12 best head 20th century cd

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Right around the time he was backing Bryan Ferry on a couple of albums, Robin recorded this 1993 solo LP. In addition to applying his electrifying guitar chops to Lowell Fulson's classic Reconsider Baby , Trower introduces his fine originals Step into the Dark; Secret Place; Precious Gift; Extermination Blues; Promise You the Stars , and more!

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• Double CD release by Chris Stamey and the ModRec Orchestra. • Featuring contributions from Branford Marsalis, Bill Frisell, Nels Cline, Peter Holsapple, and more. • Vocalists include Nnenna Freelon, Marshall Crenshaw, Don Dixon, Django Haskins, Caitlin Cary, Brett Harris, Skylar Gudasz, Millie McGuire, Ariel Pocock. • Written, arranged, and produced by dB’s cofounder Stamey. The way Chris tells it, “One day in 2015, an old piano arrived at my home, with a bench full of magic: songs by Jerome Kern, George and Ira Gershwin, Cole Porter, Richard Rodgers, Henry Mancini, Irving Berlin, Leonard Bernstein . . . many more. I fell head-first under their spell, awakening three years later with a long white beard and this collection: 26 songs on two CDs, written and arranged ‘under the influence,’ performed by some of my favorite singers and players.” Vocalists on the two volumes of this lush, orchestrated, jazz-flavored outing include jazz legend Nnenna Freelon, pop icons Marshall Crenshaw, Don Dixon, and Caitlin Cary (Whiskeytown), North Carolina stalwarts Skylar Gudasz and Brett Harris, and exciting newcomers Millie McGuire, Kirsten Lambert, and Faith Jones. Highlights include Django Haskins (The Old Ceremony) and renowned saxophonist Branford Marsalis together on the Irving Berlin-like overture, “Manhattan Melody (That’s My New York),” and rising-star pianist Ariel Pocock singing “There’s Not a Cloud in the Sky.” Cary adds a bit of Americana into the mix, with “Your Last Forever After.” All are backed by the “ModRec Orchestra” (named after Modern Recording, Stamey’s studio home base in Chapel Hill, NC) with Bill Frisell, Nels Cline (Wilco), and Matt Douglas (Mountain Goats), as well as NC jazz virtuosi Stephen Anderson, John Brown, Will Campbell, Jim Crew, and Dave Finucane, taking turns at the microphone. Inspired by the canon of the Great American Songbook but with Stamey’s own distinctive melodic and lyrical twists (familiar to fans of the dB’s cofounder), New Songs for the 20th Century uses Mid-Century Modern harmonic and lyrical inflections to evoke an earlier era. “I was intrigued by reimagining that period before the Beatles appeared, before President Kennedy was killed, when it seemed like the world was looking around, catching its breath, and wondering what was to come.” “What came first here was the sheet music, the notated chords and melodies,” Chris explains. “I’d write out the songs in silence, then simply put the sheets of paper in front of the players and singers. It was fascinating to hear them bring the tunes to life in the studio in ways I’d never expected. Then I would orchestrate for strings and winds as needed, connecting the dots in the old-fashioned way records were made before Leo Fender came along.” Included are also full-length, remixed performances (not previously available) of several songs from the nationally broadcast holiday radio musical Occasional Shivers, including “Beneath the Underdog” (titled after the Charles Mingus autobiography), “In-tox-i-cho-cli-fi-ca-tion,” “What Is This Music That I Hear?” and “I Am Yours.” And there are even new versions of a few older Stamey tunes that seemed to want to sing along, such as Faith Jones’s powerful “In Spanish Harlem” and Cline’s and Frisell’s dreamscape treatment of “Insomnia.” Grab a Manhattan or some champagne, sink down in front of the fireplace, dim the lights, and let these New Songs carry you back to the “pre-postmodern” era of the romantic ’50s and ’60s.

Review

This is a prodigious project that asks for real attention. Fortunately, the gift of this music pays off in timeless beauty and unlimited inspiration. It's like the past has been reinvigorated by the present, with nothing lost and everything gained. --Bill Bentley, Americana Highways, July 10, 2019



"Insomnia" perfectly exemplifies the full album's intelligence and exuberance for rich harmonic environments and material unencumbered by compositional excess. Not a note is wasted. --Pop Matters, May 16, 2019



It's terrific: he has penned a batch of beautiful lyrics and melodies, and the performances here are uniformly fine. [Stamey has] rounded up a large group of talented players for his project, including dBs cofounder Peter Holsapple, Wilco guitarist Nels Cline, Marshall Crenshaw, and Branford Marsalis, to name a few. --Americana Highways, June10, 2019

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20th Century Masters: The Millennium Collection: Best Of Tears For Fears by Tears For Fears

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Featuring works by three composers who have a special relationship with the Atlanta Symphony Orchestra, ASO Medias latest release is a celebration of both the Orchestras 75th anniversary and the two-decade tenure of its fourth music director, Robert Spano. The album captures the collaborative nature of Spano and the Atlanta Symphony Orchestra, who established the Atlanta School to champion the next generation of American composers. The recording is comprised of studio recordings of Michael Gandolfis quadruple concerto Imaginary Numbers, Richard Priors lyrical tone poem of shadow and light and James Oliverios DYNASTY: Double Timpani Concerto, which was commissioned by and written for ASO principal timpanist Mark Yancich and his brother Paul Yancich, principal timpanist of the Cleveland Orchestra.

