Michael Messer is a virtuoso slide guitarist who has one of the best bands performing some of the greatest blues tunes produced this century. His playing encompasses the entire history of the blues but is totally individual and contemporary. His use of turntables in the band adds a new element to the music and Messer s haunting vocals ooze authenticity and integrity. The American magazine, Spirit listed Michael as one of the greatest slide guitarists ever alongside Duane Allman and Ry Cooder. Re-issue of his rare 1996 album.
A welcome reissue of the ground-breaking British blues guitarist's 1995 album which was the precursor to his more high profile sets King Guitar & Second Mind, released in 2001 & 2002 respectively. Recorded in London & jointly produced by Messer & Ron Kavana, the album is a collaboration between Messer & British-born Texas- based Terry Clarke…..
There's something fun and catchy about Michael Messer's eclectic album, King Guitar. Although the guitar featured on the cover is a vintage acoustic model, the music runs the gauntlet between down-and-dirty electric blues and quiet Delta slide. In a way, this mixture is sort of like an early Fleetwood Mac, with Peter Green and Jeremy Spencer bringing different blues styles together in one group. Messer, however, accomplishes all of this by himself. His acoustic slide guitar is the epitome of taste on the lovely "Crow Blues" and the happy, upbeat "Steel Guitar Blues." His playing style seems centered on laying down what works best for a particular song as opposed to showing off…….
Since he became the music director and conductor of the San Francisco Symphony, Michael Tilson Thomas has largely focused his attention on presenting the symphonies of Gustav Mahler in splendid audiophile recordings, for which he has received critical and popular praise. So his first hybrid SACD of works by Claude Debussy comes as a surprise, not only because the sound world is quite different from Mahler's, but Tilson Thomas' interest in Debussy has seemed less obsessive over the years.
Michael O'Brien, who is now with the group NEWSONG, has a beautiful, devout, and inspired voice, as evidenced on his first recording. Whether soulfully injecting such winning up-tempo numbers as "Nothing's Gonna Turn Me Around" and "Higher and Higher," or wrapping that fine tenor voice around the beautiful "If Ever I Forget," "Free Again" or "Back to You," Michael demonstrates his belief in his music and his Lord in this wonderful package.
Michael Nyman's 8 Lust Songs comes with a Parental Advisory warning for explicit content, but the songs are in Italian, so only a small number of Italian speakers in the English-speaking world will have the opportunity to be offended (unless, of course, you read the translations in the booklet). Nyman describes the settings of these explicit sixteenth century poems by Pietro Aretino – essentially bedroom dialogues between lovers – as a natural progression in his work, which, since his days as a student, has frequently been concerned with sex.
Off the Wall was a massive success, spawning four Top Ten hits (two of them number ones), but nothing could have prepared Michael Jackson for Thriller. Nobody could have prepared anybody for the success of Thriller, since the magnitude of its success was simply unimaginable – an album that sold 40 million copies in its initial chart run, with seven of its nine tracks reaching the Top Ten (for the record, the terrific "Baby Be Mine" and the pretty good ballad "The Lady in My Life" are not like the others). This was a record that had something for everybody, building on the basic blueprint of Off the Wall by adding harder funk, hard rock, softer ballads, and smoother soul – expanding the approach to have something for every audience…
This isn’t the best recording of The Piano Concerto. Despite the fact that, for me at least, John Lenehan has always been the definitive Nyman pianist other than the composer himself, Stott’s interpretation has more vigour and Lawson’s more musicality. Lenehan’s performance is also muddied by the recording’s vague acoustic, a particularly telling problem for die-hard Nymaniacs who have grown up with the crisp, punchy, quasi-rock production style entirely appropriate to Nyman’s music and a trademark since his work with David Cunningham in the early 1980s.