Ex-Smokie frontman offers a solo album featuring a collection of his favourite songs, interpreted in his own distinctive style. With choices like "Wake Me Up When September Ends" by Green Day or "Chasing Cars" by Snow Patrol, Norman shows off his sense of the contemporary Zeitgeist. But he also offers great new versions of older songs such as "I Can´t Dance" by Genesis and Mike Oldfield's "Moonlight Shadow". Touring Europe and playing festivals throughout August.
Circus Animals is the fourth studio album by Australian band Cold Chisel, released in 1982. It was recorded and mixed at Paradise Studios and EMI Studio 301, Sydney (Sep-Dec 1981). It reached number one on the Australian charts, remaining in the charts for 40 weeks, and also topped the New Zealand charts. The working title for the album was "Tunnel Cunts". Cold Chisel opened the '80s with their most widely accepted and artfully constructed album, East. Following it up was a tall order for the Aussie quintet, but they did the trick admirably with Circus Animals. (A live album, Swingshift, was released in the period between the two studio discs.) A ten-song stew of the band's signature guitar-and-piano-driven ballads and rockers, it further confirmed Chisel's depth and breadth as a creative unit. From the outset of Circus Animals, the boys come crashing in through the window like a bunch of rowdies with hell-raising on their minds, cranking out the guitar rock rottweiler "You Got Nothing I Want"…
Cold Chisel's following had been steadily building for a number of years when their third – and slickest to date – album, East, broke them through to a wider audience in 1980. More commercial without compromising on the rawness of their roots, the band hit pay dirt with a clutch of songs it seemed everybody could get into. The virtuosity of the Chisel's musical abilities still comes through on songs that were, nevertheless, compact enough to be radio-ready. The up-tempo loner anthem "Standing on the Outside," the enchanting ballad and breakthrough single "Choirgirl," and the tongue-in-cheek "Ita" all had the hooks to land a singalong audience. On "Star Hotel," the sonic fury of the chorus captures the essence of the subject matter: a wild street battle between angry pub patrons and police that took place in the city of Newcastle, Australia, in September 1979.
This 10CD box covers the entire range of the repertoire with which Boris Christoff took the world by storm; from his first opera role in La Boheme over the important Verdi roles and his devilish portrayal of Mephisto to the major roles in Russian operas; Christoff took part in no less than 600 performances of Boris Godunov.
Bekkas is a leading Gnawa musician who sings and plays the oud, as well as acoustic guitar and guembri, the three-stringed bass-like instrument that provides the trance-inducing pulse of Gnawa music. The Gnawa, in turn, are spiritual brotherhoods formed in Morocco among slaves brought there from sub-Saharan Africa over the centuries. Bekkas has collaborated with a number of jazz players, including saxophonist Archie Shepp, pianist Joachim Kuhn and drummer Hamid Drake, concentrating on the more adventurous end of the jazz continuum.
Look no further than Aussie quintet Cold Chisel's second album, 1979's Breakfast at Sweethearts, along with the band's eponymous debut disc of the previous year, for the material that took them from little-knowns to mighty pub rock monsters and beyond. In fact, the songs on this album may comprise the best set of any of the band's non-compilation studio discs. But alas, it is a masterpiece tainted by a poor recording job. Cuts like the mean-streets stomper "Conversations," the thudding "Shipping Steel," and the drug-paranoia song "The Door" contain little of the venom they spewed forth when played live. Nevertheless, even the lo-fi subjugation of the numbers cannot scuttle the album. Don Walker's songwriting – and his storycrafting around local references – could engage a listener underwater…
By the time Aussie rockers Cold Chisel did their sold-out farewell shows at the Sydney Entertainment Centre in December of 1983, they had established themselves as one of the all-time legendary bands down under. But this is the album that lit the fuse in the days when the crowds were eager but thin. After migrating from their home town of Adelaide, South Australia, to the big smoke of Sydney in 1977, the Chisels gained a rep for slugging it out on the pub circuit with an ardor worthy of their illustrious forebears AC/DC. But as Cold Chisel clearly illustrates, Chisel was a band married as much to melody as power. Pianist Don Walker's songwriting reflects an emotional depth and range rarely rivaled by other max-volume outfits.