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Certified Multi-Platinum (2 times) by the RIAA. (2/01)

For better or worse, Phil Collins's "In the Air Tonight" was the "Stairway to Heaven" of the '80s, winning radio stations' listener polls and even lending its designer threat to an episode of Miami Vice. Hits recalls the days when the Collins name on a disc ensured its immediate embrace by programmers and the public. How you feel about these songs will depend on how you felt about them then; despite the undeniable niceness of "Take Me Home" and "One More Night," they're unlikely to win over anyone who didn't adore them to begin with. Those who cared, though, will no doubt be gladdened to find most of Collins's biggest tunes together on one disc. --Rickey Wright

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Paul Lansky's burgeoning career shift from composer of computer-generated music, to composer of music written for, as he humorously puts it, "carbon-based life forms" is documented on the present recording, comprising three symphonic works created during the past five years. Shapeshifters for two pianos and orchestra was commissioned by The Alabama Symphony and Justin Brown for the piano duo Quattro Mani. The title, Shapeshifters, denotes a kind of homage to music's ability to change and morph itself in uncanny and unusual ways. With the Grain was composed for the guitarist David Starobin. The concerto's four movements are named after wood grains and their kinetic qualities. Imaginary Islands was commissioned by Justin Brown and the Alabama Symphony. The work is in three movements, each a kind of sonic landscape for an imaginary island. Lansky's music freely mixes popular and classical elements in works full of energy and fantasy.

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Limited 14 CD set. George Szell's commitment to musical truth made him an intimidating figure - even among the other formidable conductors of the 20thcentury. His uncompromising quest for perfection drew performances of exalted quality from soloists and orchestras. In particular, his long tenure as the Cleveland Orchestra's music director (1946-1970) established it firmly as one of the world's great ensembles. This set encompasses Szell's entire HMV legacy. Beside such iconic recordings as Strauss's Vier letzte Lieder with Schwarzkopf, Brahms concertos with Oistrakh and Rostropovich, and the complete Beethoven piano concertos with Gilels, it includes several items making their first appearance on CD. Among these is an audio documentary which features rehearsals with Gilels and interviews with Szell and other distinguished figures.

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A concert pianist and vanguard composer, George Antheil (1900-1959) became known as the "Bad Boy of Music." The ultimate American in Paris, Antheil was an avant-garde provocateur of the first order who made his name composing iconoclastic compositions: the loudest and brashest classical music of his time. But this album gives us three new performances-two of them world-premiere recordings-which reveal another, forgotten side of antheil, the incurable romantic. Written in 1926, after the the height of Antheil's radical period, the Piano Concerto No. 2 is an experiment in classical form. The work contains the same sudden juxtapositions and abrupt contrasts of mood as his futuristic music. But the excesses of his recent Ballet mecanique (written for 16 player pianos!) are compensated for by an almost spare, baroque orchestration and motifs that draw on Bach as much as on Stravinsky. In three movements, Antheil employs a more restrained but still exuberant style. The beautifully meditative slow movement is followed by a virtuosic and compelling toccata. Each movement ends on an overtly Bachian cadence, most obvious in the sweetly naive coda of the final movement. The ballet Dreams (1935) had a prior existence in Paris. It was called Les Songes, and Darius Milhaud wrote the original music in 1933, later discarded in favor of Antheil's score. The plot was based on a surrealist poem by the painter Andre Derain. An Balanchine choreographed the production for his company Les Ballets. Antheil plays sarcastically with contradictions: waltz vs. march; folk song vs. orchestral romanticism. This is mavelous ballet music, and the unexpected structural and melodic changes keep us on the edge of our seat: amused and entertained. The lack of a formal structure does not hamper Antheil; he seemed to thrive on it, both in this piece, and in many others he wrote.

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Kirsten Flagstad's farewell to the role she made her own: a rarely reissued, newly remastered and extensively documented monument in the history of Wagner on record. As the first commercial recording of Wagner's Götterdämmerung this set would have lasting significance even without the presence of it's undoubted star, the Norwegian soprano Kirsten Flagstad in her signature role of Brünnhilde. In fact Flagstad had retired from the operatic stage in 1953, just shy of her 58th birthday, with her voice still largely intact when she was persuaded to return to the heroine of the Ring one final time and in propitious circumstances: live performances of an act at a time, generously spaced by a few days at a time, working with a fellow-Norwegian conductor she knew well, and a partner in the role of Siegfried who had developed a musical understanding with her over the course of decades. On her death in December 1962, Set Svanholm paid tribute to 'the warm dark gold in her voice', the immense physical presence she brought to the stage and 'an expression in the performance whereby the greatness of the simplicity became overwhelming'. The concerts in January 1956 were recorded by Norwegian Radio; on becoming aware of them, Decca producer John Culshaw fully appreciated their significance and arranged for an additional recording session to cover almost all the sections of the score that had been omitted in the live performances. Printed in the booklet of this Eloquence reissue there are further glowing personal tributes by Harold Rosenthal, former editor of Opera magazine, and by the conductor Richard Bonynge, for whom Flagstad's Isolde, experienced live, was 'miraculous': 'Hers was undoubtedly the greatest Wagnerian voice that I have ever heard or that I am likely to hear again.' The booklet also includes a contextual essay on the opera by Robert Boas and a full synopsis.