The Final Cut extends the autobiography of The Wall, concentrating on Roger Waters' pain when his father died in World War II. Waters spins this off into a treatise on the futility of war, concentrating on the Falkland Islands, setting his blistering condemnations and scathing anger to impossibly subdued music that demands full attention. This is more like a novel than a record, requiring total concentration since shifts in dynamics, orchestration, and instrumentation are used as effect.
Cat Stevens virtually disappeared from the British pop scene in 1968, at the age of 20, after a meteoric start to his career. He had contracted tuberculosis and spent a year recovering, from both his illness and the strain of being a teenage pop star, before returning to action in the spring of 1970 — as a very different 22-year-old — with Mona Bone Jakon.
Who says you can’t make a great record in one day — or night, as the case may be? The Trinity Session was recorded in one night using one microphone, a DAT recorder, and the wonderful acoustics of the Holy Trinity in Toronto. Interestingly, it’s the album that broke the Cowboy Junkies in the United States for their version of “Sweet Jane,” which included the lost verse. It’s far from the best cut here, though. There are other covers, such as Margo Timmins’ a cappella read of the traditional “Mining for Gold,” a heroin-slow version of Hank Williams’ classic “I’m So Lonesome I Could Cry,” “Dreaming My Dreams With You” (canonized by Waylon Jennings), and a radical take of the Patsy Cline classic “Walkin’ After Midnight” that closes the disc.
All songs composed, arranged, played and produced by Maxx Mega and Leroy McByte. The Cut has garnered the "New Emotional Music Innovative Award" from the Pallas Group and further evolved their hybrid style, be it powerfully rhythmic or classically refined and delicate.
With an outstanding solo quartet and a great chorus and orchestra, Davis leads a sterling performance that challenges the supremacy of his 1966 Philips recording of Messiah. Davis leads a dramatic performance; the famous "Hallelujah" chorus appropriately grand, the final "Amen" bristling with brazen energy, both sung with extraordinary tonal coloring and precise articulation by the chorus, which also shines in a lithe "He shall purify" and a vividly virtuoso "For unto us a child is born." Soprano Susan Gritton's solos are a delight, whether in the measured "Behold, a virgin shall conceive" or her exuberant "Rejoice greatly." The vocal purity of her "I know my redeemer liveth" makes this track a highlight. Alto Sara Mingardo's darker tones are especially moving in her arias and dramatic in "He was despised."
Initially panned by both the public and the press, Serú girán gradually won the Argentine people and became a historic album and the beginning of Serú Girán, the Argentine Beatles!….
What did it mean for Guillaume Du Fay (ca. 1397-1474), chameleon-like expert in every musical genre of his day, to compose four settings of the Mass Ordinary toward the end of his life? Looking back from the vantage point of the next generation, when the polyphonic mass reigned supreme, it might be tempting to interpret these works as a self-conscious summa of Du Fay’s career – an achievement akin to Haydn’s London Symphonies or Beethoven’s late string quartets. On a purely musical level these comparisons are apt. Each mass stakes out unique musical terrain; they are often strikingly experimental; and the entire set is shimmeringly beautiful from beginning to end, revealing a composer at the height of his powers.