"Stick It In Your Ear" is the solo and recording debut of Paul Laine (ex: Danger Danger), originally released in 1990, one of the best, and most overlooked, albums of the early '90s melodic rock genre. "Stick It In Your Ear" is a perfect example of the melodic rock sound at the end of the '80s. You can hear the influence of classic AOR bands like Journey and Loverboy as well as the hair metal sound of Poison and Winger, and considered by both press and fans of the genre a classic AOR album and one of the greatest ever. This reissue (+ 4 bonus tracks), and the remastering sounds excellent, it's certainly a lot louder and brighter than the original release.
"Stick It In Your Ear" is the solo and recording debut of Paul Laine (ex: Danger Danger), originally released in 1990, one of the best, and most overlooked, albums of the early '90s melodic rock genre. "Stick It In Your Ear" is a perfect example of the melodic rock sound at the end of the '80s. You can hear the influence of classic AOR bands like Journey and Loverboy as well as the hair metal sound of Poison and Winger, and considered by both press and fans of the genre a classic AOR album and one of the greatest ever.
There are two albums on this CD: the first (tracks # 1-10) "Ghost Town" was released in 1982, while the second (tracks # 11-20) "Inamorata" was released in 1984. Both were of course released on vinyl. This compilation (2 albums on 1 CD) was released by Rhino Records in 1995.
Paul Orta has fronted his band The Kingpins (a.k.a. The International Playboys) and various other groups around the world. He has played in the U.S.A., Spain, England, Ireland, France, Norway, Germany, Belgium, Italy, Austria, Russia, Portugal, Poland, Brazil, Sweden, Switzerland, Denmark & The Netherlands. He has opened for B.B. King, John Lee Hooker, Stevie Ray Vaughn, Van Morrison, The Fabulous Thunderbirds, Junior Walker, James Cotton, Buckwheat Zydeco, Dennis Quaid band with Huey Lewis to name a few.
Paul Orta born in Port Arthur, Texas (hometown of Janice Joplin) was first influenced by Louis Armstrong at the age of 7. After 9 years of playing the coronet in the school band, Paul Orta quit because the band never played blues or Jazz. Within a half a year he picked up the Harmonica and in three months, he was in his first professional band (The Bayou Boogie Band) when he was 16. They played in Golden Triangle (southeast Texas) and Louisiana for three years.
Philip Glass’ Concerto Fantasy for Two Timpanists and Orchestra, composed in 2000 and transcribed for wind ensemble by Mark Lortz in 2004, is a significant addition to the repertoire of large-scale works for timpani. The work is rhythmically galvanizing, sonically alluring, and features virtuoso cadenzas for both soloists. Symphony No 4 ‘In the Shadow of No Towers’ is Mohammed Fairouz’s first major work for wind ensemble, and its inspiration is the provocative comic book by Art Spiegelman, written shortly after the terrorist attacks on September 11, 2001. Spiegelman himself has commented: “I’m moved by [this] scary, somber, and seriously silly symphony…I’m honored that the composer found an echo in my work that allowed him to strike a responsive chord and express his own complex responses to post 9/11 America. He emerges from the rubble with a very tony piece of high-brow cartoon music.”
Folk vocal trio with a smooth, wholesome delivery, who helped popularize the work of Bob Dylan and proved crucial in bridging two music generations. The most popular folk group of the 1960s, Peter, Paul and Mary in later decades have also proved themselves to be among the most durable music acts in history. Their longevity dwarfs that of the Weavers, while the fact that the trio continues to be associated with a major record label (Warner Bros.) after decades in the business sets them apart from rivals like the Kingston Trio and the Brothers Four. Then again, perhaps it isn't so surprising – Peter, Paul and Mary's roots run deeper than almost any other folk act one might care to name, while their appeal crosses audience lines that other acts couldn't (and can't) even approach.