Three of the works on this valuable Musgrave release were previously available on Collins Classics although the disc has been generously topped up with Memento Vitae, Concerto in Homage to Beethoven, recorded within weeks of the other works but not previously released. The admirable playing time of 79:34 is all the more pleasing given that all of the Ancora discs will be available at mid-price. All four of the works on the disc demonstrate two significant traits in Musgrave’s fertile output over the years, namely an inherent sense of drama that can ………..Christopher Thomas @ musicweb-international.com
Another Night was a wholly unexpected album at the time of its release in February of 1975.
The Hollies’ 15th official album, it also marked the return of Allan Clarke to the lineup for the first time since Distant Light in 1971 — and it was, apart from one number, comprised entirely of group originals, a feat of songwriting acumen that the Hollies had not achieved since 1969’s Hollies Sing Hollies (which was sort of a “ringer” in that regard); and just as much to the point, all of the songs and recordings were pretty much first-rate, ranging widely from lyrical pop/rock to harder, edgier, album-oriented sides, with a couple of classic performances among them.
James Newton Howard makes a rare but welcome foray into the horror genre with The Devil's Advocate, a chilling but majestic work highlighted by its stunning choral passages. While Howard's signature fusion of symphonics and electronics is the score's backbone, his use of the human voice most effectively communicates the evil lurking within lead Al Pacino, and his decision to avoid thematic consistency is another clever tool for keeping the listener off balance, with strange, ominous noises lurking in the background to further underscore the dark forces at work. Spooky, compelling stuff.
In 1990, the Residents took their grand examination of rock & roll on the road, touring the world with the Cube E tour. The first half found the group reciting cowboy poems to a soundtrack influenced more by Copland and Orff than country & western, then followed with a group of blues, field hollers, and warped jazz that represented the African-American experience. By intermission, the two had combined into rock music, which in the second half was disseminated by an aging Elvis impersonator tearing through Presley covers (essentially a live version of their 1989 album The King and Eye). The staging, costumes, lights, and general performance were not to be missed, and earned justifiable rave reviews.