Whirlwind is the fourth album by singer/songwriter/multi-instrumentalist Andrew Gold. It was released in 1980 on Asylum Records. It is Gold's final major label album and last solo album of any kind for over a decade.
Andrew Gold is the first album by singer/songwriter/multi-instrumentalist Andrew Gold. It was released in 1975 on Asylum Records. Linda Ronstadt, of whose band Gold was a member at the time, appears on the album.
Here is a worthwhile re-issue of a classic jazz-fusion release. The title track is just a sublime piece of midtempo magic, the kind of track would play on his much missed Radio 1 show (the music for a candlelight dinner section). gets to sing on this track. Elsewhere we get some jazz-funk instrumentals the best to my mind being the moody, downtempo with ronnie's soprano sax to the fore atop dreamy fendor rhodes. is an attractive ballad with singing again. With sidesmen and women of the calibre of , , and helping out, he can't really go wrong, can he?
The music on this album is mostly hard rock and it's great. This greatest hits complication starts out with "Barracuda" and ends with a really good riff song called "Sleep Alone" All the songs on this greatest hits album complication are fantastic with great hard rock and ballads thrown into the mix here…
John McCabe's recording of Herbert Howells' clavichord music is a chance to hear some twentieth century music inspired by C.P.E. Bach's favorite instrument. While other composers were re-discovering the harpsichord, Howells' love for early English music and the instruments of two modern clavichord makers led to the composition of the three sets of miniatures: Lambert's Clavichord and Howells' Clavichord Books One and Two. Howells dedicated every piece in each set to a friend, and in the last two sets he even sometimes attempted to put something of the dedicatee into the music, whether it was a description of that person's character or an imitation of a fellow composer's style. Howells' titles, and in many instances the style of the piece, is a reference to the keyboard compositions of the English virginalists of the late sixteenth/early seventeenth centuries. On the one hand, "Lambert's Fireside" and "Goff's Fireside," named after Herbert Lambert and Thomas Goff, the two clavichord makers, are almost completely idiomatic of virginal music. On the other, the meandering tonality of "Rubbra's Soliloquy" and "E.B.'s Fanfarando" marks them as twentieth century compositions.
It may seem surprising that this is the first complete recording of Gluck's one-act opera (or, as he called it, serenata teatrale) La corona (The Crown) after more than 240 years. The work was never performed during Gluck's lifetime; written for the name day of Francis I, husband of Habsburg empress Maria Theresa, it was rendered irrelevant by the dedicatee's death in 1765. The listener will discover soon enough why no one has thought to revive the work since then.
The legendary Moody Blues present this special musical collection, their first live album without an orchestra, since their historic 1969 release The Moody Blues Live + 5. Recorded live at the Greek Theatre in Los Angeles on June 11 during their 2005 World tour, in which they played New Zealand for the first time and returned to Australia, this rare live recording is pure Moody Blues…
Wonderful, wonderful, wonderful. Anyone who loves twentieth century music, who loves English music, or who just plain loves music will love this collection of the music of Michael Tippett. Culled from previously issued but long out-of-print Philips, London, Argo, and l'Oiseau-Lyre LPs, most of these recordings were world premieres made in close consultation with the composer and in the hands of conductors Colin Davis, Georg Solti, Neville Marriner, pianist Paul Crossley, and the Lindsay String Quartet, they receive what can fairly be described as definitive performances. From the ecstatic lyricism of the Suite for Double String Orchestra of 1939 through the luminous vitality of the First Symphony of 1945, the radiant sensuality of the Ritual Dances of 1955, the blues-based modernism of the Third Symphony of 1972, to the glistening transcendentalism of the Fourth Symphony of 1977, Tippett's unique fusion of line, drive, color, and form is performed throughout with passionate dedication and absolute faith in the music's greatness.