Lambwool is a French multi-faceted dark waving ambient/progressive synthedelica project founded by Cyril Laurent. Discovered by the legendary Divine Comedy Records, the project also offered a handful of classical albums for the independent label OPN records. Among the top French projects in the related downtempo/ambient universe.
Christmas in Vienna is almost like a live Three Tenors album, only with Diana Ross taking the place of Luciano Pavarotti. That alone makes for quite a change, since Ross' style of singing is decidedly different from Pavarotti's, but she acquits herself well. Of course, it helps that she is supported by a wonderful assembly of musicians, from Jose Carreras and Placido Domingo to producer Michel Glotz and arrangers Lalo Schifrin…
The Latin rock band Del Castillo started in the winter of 2000 in Austin, TX, as a family CD project for singer/guitarists and brothers Mark del Castillo and Rick del Castillo, who eventually added Alex Ruiz on lead vocals, guitar, and harmonica; Albert Besteiro on bass; and Mike Zeoli on drums. That CD turned out to be Del Castillo's debut release, Brothers of the Castle, in 2001. Vida followed in 2002, and Brotherhood (with special guest Willie Nelson) in 2006. The group's self-titled fourth album appeared in April 2009. Del Castillo also has contributed to several films directed by Robert Rodriguez, including Spy Kids 3D, Once Upon a Time in Mexico, Sin City, and Grindhouse. Performing with Rodriguez under the name Chingon, they recorded a version of the traditional Mexican song "Malaguena Salerosa" used in the Quentin Tarantino film Kill Bill Vol. II.
A quirky detour of late-'60s British progressive/blues rock, Blodwyn Pig was founded by former Jethro Tull guitarist Mick Abrahams, who left Tull after the This Was album. Abrahams was joined by bassist Andy Pyle, drummer Ron Berg, and Jack Lancaster, who gave the outfit their most distinctive colorings via his saxophone and flute. On their two albums, they explored a jazz/blues/progressive style somewhat in the mold of (unsurprisingly) Jethro Tull, but with a lighter feel. They also bore some similarities to John Mayall's jazzy late-'60s versions of the Bluesbreakers, or perhaps Colosseum, but with more eclectic material. Both of their LPs made the British Top Ten, though the players' instrumental skills were handicapped by thin vocals and erratic (though oft-imaginative) material. The group were effectively finished by Abrahams' departure after 1970's Getting to This. They briefly reunited in the mid-'70s, and Abrahams was part of a different lineup that reformed in the late '80s; they have since issued a couple of albums in the 1990s.