On Awakening, Narada Michael Walden placed aside the jazz fusion leanings of his early albums in favor of a more radio-friendly sound. The strategy worked, with Walden having his first Top Ten R&B single, "I Don't Want Nobody Else (To Dance With You)," which also charted number 47 on the pop charts in early 1979 and Awakening breaking into the R&B Top 15. The follow-up single, the mid-tempo groover "Give Your Love a Chance" featured grand arrangements by Patrick Adams. Walden displays his hyperkinetic drumming skills on "They Want the Feeling." Other standouts are "Love Me Only," the beautiful radio-aired album track "Listen to Me," and the tender "Will You Ever Know."
Après le succès international de "L'Énigme sacrée", dans lequel il évoquait le premier la descendance possible de Jésus et de Marie-Madeleine, Michael Baigent soulève une fois encore la controverse avec "L'Énigme Jésus", récit détaillé de vingt-cinq années de recherche passionnée et d'enquête autour de la figure de Jésus-Christ. …
The choice of repertoire is more or less predictable. There are no lesser known arias, and Gott sei Dank they have been grouped by opera but, within the operas, not in the order of appearance. The ordering of the operas seems haphazard, too. "What an ungrateful nit-picker!" I can hear readers mumble. "Of course they have decided the order to achieve as much variety as possible". But I am not so sure. Why, in that case, start the recital, after the Zauberflöte overture with two arias in a row sung by Russell Braun?
Agricola was praised by his contemporaries for the bizarre turn of his inspiration, and his music likened to quicksilver. By the standards of the period this is a highly unusual turn of phrase, but remains spot-on. The Ferrara Ensemble anthology, the first ever devoted to the composer, focused on the secular music, both instrumental and vocal, precisely the area covered by Michael Posch and Ensemble Unicorn in this most satisfying disc. Where there's duplication (surprisingly little, in fact) the performances compare with those of the Ferrara Ensemble, although the style of singing is very different. The voices are more up front and less inflected, perhaps the better to match the high instruments with which they're sometimes doubled. But the tensile quality of Agricola's lines comes through none the less, as does the miraculous inventiveness and charm of his music. Further, much of what's new to the catalogue really is indispensible, for example Agricola's most famous song, Allez, regretz. Unicorn keeps its improvisations and excursions to a minimum, and the music is the better for it. It really is a must-have.