""Rather than make a traditional covers record, I thought it would be much more fun to create a new type of project in which artists communicated with each other and swapped a song for a song, i.e. you do one of mine and I'll do one of yours, hence the title - Scratch My Back - And I'll Scratch Yours." Peter Gabriel
While numerous new wave artists in the early '80s tried to imitate David Bowie, Peter Schilling went a step further. In 1983, Schilling released "Major Tom (Coming Home)," a synth pop retelling of Bowie's 1969 classic "Space Oddity." It became Schilling's first and only entry in the U.S. charts, a song that eventually stigmatized him as a one-hit wonder in America. Schilling was born in Stuttgart, Germany, on January 28, 1956. As a teen, Schilling couldn't decide on whether to be a soccer player or a singer. He chose music and his debut album, Error in the System, appeared in 1983. The single "Major Tom (Coming Home)" wasn't just popular in the U.S., it was a worldwide smash.
Released a year after Martin Scorsese’s controversy-laden film first hit the big screen in 1988, "Passion" tends to be regarded as a work in its own right rather than just being a movie soundtrack. It features additional music than was included in the film; this extra material was the result of Peter Gabriel (ex-Genesis) continuing to record and to resolve "unfinished ideas", hence the later arrival of the record. Built on a foundation of Middle Eastern and North African rhythms and melodies, "Passion" is unsurprisingly Peter’s most spiritual work, no more so than when the alternately ascending voices of Nusrat Fateh Ali Khan, Youssou N’Dour and himself interweave on the title track. Nusrat and Youssou are far from the only notable guests; the cross-continental gathering of musicians also includes Senegalese griot Baaba Maal, jazz drummer Bill Cobham and avant-garde trumpeter Jon Hassell among many others…
The music of Bach's 'St. John Passion', which the composer wrote for Holy Week in 1724 immediately after his appointment as cantor of St Thomas's Church in Leipzig, still retains all its freshness and vitality nearly 300 years later, and is a true Baroque delight. The two main choruses Herr, unser Herrscher and Ruht wohl, ihr heiligen Gebeine form the beginning and culmination of a large-scale orchestral and vocal structure in which Bach reveals his absolute mastery of polyphony. Inwardly reflective chorales are as much interwoven into the events of the Passion as the haunting arias which comment on the biblical texts of the Gospel of St John. Throughout this solemn Passion oratorio, there is a constant emphasis on Baroque musical magnificence. What makes this live recording of the concert version of March 7, 2015 in the Herkulessaal of the Munich Residenz so special? The fresh voices of the young and excellent vocal soloists, the regularly praised "astonishing three-dimensionality" and "crystalline clarity" of the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra and, of course, the renowned period instrument ensemble Concerto Köln.