Piece of Mind is the fourth studio album by British heavy metal band Iron Maiden. It was originally released in 1983 on EMI, and on Capitol in the US; it was reissued later on Sanctuary/Columbia Records.
The Sicilian-born tenor Giuseppe Di Stefano emerged in Switzerland after fleeing there when the Nazis took over Italy. There he made his first recordings after appearing on local radio in opera broadcasts. He made his operatic debut as Des Grieux in Massenet’s Manon at Regio Emilia on 20 April 1946 after which his rise was rapid. He débuted at La Scala in the same role in March 1947 and as the Duke of Mantua in Rigoletto at the Metropolitan Opera the following year with Leonard Warren in the title role. These were Di Stefano’s golden years, singing roles such as Fenton in Verdi’s Falstaff, Almaviva in Il Barbiere de Siviglia, Nemorino in L’Elisir d’amore and Alfredo in La Traviata. His early 78rpm recordings from this period reveal a voice of great lyric beauty (CD 1 trs1-5) and when the repertoire was right and when he resisted putting pressure on his open-throated forward tone. His outgoing and exuberant, if insouciant, personality did not take restriction to heart. If he could sing a note or a phrase full out he did so and even on these early tracks in the revealing sound of CD one can detect a touch of dryness, even rawness, at the top of the voice although without detracting from the attraction of his pianissimo and mezza voce singing.Robert J Farr, MusicWeb International
SHOOTING AT THE MOON, originally released in 1970, was Kevin Ayers's second solo album after leaving the Soft Machine, and his first recorded with his touring band of the moment, Kevin Ayers & the Whole World. Retrospectively, of course, this band became somewhat legendary, as Ayers's primary collaborators were reedsman Lol Coxhill and an 18-year-old whiz-kid guitarist named Mike Oldfield, both of whom later went on to much bigger things. But even on its own merits, SHOOTING AT THE MOON is one of Ayers' finest albums. Lacking the faux-naif persona of his solo debut, JOY OF A TOY, and recording with a full band for the first time since the Soft Machine's first album, Ayers creates challenging, compelling music that doesn't stint on his trademark whimsy.
Hi buddies! Despite I'm not a fan of Barenboim as a conductor, here in Spain, we have a magazine (is almost as sect) that promotes all the cds signed by Dani, like a sort of last revelation when things were invented time ago... Anyway my sick interest defeated me :P and was attracted by this Spanish pressing LP from the junks...and it really impressed me. Its sound is really nice!!! It has a nice performance of the music that I don't know why EMI didn't reissued on cd. The matter comes from the Side B; it has a lot of tracking noise so the groove is totally useless. The transfering of Divertimento was done, but couldn't take a decent sound from it. That's why I didn't add it here. Despite of that, Divertimento was reissued on and old EMI Matrix cd coupled with Schoenberg's Transfigured Night and Hindemith's Trauermusik, so if someone has it, it will be welcome. Please, let me know if you like how it sounds :) Enjoy!
Mother's Milk is the fourth studio album by American alternative rock band Red Hot Chili Peppers, released on August 29, 1989 on EMI. After the death of guitarist Hillel Slovak and subsequent departure of drummer Jack Irons, vocalist Anthony Kiedis and bassist Flea regrouped with the addition of guitarist John Frusciante and drummer Chad Smith. Frusciante significantly altered the band's sound by placing more emphasis on melody than rhythm, which had dominated the band's previous material. Returning producer Michael Beinhorn favored heavy metal guitar riffs as well as excessive overdubbing, and as a result Beinhorn and Frusciante constantly fought over the album's guitar sound.
The record was a greater commercial success than the Chili Peppers' past three studio albums combined. Mother's Milk peaked at number 52 on the Billboard 200 and received widespread recognition for singles "Knock Me Down" and the Stevie Wonder cover "Higher Ground". The album became their first gold record in early 1990, and was the first step for the band in achieving international success. Although the record was not met with the same positive critical reception that its predecessor The Uplift Mofo Party Plan (1987) had garnered, Mother's Milk, according to Amy Hanson of Allmusic, "turned the tide and transformed the band from underground funk-rocking rappers to mainstream bad boys with seemingly very little effort".
I do not recall having heard Previn conduct Debussy before, and his recording of the Images four or five years ago was not especially well received as a performance (HMV ASD3804, 12/79; CD EMI CDC7 47001-2, 2/84). Like Davis's though, but in a totally different way, they have the ability to make one think about these much-recorded works afresh. I suppose I had thought that the centre of Debussy's orchestra in both pieces is the woodwind and high strings, until Davis's bracing readings, of La mer especially, revealed how much of both the light and the weight of that music can be seen to be conveyed by the brass. Where Davis's Nocturnes are mistily northern and his La mer is the Baltic, Previn moves the music much closer to the Mediterranean with his warm and passionate, never histrionic but perhaps Latin concentration on the strings. MEO (Michael Oliver) Gramophone
Following with my uploads on Mariss Jansons recordings i want to share with you a long neglected recording of Shostakovich's 5th by Jansons and the Oslo Philharmonic. This recording seems to be forgotten by the EMI staff who put the recording with the Vienna Philharmonic in the set of the symphonies. Enjoy!