Fish was the unique voice and mastermind behind progressive rock legends Marillion and on this recording he is captured at his best live. 'For Whom the Bells Toll', is an amazing testament to Fish's special live magic which he conjures up so brilliantly. With sleevenotes written by Fish, the recording was straight to tape and was made on New Years Eve in 1991 at the Edinburgh Playhouse. The line up consisted of Fish (vocals), Frank Usher (Guitar), Robin Boult (Bass), David Paton (bass), Mickey Simmonds (keyboards) and Kevin Wilkinson (drums). David Paton played with Pilot and featured on Kate Bush's first two albums and has also worked with Rick Wakeman. Mickey Simmonds has worked with Mike Oldfield and Kevin Wilkinson has played with China Crisis and Squeeze. This CD was originally issued only to the fan club for mail order sale but is finally available to the retail record buying public. As an added bonus this double CD is priced as for a single which offers great music at great value.
Charlie Hunter is the best kind of restless musician. Just about every new album brings another new ensemble and new possibilities. This time out, Hunter teams with drummer Bobby Previte (who he has recorded with extensively) and trombonist Curtis Fowlkes (who played on Hunter's 2003 album Right Now Move). Both players have been stalwarts of the N.Y.C. jazz scene since the late '70s but have played on any number of jazz, rock, and pop recordings. As players, they really know how to serve a song rather than put their imprint on it and Hunter takes full advantage with a really strong batch of tunes that play less like jazz and more like classic pop and soul tunes. They've got strong, catchy melodies, nice changes, and in-the-pocket grooves that can't be beat.
Ondine’s third release with the star baritone Dmitri Hvorostovsky is devoted to sacred works by Russian composers and Russian folk songs. Hvorostovsky is accompanied by the prestigious Russian Grand Choir “Masters of Choral Singing,” conducted by Lev Kontorovich, a choir that keeps up the best traditions of Russian choral singing.
Drums Between the Bells is a collaboration by producer Brian Eno and poet Rick Holland. It was recorded just after Eno finished work on 2010's Small Craft on a Milk Sea, his debut for Warp, and it followed on the release schedule less than a year later. In that sense, the timing was good for such a risky project. Music and poetry are often difficult companions, and combining them is best left to experts; fortunately, Eno is just such an expert. Although Holland is an obscure poet, he first came to Eno’s notice back in the late ‘90s (through a university project), and his poetry is very good. Although his words and thoughts are impressionistic, his themes are easier to peg: urban living, science, and the intersection of philosophy and biology. The music is almost entirely Eno’s own, with only a few tracks featuring guest credits – much less so than his previous album. While scattered moments here prove that percussion is still not his strong suit, the production is inviting, innovative, and a larger contributor to the general excellence of the record than the poetry.
It was late one evening in 1973, when, with the professional musicians resident at Richard Branson's country estate The Manor finished up for the day, the unknown Mike Oldfield settled in for one night of frantic production on his debut record. By the time dawn broke, Oldfield had created one of the most groundbreaking pieces in the history of modern music. Experimental and daring, technically advanced and sublimely crafted all at once, the phenomenon that is Tubular Bells was born.
Andrei Petrov has been the Chairman of the St. Petersburg Composers' Union since 1964 and the president of the St. Petersburg Philharmonic Society since 1992. He received numerous awards and honors, including the designation of People's Artist of the Soviet Union (1980) and the State Prize (1967, 1976). In 1992, Petrov's score for the movie Heavens of Promise was distinguished with a Nika, Russia's equivalent of the Oscar.
This is a classic album of epic character with beautiful instrumentation and wonderful sonical imagery. It's heavily inspired by the Tubular Bells I from the early 70's, but Mike has done more than a cover of himself. He has reworked the tracks and added new influencies, vocal harmonies, new sonical structure to create something which sounds both familiar and completely new.
This is a strong and spiritual ”feeling good” musical journey. It takes the listener on a ride over a multidimensional and very inspiring landscape. This is not background music, nor is it pop or club oriented. It's a composition divided into sections with different tones.
What strikes me the most is the sheer musicality that flows so well throughout this album. Despite the heavy use of synthesizers, electric guitars and electronic sound effects, the album has an organic feel to it.
This is space music that lifts and inspires the soul. This recording feels much happier and broader than TB I.
It's one of Mike's best and inspiring album – because it's so beautiful. It's soothing for the soul.