On July 25th. 1998 25.000 people flooded into London's Hide Park to watch the spectacular open air dance extravaganza, "Feet of Flames". With his feet moving too fast to catch fire, Michael Flatley and his too strong cast took dance into hitherto undreamt of dimensions. Feet of Flames was a one-off special, the culmination of everything Michael Flatley has learnt in a remarkable career. He created Lord of the Dance, phenomenon of the decade, which has captivated audiences all around the world and has spawned video and CD sales in their millions. There are now three Lord of the Dance troupes, each 40 strong, performing around the world. One is touring Europe, one is touring across America and the third is third is permanenly resident in Las Vegas. A fourth troupe will shorly by launched in Disney land Florida. On Feet of Flames, Michael shows he is not just the master of the stage but the fastest dancer in the world capable of 35 separate taps in a second. He is also a visionary choreographer and an accomplished musician. On this album, which captures the unique atmosphere of the performance in Hyde Park, Michael demonstrates his command of the flute on three new songs, the band number "Celic Fire", and haunting solos on "Whispering Wind" and "Dance Of Love". Michael Flatley has proved dance can flourish as a multi media spectacle. Feet of Flames will stand as a permanent legasy of his vision as he preperes to develop new challeges, which will continue to astound and delight his millions of fans.
Stephen Cleobury and the Choir of King’s College, Cambridge present a live world premiere recording of Francis Grier’s lit by holy fire.
Fans of muscular progressive rock will love Solar Fire, a concept album loosely designed around cosmology. The album opens with the majestic "Father of Night, Father of Day," which has the drive and complexity of a prime King Crimson track. As unlikely as it may seem, the track was controversial in Mann's native South Africa because of the "Father of black, father of white" line, implying that apartheid might not extend to infinite space. The album moves on to the progressive rock/jazz fusion of "In the Beginning, Darkness," a swinging, even funky track that benefits from soulful vocals by Doreen Chanter and Irene Chanter of the Grove Singers. The same duo contributes to the title track, a slow piece that begins with a fairly standard rock structure and incorporates a massive progressive jam in the middle.