Three and a half decades later and New Jersey thrash masters OVERKILL remain steadfast in their ability to char your soul and thoroughly ravage your ears. With 19 full length studio albums and with their last live album being released in 2002, the guys return with their latest energy filled recording: »Live In Overhausen«! For over 36 years, OVERKILL has dominated and with the coinciding 30 year anniversary of »Feel The Fire« and the 25th birthday of »Horrorscope« the time to play and record both albums live, seemed inevitable…
Rob Zombie's 2016 front-to-back concert performance of WHITE ZOMBIE's 1995 album "Astro-Creep: 2000 – Songs Of Love, Destruction And Other Synthetic Delusions Of The Electric Head" will be released as a live album, "Astro-Creep: 2000 Live", on March 30 via Interscope/Geffen/A&M.
This powerful four disc anthology is the very best of Guns N Roses broadcasting live on air. In the face of the overwhelming dominance of dance music they helped revive the mainstream appeal of rock music and, in the process, they created some of the most potent live broadcasts in the history of rock music. Featured here are the complete versions of three legendary broadcasts between 1989 and 1991 including all the hits from the first three albums which helped propel the band to superstardom. This digitally remastered anthology forms the ultimate collection of live versions of the hits performed from 1989 to 1991 and is essential listening for every Guns N Roses fan.
"Bel raggio lusinghier" from Rossini's Semiramide opens this program, and it naturally invites comparison with the performance of the same aria from Milan in 1956. At this point in her career, it probably was not wise for Callas to attempt this aria, and the same could be said about the Cenerentola "Nacqui all'affanno" that follows it. Her voice has thinned out in its upper register, the high notes are undependable, and overall, there is less flexibility. Still, her ability to execute Rossini's florid coloratura with precision remains thrillingly intact. On the other hand, the aria from Nabucco is even more exciting than it was in Rome in 1952, mostly because Callas pounces on it without a trace of fear. (Pity about the last note, though.) Arias from La bohème (Musetta's Waltz Song!), Butterfly (the death scene, searingly sung), and Gianni schicchi are performed with variable vocal success, but it is in the Letter Aria from Werther that Callas shows where her career could have taken her. Charlotte is a mezzo role, of course, and it provides her with vocal and dramatic challenges that she was very capable of overcoming even at this late date. The Table Aria from Manon also is very movingly done. Georges Prêtre conducts the Orchestre National de la RTF. The sound here is excellent. An odd bonus of sorts is a private recording of most of Beethoven's "Ah! perfido," with Jeffrey Tate accompanying Callas on the piano. This item comes from the unbelievably late date of March 3, 1976 – less than two years before her death. The sound here is far from ideal, but one can hear enough of Callas to tell that the voice is more or less intact – much better than it was, in fact, during her 1973-74 concerts with Giuseppe di Stefano. What role did flagging self-confidence play in the decline of Callas' voice? It is sad to think that if Callas had received appropriate medical or psychological interventions, her career (and her life) might have been considerably longer.