A sequel to the 2015 box Five Years 1969-1973, 2016's Who Can I Be Now? (1974-1976) covers just three years but this stretch in the mid-'70s happens to be the peak of David Bowie's superstardom. That much can be gleaned from the number of albums within the set: three studio albums - Diamond Dogs, Young Americans, Station to Station, each released in a subsequent year - along with the double live album David Live from 1974. Four albums in three years is plenty but to that core canon Who Can I Be Now? adds five additional alternate albums, each with varying degrees of rarities. There are full latter-day remixes of David Live and Station to Station - the former from 2005, the latter from 2010 - the concert album Live Nassau Coliseum '76, which was added to the super deluxe 2010 reissue of Station to Station, a bonus disc of single edits and stray songs entitled Re:Call, plus an early version of Young Americans called The Gouster.
A sequel to the 2015 box Five Years 1969-1973, 2016's Who Can I Be Now? (1974-1976) covers just three years but this stretch in the mid-'70s happens to be the peak of David Bowie's superstardom. That much can be gleaned from the number of albums within the set: three studio albums – Diamond Dogs, Young Americans, Station to Station, each released in a subsequent year – along with the double live album David Live from 1974…
This "Middle-Eastern", or rather a Central-Asian action film, about the Red Army fighting the counter-revolutionary robber bands has become not only a cult movie, but also one of the favorites for several generations of viewers. With Russian cosmonauts, it is a tradition to view this film before going to outer space. The film’s success paved the way for a genre of national “Eastern”. A demobbed soldier, Fyodor Sukhov, is making his way through the desert to his home village. The band of the brutal Abdulla is raging in that area. Sukhov is charged with escorting the chief’s harem, because Abdulla intended to kill his women rather than let them go free. Sukhov’s mate, a young soldier Petrukha, dies at the hand of Abdulla. But at the decisive moment, Sukhov gets help from the former customs officer Vereshchagin and a poor peasant, Said.
The reasons for Holst’s relative neglect, beyond The Planets and the Band Suites, aren’t hard to fathom. He wrote no large works in conventional forms, and never repeated himself. Even the Choral Symphony on poetry by Keats, here in its finest recorded performance to date (by Boult), owes very little to precedent–Mahler’s Eighth and Elgar’s The Black Knight, perhaps–and in any case features Holst’s personal combination of “spacey” orchestral color and rhythmic complexity (sample below). The music is both personal, technically virtuosic, and however beautiful somewhat cool emotionally. There is nothing else quite like it in the early 20th century.
This vocal quartet originally started life as an extension of jazz band the Hi-Lo’s. From that prominent '50s band came Don Shelton, who decided to form Singers Unlimited after the Hi-Lo’s broke up in 1964. After retreating to Chicago, Illinois, where he worked on a series of television commercials, he enlisted fellow Hi-Lo’s veteran Gene Puerling of Milwaukee, Wisconsin, to join him in the city in 1967. The group was formed along with Len Dresslar and Bonnie Herman, with the express intention of recording commercials in the doo wop/vocal group idiom. Shelton’s connections in the industry ensured the group was able to exploit the market successfully, and lucrative work rolled in. However, the 30-second snatches of songs hardly satisfied their artistic ambitions, and when they found themselves with studio time left over after one session, they recorded a take on the Beatles' "The Fool on the Hill." Through visiting jazz pianist Oscar Peterson, the demo of the a cappella recording was passed to MPS Records in Germany.
Wagner at The Met is the first authorized release of Richard Wagner's operatic masterpieces, including the complete Ring Cycle, captured live in historic broadcasts from The Metropolitan Opera.