So what if Liszt spent most of his life in France and Germany and never learned to speak Hungarian? The music of the Magyars' fiery favorite son played by a hot-blooded local boy is an irresistible combination. Even the delightful Dohnanyi filler (variations on ''Twinkle, Twinkle, Little Star'') doesn't really douse the flames. Put it in the CD player and let 'er rip! Just be sure to remove all flammable vestments first. (Entertainment Weekly)
French artist Colleen is fearless in her willingness to explore new sounds and new ways of creating music as a solo performer. On her new album A flame my love, a frequency she introduces the most drastic change to her music since she began singing on her fourth album. A chance encounter with a Critter and Guitari synthesizer at King Britt’s Philadelphia studio on the Captain of None album tour cracked the compositional model wide open. Colleen bought a Critter and Guitari Pocket Piano with the aim to use it through a newly-acquired Moog filter pedal to create new and interesting rhythms to accompany her voice and viola da gamba. But it turned out the sounds of this viola and rhythm combination was not what she was looking for, so in typical Colleen fashion, she set the viola da gamba aside altogether and picked up an additional Critter and Guitari synth, the Septavox, dug out her her trusted Moog delay and dove right in.
Half a Boy/Half a Man is the eleventh studio album by George Thorogood and the Destroyers. It was released on April 13, 1999 on the CMC International label. The album peaked at #24 on the Billboard Mainstream Rock chart. George Thorogood is an American musician, singer and songwriter from Wilmington, Delaware. His "high-energy boogie-blues" sound became a staple of 1980s rock radio, with hits like his original songs "Bad to the Bone" and "I Drink Alone". He has also helped popularize older songs by American icons, such as "Move It on Over", "Who Do You Love?", and "House Rent Boogie/One Bourbon, One Scotch, One Beer", which continue to get heavy airplay on classic rock radio…
Gil Scott-Heron's 1971 album Pieces of a Man set a standard for vocal artistry and political awareness that few musicians will ever match. His unique proto-rap vocal style influenced a generation of hip-hop artists, and nowhere is his style more powerful than on the classic "The Revolution Will Not Be Televised." Even though the media – the very entity attacked in this song – has used, reused, and recontextualized the song and its title so many times, the message is so strong that it has become almost impossible to co-opt. Musically, the track created a formula that modern hip-hop would follow for years to come: bare-bones arrangements featuring pounding basslines and stripped-down drumbeats. Although the song features plenty of outdated references to everything from Spiro Agnew and Jim Webb to The Beverly Hillbillies, the force of Scott-Heron's well-directed anger makes the song timeless. More than just a spoken word poet, Scott-Heron was also a uniquely gifted vocalist. On tracks like the reflective "I Think I'll Call It Morning" and the title track, Scott-Heron's voice is complemented perfectly by the soulful keyboards of Brian Jackson.