Haco, former After Dinner frontwoman, and a beautiful and charismatic singer in avant-pop contexts (her forays in improvisation and lo-fi pop are less convincing) meets cellist Hiromichi Sakamoto of the Pascals. In fact, Ash in the Rainbow is a rewriting and re-recording of Sakamoto's 1999 solo album Zero Shiki. Haco has added lyrics, vocal melodies and electronics to his instrumental tunes to create a whole new work…
Danny DeVito steps behind the camera for this darkly funny satire that combines elements of Barney and Friends with the real-life Pee-Wee Herman scandal while recalling the director's previously twisted black comedies Throw Momma From the Train (1987) and The War of the Roses (1989). Robin Williams stars as Randolph Smiley, a popular children's show host known professionally as "Rainbow Randolph." Dismissed from his beloved job when he's caught taking payola, Randolph becomes increasingly mentally unhinged and the target of his delusional revenge fantasies is Sheldon Mopes (Edward Norton), otherwise known as Smoochy, the fuchsia rhino character that has replaced him and soared to national popularity. Randolph soon learns that his ex-girlfriend and network executive Nora Wells (Catherine Keener) is sleeping with Sheldon, so he sets out to kill Smoochy.
“Under the Rainbow” is Pauline London’s new and long awaited album.
After the important international appraisal which resulted from her first album “Quiet Skies” (2004) Pauline is back with a new cd which tastes like Jazz, Nu-Jazz, Latin-Jazz with hints of authorial pop. Whereas the mentioned first album had an electronic-jazz stamp to it, “Under the Rainbow” represents an evolution towards more acoustic and orchestral sounds…
Supergrass makes music so effervescent and so effortlessly joyous that it's easy to take them and their skills for granted. Surely that was the case around the release of their third album, 1999's eponymous effort, which in its labored fun and weary ballads illustrated just how much hard work it was to craft records as brilliant as I Should Coco and In It for the Money. It suggested the group might have burned too bright and flamed out, but, happily, 2002's Life on Other Planets is a smashing return to form, an album giddy with the sheer pleasure of making music.
Waters' The Real Folk Blues and More Real Folk Blues, combined here onto one CD, were not exactly random collections of tracks – the quality was too consistently high for them to just have been picked out of a hat. Still, it was a pretty arbitrary grouping of items that he recorded between 1947 and 1964. In fact, they hail from throughout his whole stint at Chess, virtually; at the time these albums were first issued, though, all of the material on More Real Folk Blues was from the late '40s and early '50s. They didn't exactly concentrate on his most well-known songs, but they didn't entirely neglect them either, including "Mannish Boy," "Walking Thru the Park," "The Same Thing," "Rollin' & Tumblin' Part One," "She's Alright," and "Honey Bee," amongst somewhat more obscure selections. So ultimately, this disc's usefulness depends on your fussiness as a collector – if it's the only Waters you ever pick up, you'll still have a good idea of his greatness, and if you don't mind getting some tracks you might already have on more avowedly best-of sets, you'll probably hear some stuff you don't already have in your collection.
Since the repertoire for cello octet is small and consists almost entirely of arrangements and new works, expect Four Winds, Conjunto Ibérico's 2002 release, to be somewhat eccentric and experimental. Leader Elias Arizcuren and his virtuoso cellists seek a happy medium between the intimacy and clarity of a much smaller chamber group, and the richness and power of a full string orchestra; but such a balance is hard to sustain, and their shifting back and forth feels unsteady. In Terry Riley's Requiem for Adam, the ensemble is pulled between extremes of symphonic density and chamber transparency, and this heavy arrangement seems only to distort the dynamics and textures of the original version for string quartet.