Gòtic is the legendary musical band formed in Barcelona in the 70’s. Its activity lasted a few years , between 1970 and 1978. They published a single work, the L.P. " Escenes " in 1978. Over the years, and for the new generations , the band’s unique "long -play " has become an icon of the symphonic and progressive rock, almost an iconic sample of an era.
Back in 1978 Gòtic recorded the demo takes of what would be their second album (LP) during some “live” sessions in “Gema-1” recording studios of Barcelona. The band’s recording label disliked the tunes considering them “not enough sofisticated"… In 2013 the band recovered the original tapes and decided to digitalize, remaster and publish the works, with the invaluable help of the original engineers, Enric Català and Jordi Vidal, amazed by their quality and alive groove feeling.
If there is any doubt about Fabio Zuffanti being a prog icon, the disbelievers have some kind of chip on their shoulder! This gifted Italian bassist/composer owns a distinguished career one could only dream about, fronting Finisterre back in the late 90s, recharging the dormant RPI School once so prolific in the 70s and then consolidating the legacy with the splendid La Maschera di Cera project…
Whether it's the luscious all instrumental four-album `Seasons' cycle or bombastic classical- influenced rock-operas such as `The Rime of the Ancient Mariner' and its live interpretation `Alive in Theatre', Hostsonaten has always been the most purely symphonic project modern Italian progressive music icon Fabio Zuffanti is involved in, and he and his music collaborators here return in 2016 with `Symphony N. 1: Cupid and Psyche'. Zuffanti and his musical friends, including La Coscienza di Zeno's keyboardist Luca Scherani, Laura Marsano on classical and electric guitars, Paolo `Paolo' Tixi on drums and Danielle Sollo on fretted and fretless bass…
Since 1987, Dan Laurin has released some thirty titles on BIS. On his latest disc, Sonates et Suites he has chosen to visit France at an exciting point in time. In the early 18th century, when all of the sonatas and suites included here were composed, the system of censorship that ensured that nothing was printed without royal permission was beginning to crumble, at least in the field of music.
Stravinsky's L'histoire du soldat, here The Soldier's Tale, is a work for narrator and small instrumental ensemble, ideally with dancers. The work was translated into English by Michael Flanders and Kitty Black; the "revised by Pamela Berlin" label here refers to some Americanisms inserted by Virginia Arts Festival director Pamela Berlin, and this American Soldier's Tale may be unique. The story comes from a little Faustian folktale of a soldier-at-war's-end, who accepts a bargain with the Devil, and the direct, at times doggerel-like rhymes of the text do well when given the directness of a translation into vernacular English.
Light in the Attic's 2016 compilation Hillbillies in Hell: Country Music's Tortured Testament (1952-1974) digs deep into odd, forgotten recesses of country music, discovering independently pressed laments about dope and the devil. Two of the names will be familiar to country fans – Margie Singleton, with her inspirational anthem "Jesus Is My Pusher," and Cowboy Copas, who warns "Don't Shake Hands with the Devil" – but most of the featured 18 tracks echo other better-known country singers, usually Johnny Cash.
Famously conducted the world premieres of Stravinsky's The Rite of Spring and other prominent works including Petrushka, Ravel's Daphnis et Chloé, and Debussy's Jeux. Monteux was the principal conductor of the French repertoire at the Metropolitan Opera in New York.