Mirrorball is a melodically affecting exercise in ethereal ambience – precisely what you might expect from two artists whose CVs list collaborations with Harold Budd. That's not to set Budd up as an overarching influence, though: Foxx and Guthrie come to this album with their own long-established and distinctive pedigrees, the former as an electronic pioneer and the latter as chief architect of the Cocteau Twins' unique dream pop lullabies. Mirrorball bears the musical fingerprints of both, combining Guthrie's trademark hypnotic, echo-laden melodies with the kind of otherworldly, cavernous spaces that Foxx mapped on Cathedral Oceans.
Victims of the Fury is the seventh studio album by the English guitarist and songwriter Robin Trower. It was released in 1980, and on CD in 1989. It was reissued in 1997 as a 2-on-1 CD along with the previous album Caravan to Midnight. Beatles engineer Geoff Emerick was the album's sound engineer. Victims of the Fury reached #34 on the Billboard 200.
Robin Trower's third album, 1975's For Earth Below is less consistent than the previous two but still contains much excellent material; the Beat Goes On label's reissue teams it with 1976's Live, a truly fine set recorded in Sweden.
Bridge of Sighs is the second solo album by the English guitarist and songwriter Robin Trower. It was released in 1974. Bridge of Sighs, his second album after leaving Procol Harum, was a breakthrough album for Trower. Songs from this album, such as "Bridge of Sighs", "Too Rolling Stoned", "Day of the Eagle" and "Little Bit of Sympathy", have become live concert staples for Trower. The album was produced by organist Matthew Fisher, formerly Trower's bandmate in Procol Harum. Acclaimed Beatles engineer Geoff Emerick was this album's sound engineer. Bridge of Sighs reached #7 in the United States during a chart stay of 31 weeks. It was certified Gold on 10 September 1974.
He may have gotten his start with the hep swing of BEAT GIRL, then became a musical sensation for creating the cool jazz action of Agent 007. But for all of the lush stylings that John Barry used to define symphonic scoring as a contemporary “with it” sound, the composer proved he could make his approach sound just as contemporarily moving in the service of such historical dramas as MARY QUEEN OF SCOTTS, THE LION AND THE WINTER and THE LAST VALLEY. For if any music conveyed the feeling of untouched forests, royal intrigue and romantic mythmaking, then it was Barry’s theme-heavy scoring. Sure he’d latch onto a melody and beat you to death with it. But what a way to go, as Barry usually came up with a motif that you wouldn’t mind hearing ad infinitum, especially as his theme took on new life with each variation for strings, brass and winds. This was the kind of melody that helped make legendary figures into breathing, loving people, even when their movie got its kicks from turning such Technicolor heroes as Robin Hood and Maid Marian into characters just about ready for assisted living.