Of all the early rock & rollers, Fats Domino was the easiest to take for granted, since he made it all seem so easy. Even when it rocked hard, his music was so relaxed, so friendly that it sounded effortless and natural, which was part of the reason that his classic recordings for Imperial in the '50s were so consistently enjoyable. All the hits, many of their flips sides, and most of his album cuts were flat-out fun – maybe not as revolutionary as work by Little Richard, Buddy Holly, Chuck Berry, and the Everly Brothers, but his body of work for Imperial not only stands proudly next to theirs, but is just as influential. This much is clear after years of hindsight, but in the late '60s he was as passé as any of his peers, even if there were legions of new rockers, from the Beatles to Randy Newman, who were raised on his music.
Excellent addition to any Prog-Rock music collection
This one is the jewel of Symphonic and Psychedelic-Rock from Latin America in the early seventies.
The name of the band was “Frutos Del País”, and I could compare their music with Procol Harum, which is clearly their main influence.
Debussy modified the inertias of music without altering the thread of music history; he changed the course without losing north, and avoided the pitfalls that led so many other eminent composers of his era to isolation and melancholy. All this is manifested in the works that Peruvian pianist Claudio Constantini reveals to us in this stunning release, second in a series that presents the recording of the complete piano output of the French composer, in which he performs the 24 Preludes, composed by Debussy in two volumes, the first from 1909 to 1910, while he was already ill with the cancer which would cause his death in 1918, and the second from 1911 to 1913. Together with the first book of Preludes, Claudio Constantini performs the Estampes from 1903 and the Ballade Slave from 1890; and next to the second book of Preludes, his Images oubliées from 1894.