The documentary follows staff at the magazine and includes interviews with past publication cover stars as FHM prepares to circulate it’s final issue. FHM magazine – famous for images of female celebrities and male-orientated lifestyle tips once commanded a circulation of over half a million copies but is now about to publish an issue for the final time. The documentary will take a nostalgic look back at the “glory years” of the magazine, of which Rachel was a huge part first gracing the cover in May 2000, with 7 more covers to follow, enjoying a top-three status in FHM’s 100 Sexiest poll no fewer than four times, and most recently taking the title of “FHM’s Sexiest of the Sexiest”.
To speak about this extensive set of music allegorically, "Space 'n' Bass" is like an aquarium full of beautiful and varied tropical fish, each interesting in it's own way, whether breathtakingly colorful, exotically compelling or curiously fascinating. And by the very nature of the mediums, both the fish in the imaginary aquarium and the music in these CDs achieve relaxing and beautiful movement via endless repetition and effectively enjoyed for limited time periods only. This is not to say that "Space 'n' Bass" is boring; it boasts an impressive array of ambient electronica offering ample doses of acid jazz, jungle, world-beat and beat-box percussive underpinnings, a nice balance of analog, digital and sampled textures, a smattering of other instruments, infectious bass patterns and surprising aural constructions…
John Hammond's latest album marks a major departure in one respect – for the first time in anyone's memory, he sings, but plays nothing on one of his records, while Little Charlie & the Nightcats, led by guitarist Charlie Baty, handle the guitars and everything else. The difference is very subtle, the playing maybe a little less flashy than Hammond's already restrained work – think of how good Muddy Waters sounded on the early-'60s records where he sang and didn't play. And that comparison is an apt one – even more than 35 years after he started, Hammond inevitably ends up sounding like its 1961 and he's working at Chess studios in Chicago, cutting songs between Muddy Waters sessions. Harpist Rick Estrin also contributes a smooth and eminently enjoyable original amid a brace of covers of blues standards. There is not a weak number here, and this band is a kick to listen to, sounding more naturally authentic than anybody in the 1990's has a right to (Baty's quiet pyrotechnics on "Lookin' for Trouble" would make this record worth owning, even if Hammond's singing and the rest of the songs weren't as good as they are).
This is the debut album from UK band Mostly Autumn. They are playing rock mixed with reminiscences to Celtic music, Fairport Convention, Fleetwood Mac, Genesis, Jethro Tull, Pink Floyd and Steeleye Span. This is a very strong debut album with a lot of power, great melodies and good musicianship from this band. They are using various untraditional instruments such as Djembe, flute, tambourine, violin and whistles together with traditional rock instruments. The highlights are the opening progressive track "Nowhere To Hide", the two beautiful Celtic folk rock tracks "Folklore" and "Shenanigans", the Irish influenced "Out Of The Inn" and the closing 10-minute "The Night Sky".
Their first album is rare and came out on a Texas label 'though they hailed from New Port Richey, Florida, and had earlier recorded as The Split Ends. It's basically hard rock with some psychedelic guitar work. Their second album is rather mundane heavy rock.
What a versatile artist Steven Isserlis is. Having made his name as a sympathetic interpreter of a wide variety of romantic and modern music, here he shows he can be just as persuasive in eighteenth-century repertoire. His stylistic awareness is evident in beautiful, elegant phrasing, selective use of vibrato and varied articulation, giving an expressive range that never conflicts with the music’s natural language. In the cello concertos he is helped by an extremely sensitive accompaniment, stressing the chamber musical aspects of Haydn’s pre-London orchestral writing. The soft, intimate sonority at 3'06'' in the first movement of the D major is a typical example. The Adagios are taken at a flowing speed, but Isserlis’s relaxed approach means they never sound hurried. The Allegro molto finale of the C major Concerto, on the other hand, sounds poised rather than the helter-skelter we often hear. In his understanding of the music, Isserlis is a long way ahead of Han-na Chang, whose version places the emphasis on fine, traditional-style cello playing. Mork’s vivacious, imaginative performances characterize the music very strongly, but my preference would be for Isserlis’s and Norrington’s lighter touch and greater refinement.