A movie as appealing and savory as the heaping piles of dinosaur sh*t that pass for its sight gags, 1980's Caveman ranks among the worst bombs Hollywood ever produced. Though a vehicle for Ringo Starr, the erstwhile Beatle did not record the film's soundtrack, with that, uh, "honor" going to the great screen composer Lalo Schifrin. Somehow Schifrin manages to rise above it all – especially given the circumstances, his Caveman score ain't half bad: though its epic sweep would have been far better suited for a movie worth watching, this is the kind of melodramatic score harking back to Hollywood's golden era, complete with eruptions of brass and strings. And in keeping with the prehistoric plot, there's even a tribal energy to the percussion – sounds silly, but it works.
The box contains a perfect overview of VIVARTE’s legendary catalogue of ancient music ranging from Vivaldi to Brahms. Most of the recordings received critical acclaim all over the world, many of them won prestigious awards and many are reference recordings.
A limited edition of the Camaron de la Isla 'Integral' box-set. It represents a veritable journey through his life and singing. It includes 21 original albums. The first 17 of them were made in recording studios by Camaron from 1969 to 1992 while he was alive. The title of his new album in 1975 seems to indicate the path politics would take, because of its reference to "majestad" (majesty, or King). "Arte y majestad" is a work in the Camaron manner as few others -his styles and vocal twistings are presents in each track, although the authorship of the cuts is still signed by Antonio Sanchez. To prove it, all that is needed is to listen to the "soleares", "tarantas" (the credits say "tarantos"), "seguiriyas" and "bulerias", outstanding the one dedicated to his admired Curro Romero, in which Paco de Lucia gave a preview of some sounds from the coming "Almoraima".
The argument will forever rage, but Memphis, Tennessee, is as much the fountainhead of rock ’n’ roll as is Cleveland, Ohio. Whilst the north had Alan Freed as its turntable champion, the south was blessed with the madcap deejay, Dewey Phillips. Chances are, ole Dewey would have played most of the 75 titles that go to make up Raunchy Sugar on his Red Hot and Blue show that aired over WHBQ in Memphis.During the 1950s the city was alive with labels, record hops, musicians and the general chaos that goes hand in hand with the big beat. The geographical lie of the land helped a great deal, because the city was central to so many rural areas that harboured musical talent and style. Carl Perkins and Carl Mann gravitated to the area from Jackson, Tennessee, Billy Riley and Conway Twitty did the same from Arkansas, and Elvis Presley hit the trail from Mississippi in order to soak up some of that unique Shelby County action. Outside of Sam Phillips’ legendary Sun Records, the labels included such names as Hi, Cover, Fernwood, Meteor, Vaden Moon and Satellite.
Robert Schroeder is a talented and inspired german electronic composer whose career has strong connections with analogue synth sequences and spacey, spherical soundscapes produced by Klaus Schulze during the second half of the seventies. If we compared it with the best essays from K.Schulze's classic period, Harmonic Ascendant figures as a major work, pushing the cosmic synthesizer trippiness to an other level of experimentation and emotion. Harmonic Ascendant is not as majestic and as visceral than early TD and Schulze but clearly better than anything produced by these two masters after the 70's.