album, which, of its 12 tracks, had six with origins predating the turn of the century. For the six consecutive holiday seasons from 1965 through 1970, Merry Christmas charted on Billboard magazine's special year-end weekly Christmas Albums sales chart. The album spent two weeks as the number one selling Christmas album during the holiday season of 1966 and one week atop that same chart in 1969.
Coming off an intense and emotionally rough period that surrounded the recording and release of 2013's No Morphine No Lilies, drummer Allison Miller's Boom Tic Boom is in upbeat, adventurous form on 2016's Otis Was a Polar Bear. Which isn't to say that she and her bandmates weren't game for adventure on No Morphine No Lilies. On the contrary, the group found its footing on that album born out of a tumultuous year that included Miller taking care of her sick girlfriend, two of her bandmates having babies, and Miller drawing attention, some unfairly negative, for a Huffington Post article she wrote about being a lesbian feminist in the jazz world.
Core and founding members James Lloyd and Curtis Harmon refer to In the Moment as the 20th Pieces of a Dream album. Instead of hosting a guest-filled blowout, they keep it simple with familiar associates, guitarist Rohn Lawrence, saxophonist Tony Watson Jr., and bassist David Dyson. The duo also receive a little assistance from a handful of additional musicians, including Shanachie label stalwart Chris "Big Dog" Davis.
These performances come from the first ever complete set of the Mozart symphonies, dating from the 1960s, and they still represent 'big orchestra' Mozart at its most congenial. The contrast here between Bohm's sparkling Mozart, both elegant and vigorous, and the much smoother view taken by Karajan with the same orchestra, works almost entirely in Bohm's favour. Interpretatively, these are performances very much of their time, with exposition repeats the exception (as in the first movement of No. 40) and with Minuets taken at what now seem lumbering speeds. Yet slow movements flow easily, and finales bounce along infectiously. Consistently they convey the happy ease of Bohm in Mozart, even if the recording is beefy by today's standards, not as transparent as one now expects in this repertory, whether on modern or period instruments.
“Pensar en nada” is the fifth studio album by the Argentine singer-songwriter León Gieco.
“Vivencia” is the disc that follows “Mi Cuarto” LP. I read somewhere in the network that after that LP (Mi Cuarto), they did not get better jobs … Hmmm, debatable.