Light is all important to David’s work. In this film he goes in search of the wonderful light of Italy along the Amalfi coast. Arriving in a new area, he emphasises the benefit of sketching before starting to paint. He then goes on to complete paintings of a variety of subjects including scenes of boats and buildings, a beach, the charming hilltop village of Ravello on a sunny afternoon and even a street painted at night. His paintings perfectly capture the atmosphere and light of the Italian scenery.
The first-ever single-disc anthology of Queen drummer Roger Taylor's solo material, 2014's Best brings together tracks off all five of his studio albums. The collection follows-up the more exhaustive 2013 box-set, The Lot, and features cuts from 1981's Fun in Space, 1984's Strange Frontier, 1994's Happiness?, 1998's Electric Fire, and 2013's Fun on Earth. While primarily known for his commanding drum presence with Queen, Taylor is also a strong rock singer and talented songwriter, responsible for penning such Queen hits as "Radio Ga Ga," "Breakthru," "These Are the Days of Our Lives," and others. Vocally, Taylor has a throatier, more gravelly presence on the microphone than Queen's highly resonant, operatic frontman Freddie Mercury. In that sense, he often brings to mind the sound of such similarly inclined contemporaries as the Who's Roger Daltrey, Mott the Hoople's Ian Hunter, and Deep Purple's Ian Gillan. Perhaps not surprisingly, many of the cuts here sound like they could easily have ended up on a Queen album, and tracks like "Let’s Get Crazy," "Man on Fire," and "Strange Frontier" showcase the same synth-driven, pop/rock approach Queen was championing in the '80s.
This previously unreleased 3LP was recorded live at Earls Court, London on the 30th June and 1st July, 1978 by Tony Visconti. It was mixed by David and David Richards at Mountain Studios, Montreux from 17th – 22nd January, 1979.
This black vinyl 45 rpm 12” single features the first appearance of the full length demo of ‘Let’s Dance’, previously released in an edited form through digital download and streaming services for David’s birthday on 8th January this year. The full length version clocks in at 7.34, compared the edit which is 5.19 in length. Both versions were mixed by Nile Rodgers (original co-producer of the demo with David) in December of last year. The demo is backed by the live version of ‘Let’s Dance’, which was recorded live at Pacific National Exhibition Coliseum in Vancouver on 12th September 1983 and mixed by Bob Clearmountain. This version can be seen on the Serious Moonlight concert film, and was also previously available on the reverse of the Australian David Bowie Is exhibition as an exclusive yellow vinyl 7” single. The sleeve of the 12” single is a colour variation of the original Let’s Dance single cover.
A Sea Without Memory is David Helpling’s first ever solo ambient guitar album. The music, created live using only electric guitar and a series of custom programmed effects processors, is the culmination of the signature ambient guitar sound he has been refining throughout his entire career. A Sea Without Memory is a sharing, a story in watercolor told through the deep and textured hues of ambient guitar. Melancholy, shimmering and wondrous, this experience is not a journey, but rather an unfolding of events that approach, surround, then move beyond the listener, delivering a constant flow of dreamlike moments that slowly dissolve into the next wave of sound. Be still in the space, and let A Sea Without Memory slowly color your world.
Reissue features the latest digital remastering and the high-fidelity SHM-CD format (compatible with standard CD player) and the latest DSD / HR Cutting remastering. Comes with a description. Features the original LP designs. A pretty great live set by Billy Taylor and his early trio with Earl May on bass and Percy Brice on drums – recorded at Town Hall in 1954! Taylor is actually pretty darn amazing on the set – very much the virtuoso, playing with an incredible range and an almost modern approach to the tunes – one that seems looser, and more expressive than some of his previous studio sessions for Prestige Records – in a way that makes this album a gem well worth seeking out! Titles include "Theodora", "A Foggy Day", "How High The Moon", and "I'll Remember April".