She's blonde…she's beautiful…she's Deborah Harry! Best known as the vocalist and focal point for the NY New Wave/Punk band Blondie, Deborah continued to record memorable albums under her own name after her band imploded in the early '80s. This collection features the cream of the solo years and includes great tracks like 'I Want That Man', 'The Jam Was Moving', 'Rush Rush', 'French Kissin' In The USA' and her collaborative contribution with Iggy Pop to 1990's Red, Hot & Blue AIDS charity album, 'Well… Did You Evah!'. 18 tracks including a few bonus remixes of 'I Want That Man'.
Although Debbie Harry's popularity had decreased by the late '80s, 1989 wasn't a bad year for her at all. That year, Blondie's former lead vocalist successfully portrayed a struggling singer on the brilliant but underrated CBS crime drama Wiseguy, and demonstrated that she could still have considerable fun in the studio. Under the direction of hit producer Mike Chapman – who had worked with Blondie, as well as with everyone from Sweet to Scandal – Harry delivers an eclectic CD that isn't in a class with a Blondie treasure like Parallel Lines but nonetheless has a lot going for it. Much of this new wave-ish pop/rock and European-flavored dance music is heartfelt, clever, and quite memorable. Everything from the charming "Brite Side" (which she performed on Wiseguy) to the addictive "Bike Boy" to the haunting "He Is So" makes it clear that Harry, at 43, was far from a has-been.
A spectacular presentation of eleven new compositions from Zorn’s Book of Angels by two passionate virtuosos whose work together is never less than perfection itself. Contextualizing the music into a classical recital for violin and piano, this is the chamber music of the future. Exciting and breathtaking, Mark and Sylvie have put together a program filled with imagination, lyricism and an intense energy. New Jewish music by one of the greatest violin/piano pairings ever. This is a whole new all-encompassing direction for classical music.
This is a marvelous release, equally perfect in conception, execution, and engineering. The program locates the intellectual origins of the American avant-garde composers Morton Feldman and John Cage not in postwar European developments, but in the music of Erik Satie, who with each decade seems a more pioneering figure. Feldman and Cage here seem not modernists, but postmodernists. Front and center at the beginning is Feldman's masterpiece Rothko Chapel (1967), a chamber-ensemble-and-chorus evocation of the Houston, Texas, chapel adorned with paintings by, and partly designed by, the Abstract Expressionist painter Mark Rothko.