"…This set deserves the most enthusiastic recommendation which words can muster. It has few rivals even in the top price range. (…) Zinman is Beethoven: I can pay him no greater compliment." ~musicweb-international
Welcome to Paradox is a science fiction television series aired on the Sci Fi Channel in the U.S. and on Showcase in Canada. Despite being filmed in Canada, the series was broadcast first in the United States. It first aired on August 17, 1998, and ran for one season, ending on November 9, 1998. As this was part of a crop of new shows produced in 1998 by Sci Fi Channel and it was not successful beyond the first season, it was never placed in syndication. Betaville was the original title for the series.
La Femme Nikita earned a cult following as a French film, was a disaster as an American remake titled Point of New Return and then appeared in its (presumably) final incarnation as a cult television show for the cable network, USA. The television show turned out to be a much bigger success than anyone imagined, which meant the appearance of a soundtrack was inevitable. Fortunately, the resulting disc is actually quite enjoyable. Like many late '90s soundtracks, La Femme Nikita's foundation is electronica, particularly trip-hop, balanced by moody alternative pop. The blend of the two genres is quite alluring, even if some of the cuts are a little bland. Nevertheless, cuts by Mono, Morcheeba, Depeche Mode, Curve, Fluke, Gus Gus, Morphine and DJ Keoki, as well as Mark Snow's theme, makes the record worthwhile. Review by Stephen Thomas Erlewine
Recorded live at the Brooklyn Academy of Music on August 7 1993, during the acclaimed ''Psychoderelict'' tour, this double CD set features, for the first time live, the entire ''Psychoderlict'' performance as well as a selection of hits from Pete Townshend''s extensive catalogue. The recording features Pete Townshend together with a full band and actors performing in this theatrical presentation.
In the kid-blues sweepstakes, "Monster" Mike Welch was one of the first on the scene and one who quickly got lost in the shuffle. This probably had more to do with his non-Hanson-like looks (à la Kenny Wayne and Johnny Lang) than his actual talent on his instrument, never a real consideration in these matters. Therefore in a move to distance himself from the pack and grab a little credibility in the bargain, his third album finds him dropping the teeny bopper "Monster Mike" tag, growing a beard, and scowling into the camera whenever possible…..