At age 54, Elliott Murphy has been recording albums of his original compositions regularly for 30 years, and unlike some musicians who have been at it that long (such as Neil Young, whose raucous, Crazy Horse-style guitar playing is echoed on this album's leadoff track and whose After the Gold Rush ballad "Birds" is covered under the title "Bird"), he hasn't changed much about his musical or lyrical approach in that time. The Elliott Murphy of 2003 is not very different from the Elliott Murphy of 1973. He still writes semi-autobiographical songs full of poetic imagery and literary references (The Great Gatsby and Samuel Beckett are favorites), and he still sets them to folk-rock arrangements that call to mind Bob Dylan.
Portland experimentalists whose singular sound touches on psychedelia, modal music, hard rock, and dub. Collection includes: The Burden Of Hope (2003); Redlight (2004); Interpretations Of Three Psychedelic Rock Songs From Around The World (2005); Black Tar Prophecies vol's 1, 2, & 3 (2006); Burning Off Impurities (2007); Doomsdayer's Holiday (2008); Take Refuge In Clean Living (2008); Deep Politics (2011).
Where does one begin upon contemplating the vast discography of this master guitarist/lutenist? Well, why not let the artist himself guide you? Bream hand-picked his personal favorites for this 10-album collection, a limited-edition set featuring facsimile LPs with original cover artwork and labels as well as a greatly detailed booklet full of discography notes.
To fulfill a commission from the National Institute of Culture and Fine Arts of Venezuela for a work to be premiered by Eugene Ormandy and the Philadelphia Orchestra at a 1966 festival in Caracas, Ginastera simply expanded much of his 1958 String Quartet No. 2 to get to his Concerto for Strings. He jettisoned the first of the quartet's five movements, shuffled the others, beefed up the instrumentation, and, in places, composed additional passages……
…In his music, Svendsen prolifically composed in all idioms. With his bent toward classical forms, he forms a yin and yang of Norwegian Romantic music with the more overtly national Grieg. Yet there is a Nordic inflection present in the language, much as Tchaikovsky's Russian-ism shows through in his selected Western models. As such, he may rightly be placed in the august line of composers of the Nordic symphonic tradition.