Richard D. James Album is an electronic album by Aphex Twin, whose real name is Richard David James. The work features use of software synthesizers and unusual beats. It is his fourth official full-length album. The album garnered high acclaim from music critics, and was named 40th in Pitchfork Media's "Top 100 Albums of the 1990s" list. It was also placed #55 on NME's Top 100 Albums of All Time in 2003.
1978's First Light marked Richard & Linda Thompson's first time in a recording studio after three years away from music, and it suggested they were still getting warmed up as performers; a year later, Sunnyvista found them in much stronger form and a significantly more upbeat frame of mind. Sunnyvista is the wittiest and most joyous album Richard & Linda made together; while several of Richard Thompson's trademark meditations on romance at it's least successful are on hand, "Why Do You Turn Your Back" manages to generate an unusually soulful groove, "Lonely Hearts" captures the melancholy country feel that First Light never quite caught, and "Traces of My Love" finds a winning warmth in its sadness.
There is no other album like Bat Out of Hell, unless you want to count the sequel. This is Grand Guignol pop – epic, gothic, operatic, and silly, and it's appealing because of all of this. Jim Steinman was a composer without peer, simply because nobody else wanted to make mini-epics like this. And there never could have been a singer more suited for his compositions than Meat Loaf, a singer partial to bombast, albeit shaded bombast…
Richard Strauss was filled with doubt as to whether he would be capable of expressing in music the crazed revenge of "Elektra" after writing his opera "Salome" with its shocking story. It is quite understandable that he had trouble in composing the work, although such difficulties are not in the least evident during the course of the drama or in the musical flow. Drawing on natural sources, the forceful melodies make use of polyphonic, complex motifs and extreme dissonances. Here and there, Strauss’s typical chordal harmonies gleam through, though hardly audible, taking the harsh dissonances and chromaticism to the very extremes of atonality.