If you are a fan of Barclay James Harvest, or are an uninitiated soul looking for a good introduction to one of the worlds most underrated bands, then look no further than "Caught In the Light"! This is a brilliant album from start to finish…
Described by producer Shu-Fang Wang as "an imaginary soundtrack originally composed for a film story set in Taipei," Before the Light gives the music of ECM recording artist Ketil Bjørnstad a cinematic twist. For this album, the pianist has written a handful of romantic melodies and atmospheric moods. The former are presented in different arrangements scattered throughout the album; the latter often include guitar soundscapes and programmed rhythm tracks. Bjørnstad is accompanied by guitarist Eivind Aarset, viola player Nora Taksdal, and keyboardist Kjetil Bjerkestrand. Each one of these short pieces (none over six minutes) makes a melodic statement that could be qualified as being quintessential ECM. .
"MAY 1977: GET SHOWN THE LIGHT is a collection of what is unanimously believed to be the most sought-after previously unreleased complete shows the Grateful Dead ever played. Collected, traded, and debated for decades, "the beloved Golden Trinity" of Boston, Ithaca, and Buffalo, along with their New Haven prelude, have inspired fans to "get on the bus," converted critics, and even garnered national attention (Cornell was added to the Library of Congress’ National Recording Registry). But until now, you've never really heard them quite like this!
In early 1990, when she was one of the biggest pop stars in the world, Gloria Estefan suffered a broken vertebrae when her tour bus was struck in an accident, and her miraculous recovery from that near tragedy greatly informed her successive album, Into the Light. Though often noted as a "comeback" album, that descriptor is misleading. Yes, Into the Light is a comeback – a comeback from her accident, that is. It's not a comeback in the sense that her previous album, Cuts Both Ways, had been a failure or even a disappointment. No, Estefan hadn't fallen off, so to speak, with that album. Quite the opposite. It was a monster hit, breaking into the Top Ten and scoring a couple of high-charting ballads: "Don't Wanna Lose You" and "Here We Are." It also marked a drastic shift away from the unabashed dance-pop of her Miami Sound Machine output toward a more respectable adult contemporary appeal. This shift affected not only her image but also her audience as a result, and that shift is even more apparent on Into the Light. In fact, the shift seems complete, as this is full-fledged adult contemporary album with serious themes and toned-down production.