While Lou Christie's shrieking falsetto was among the most distinctive voices in all of pop music, he was also one of the first solo performers of the rock era to compose his own material, generating some of the biggest and most memorable hits of the mid-'60s. This is an excellent collection of his hits.
Although he is best known for scoring hits like "Lightning Strikes" and "Rhapsody in the Rain" during the mid-1960s, Lou Christie continued to record long after that time and a valuable chunk of his recording legacy is captured on Glory River: The Buddah Years 1968-1972. Only a handful of the songs contained in this compilation achieved chart success (the most notable hit being "I'm Gonna Make You Mine"), but the other songs are much more than just failed pop-chart fodder. Christie wrote much of his own material, so the songs presented here have a much more personal touch and tend to be more adventurous than a lot of pop music being produced around this time.
Christie is an British rock band that formed in 1969 by Jeff Christie (guitar, vocals, keyboards), Vic Elmes (guitar) and Michael Blakley (drums, piano). They are best remembered for their UK chart-topping hit single "Yellow River", released in 1970. In 1971 Blakley was replaced by Bob Fenton and in 1972 Lem Lenton joined them as bass player. The band was reformed in 1974 with Roger Flavell (bass), Danny Krieger (guitar) and Terry Fogg (drums).
This is a great collection of rare and hard to find tunes compiled by Jeffrey Glenn. Hundreds of odds & ends by little known groups, famous singers, and famous singers before they became famous.
Beat music, British beat, or Merseybeat (after bands from Liverpool and nearby areas beside the River Mersey) is a pop and rock music genre that developed in the United Kingdom in the early 1960s. Beat music is a fusion of rock and roll (mainly Chuck Berry guitar style and the midtempo beat of artists like Buddy Holly), doo-wop, skiffle and R&B. The genre provided many of the bands responsible for the British Invasion of the American pop charts starting in 1964, and provided the model for many important developments in pop and rock music, including the format of the rock group around lead, rhythm and bass guitars with drums. The Beat Of The Pops - excellent selection of beat tracks.
Like its parent film, T2 Trainspotting’s soundtrack eschews cosy Cool Britannia nostalgia for something weirder and better. The original soundtrack was a sharp mix of cult classics and of-the-moment artists. Rather than get Blur and co back, Danny Boyle has called on a more leftfield lineup of young guns, the likes of Mercury-winning Edinburgh alt hip-hop trio Young Fathers, Brixton scuzz rockers Fat White Family and deliciously demented Irish rappers Rubberbandits. The classic side of things is held up by Queen, Run DMC, Blondie and more, with the whole bookended by Trainspotting’s biggest tracks reborn: a mad-dog Prodigy remix of Iggy’s Lust for Life and Underworld’s Slow Slippy. In our retromaniac world, it might not attain the original’s classic status, but it’s all the better for its bravery. (The Guardian)
harpentier’s Médée is one of the glories of the Baroque. Medea’s betrayal by Jason, her comprehensive revenge and the plight of those caught up in this epic tragedy prompted Charpentier to compose music of devastating power. Transcending the constraints of the Lullian tragédie lyrique, he produced characterisations of astonishing complexity and invested vast stretches of music with a dramatic pace and a harmonic richness rivalled among contemporaries only by Purcell. The electrifying exchanges of the third act, mingling pathos with extreme violence, alone put Charpentier on the same imaginative level as Rameau and Berlioz. The machinations of the fourth act and the dénouement in the fifth maintain the same captivating impetus.