Clean version. 2 CD Set. 37 tracks. A nicely packaged collection of the band's greatest hits that commemorates their reunion and 2005 world tour. All the essentials are on disc one, which is generously crammed with choice cuts from the Aqua Net years - from the sleek glam rock of 'Too Fast For Love' and strip-club anthem 'Girls, Girls, Girls' to the runny mascara ballad 'Without You' and comedy hocus-pocus of 'Shout at the Devil'. Having just barely survived the '80s, the band gets inexplicably serious on the second disc, delving into 'Planet Boom' and 'Generation Swine'. But there's no reason to fret–the compilation is merely doing its job and succeeds brilliantly in tracing the rise and fall of a band whose legacy is turning out to be far greater than anyone ever imagined. Universal.
With Antonio Caldara’s 'Morte e sepoltura di Christo', released on Glossa just after a new album devoted to Vivaldi’s late violin concertos, Fabio Biondi returns to the Italian oratorio, another of his specialities. The Venetians Caldara and Vivaldi may have been contemporaries but their career paths led them in different directions, and Caldara was to spend much time working in Mantua and Rome before securing the position of vice-Kapellmeister for the Holy Roman Emperor Charles VI in Vienna.
harpentier’s Médée is one of the glories of the Baroque. Medea’s betrayal by Jason, her comprehensive revenge and the plight of those caught up in this epic tragedy prompted Charpentier to compose music of devastating power. Transcending the constraints of the Lullian tragédie lyrique, he produced characterisations of astonishing complexity and invested vast stretches of music with a dramatic pace and a harmonic richness rivalled among contemporaries only by Purcell. The electrifying exchanges of the third act, mingling pathos with extreme violence, alone put Charpentier on the same imaginative level as Rameau and Berlioz. The machinations of the fourth act and the dénouement in the fifth maintain the same captivating impetus.
This two-in-one set features a pair of LPs by REO Speedwagon, R.E.O. Speedwagon and R.E.O./T.W.O., originally issued in 1971 and 1972. These 16 tracks include such original compositions as "Anti-Establishment Man," "Five Men Were Killed Today," "Being Kind (Can Hurt Someone Sometimes)," and the Chuck Berry classic "Little Queenie."
Platée was one of the most highly regarded of Rameau's operas during his lifetime. It even pleased critics who had expressed hostility to his musical style during the Querelle des Bouffons (an argument over the relative merits of French and Italian opera). Melchior Grimm called it a "sublime work" and even Rameau's bitter enemy Jean-Jacques Rousseau referred to it as "divine". The reason for this praise may be because these critics saw Platée, a comic opera, paving the way for the lighter form of opera buffa they favoured.
The great collection with the best of I Nomadi, the live "Album Concerto" with Francesco Guccini, demos, rarities and 7 previously unreleased tracks singed by Augusto Daolio. Contains also a booklet with rare photos and images.
Deep Purple were bombastic as hell, but as a template for the next wave of hard rock bands, the group did a pretty good job of showing how it’s done, picking just the right song to cover and also writing one or two rock classics like “Smoke on the Water” to give it all credence. This two-disc set collects all the band’s singles and EPs released between 1968 and 1980, and while it thins out considerably toward the end of that run, the quality here is revealing – this band clearly bridges the British Invasion era with…
The “Jazz album of the decade 2000 – 2010” (London Times). In a word: wow. Since their 1993 debut album, the Esbjörn Svensson Trio, or E.S.T., as it is usually called, have taken the jazz world by storm, winning numerous awards, playing sold-out world tours, topping the charts, and generally enjoying a popularity that's exceeded that of almost any other jazz group in years. The trio was also the first European jazz group to grace the cover of Down Beat magazine, which led to long discussions about the heritage of jazz and the validity of European jazz; and, naturally, it caused some listeners to perceive an artificial hype and discredit the band for simply not being as brilliant as everyone says they are.