In collaboration with Litto Enterprises Inc., Music Box Records is very proud to present one of its most ambitious releases yet - a classic Bernard Herrmann score from one of his last efforts and an important milestone in his immense career for Brian De Palma´s classic melodrama Obsession (1976) written by Paul Schrader and starring Geneviève Bujold, Cliff Robertson and John Lithgow. In a career often spent paying tribute to Alfred Hitchcock with the likes of Dressed to Kill, Blow Out and Body Double, Obsession even today stands as De Palma’s ultimate fever dream homage to the director who’d made Bernard Herrmann a household name as the romantic master of musical suspense during an eight film collaboration, no more so than with 1958s Vertigo. Yet Obsession’s reincarnation of that masterpiece showed just how devious De Palma always was in his admiration, cloaking a truly seditious plot twist that would’ve given even Hitchcock pause within sleek, star-filtered visuals. Obsession remains his most fervently romantic, and dare one say innocent attempt to recreate the studio gloss of a time when outright violence and sex were left to the mind’s eye, its rage and sensuality truly made explicit in its music. It’s a powerful, stylistic subtlety that increasingly made Obsession into the filmmaker’s most discerning cult film.
The shortest album of Black Sabbath's glory years, Master of Reality is also their most sonically influential work. Here Tony Iommi began to experiment with tuning his guitar down three half-steps to C#, producing a sound that was darker, deeper, and sludgier than anything they'd yet committed to record…
Herbie Hancock's V.S.O.P. project with his former bandmates from the Miles Davis Quintet – Ron Carter, Wayne Shorter, Tony Williams – and trumpeter Freddie Hubbard was a band that almost single-handedly tried to re-establish acoustic jazz in the United States. And though they made three recordings, all of which were favorably reviewed and heralded by true jazz fans, none of them sold very well, and the band could find few gigs in the United States. The 1978 tour of major cities was thought to be a triumph at the time, but the unit could find few gigs afterward, and so its various members all went back to their other projects. In 1979, they got the opportunity to tour Japan and jumped at the chance. Sony, Hancock's Japanese label, recorded the two evenings, and the first, which took place during a furious rainstorm, was broadcast live on national television! Live Under the Sky marks the first time that this album has been available in the United States in any form.
Maggie Bell was lead singer of the Scottish rock band Stone the Crows, who broke up after their guitarist was fatally electrocuted onstage. Managed by Peter Grant (Led Zeppelin) and produced by Jerry Wexler (Aretha Franklin), Bell made a staggeringly good solo debut that seemed to position her as the heir to Janis Joplin (even covering "A Woman Left Lonely"). But she never broke through commercially, not even when Jimmy Page played guitar on her followup album — the only way she surpassed Joplin was by staying alive.
If The Human Menagerie, Cockney Rebel's debut album, was a journey into the bowels of decadent cabaret, The Psychomodo, their second, is like a trip to the circus. Except the clowns were more sickly perverted than clowns normally are, and the fun house was filled with rattlesnakes and spiders. Such twists on innocent childhood imagery have transfixed authors from Ray Bradbury to Stephen King, but Steve Harley and Cockney Rebel were the first band to set that same dread to music, and the only ones to make it work. The Psychomodo was also the band's breakthrough album. The Human Menagerie drew wild reviews and curious sales, but it existed as a cult album even after "Judy Teen" swung out of nowhere to give the band a hit single in spring 1974. Then "Mr Soft" rode his bloodied big top themes into town and Rebelmania erupted. The Psychomodo, still possessing one of the most elegantly threatening jackets of any album ever, had no alternative but to clean up. Harley's themes remained essentially the same as last time out – fey, fractured alienation; studied, splintered melancholia, and shattered shards of imagery which mean more in the mind than they ever could on paper.