"Founded 1984 in New York, Adam Yauch of the Beastie Boys recorded A Subtle Plague's first demo. (…) The brothers Simmersbach, Analucia DaSilva, Pat Ryan and changing drummers achieved wide notoriety as one of the best live bands in the U.S. underground (…) Their communal way of touring and devoted fans led to Germany's Rolling Stone magazine calling A Subtle Plague "the Grateful Dead of the '90s"…" ~wikipedia
A clear improvement over the debut in all levels: songwriting, performance, lyrics, depth, emotion. The album is a bit more mature, though it doesn’t totally leave behind the cheery naive sound of the debut behind, as you can clearly hear on the catchy piano track “Bienvenidos al Tren”.
This release offers a pair of fairly early Delius works; they may not be instantly appealing to those making a start with this idiosyncratic English impressionist, but confirmed fans will love them. The roots of Frederick Delius’ Appalachia lay in his experiences as an orange plantation manager in Florida in the late 1880s, where he heard the singing of African-American laborers and, according to his own testimony, first began to think about becoming a composer. The work is subtitled “Variations on an Old Slave Song with Final Chorus for baritone, chorus, and orchestra,” and everything about it is intriguingly confused. Florida is not part of Appalachia. Nor is the Mississippi River delta, which Delius claimed was the inspiration for the work, but which he apparently never saw.
The genre of the symphony played a major role throughout the creative life of Pyotr Tchaikovsky. He composed his 1st symphony at the age of 26, & his 6th & last symphony – the Pathйtique – in 1893, the year in which he died. Whereas his 3 last symphonies have remained an integral part of the concert repertoire, performances of his 1st 3 symphonies are still quite rare. Unfairly so, as they are unique individual works, artistic expressions of a high quality. Tchaikovsky defined the symphony as “the most lyrical of musical forms. After all, is it not meant to express that for which there are no words, but which forces itself out of the soul, impatiently waiting to be uttered?”. With these words, Tchaikovsky makes us aware of the special nature of his symphonies. Primarily, they provided him with a musical outlet for the elaboration of his emotions, his mental & spiritual processes.
Own two of the works that helped cement Beethoven’s reputation as a creative genius like none other. Internationally acclaimed pianist Emanuel Ax joins Michael Tilson Thomas and the San Francisco Symphony in a dynamic performance of Beethoven’s robust Piano Concerto No. 3. Then, MTT leads the Grammy-winning SF Symphony Chorus and musicians in a rarely performed work: Beethoven’s Mass in C major.
Between 1970 and 1972, Cat Stevens recorded four albums in the same manner, using the same producer and many of the same musicians, painting the album covers, and assigning the records ponderous titles. Things changed with his next album, Foreigner.