4 Destinies (2014). "4 Destinies" is the third album recorded by the Italian composer and progressive rock musician Alex Carpani. This album is based on four possible destinies that a man may find on his life path, so actually it's more or less a concept album. Apart from Carpani (lead vocals, keyboards) the album had been recorded with David Jackson (ex-Van der Graaf Generator, saxophones, flutes), Ettore Salati (ex-The Watch, Soul Engine, DAAL, The Red Zen, guitars), GB Giorgi (bass), Alessandro Di Caprio (drums) and Joe Sal (additional vocals). From time to time the music on the four tracks tends in the direction of the classic progressive rock of the seventies. Four destinies, four long tracks with many changes in rhythm and mood, very rich in ideas and musical colours well performed by an excellent team of musicians…
The Alan Parsons SongBook is an album to give you the opportunity to enjoy the music of the Alan Parsons Project played by The Alex Bollard Assembly and to accompany these vital musicians on their trip to the exciting experience of unlimited sound possibilities.
British metallers HOSTILE — who feature in their ranks bassist Alex Hill, son of JUDAS PRIEST's Ian Hill released their debut album, "Eve Of Destruction", on October 31. The CD was produced by former JUDAS PRIEST guitarist K.K. Downing. The band admitted it has been the most incredible learning experience working alongside Downing, who would take songs the band thought were complete and rework them into something even more spectacular.
William Alexander "Alex" Chilton (December 28, 1950 – March 17, 2010) was an American songwriter, guitarist, singer and producer, best known as the lead singer of the Box Tops and Big Star. Chilton's early commercial sales success in the 1960s as a teen vocalist for the Box Tops was not repeated in later years with Big Star and in his indie music solo career on small labels, but he drew a loyal following in the indie and alternative music fields, and is often cited as an influence by many mainstream rock artists and bands.
While Mike Nichols' 1966 film of Edward Albee's Who's Afraid of Virginia Woolf? gets more frightening every time you watch it, Alexander North's score to the same film gets more consoling every time you hear it. Nichols' film, particularly the performances by Elizabeth Taylor and Richard Burton, has scenes of terrific intensity, but North's score, though faithful to what's on screen, has a tenderness, even a sweetness, that transforms the ultimate meaning of the film. Part of it is North's characteristically evocative orchestration with some cues delicately scored for guitar, celesta, bass clarinet, harpsichord, and a pair of harps, while others are scored for spare almost spooky winds arrayed against soothing strings. But most of it is North's soaring melodies and brooding harmonies – and especially his big-hearted main theme. By prefiguring the film's reconciliatory ending, the solace offered by North's score transfigures all the horrors enacted between Taylor and Burton.