Produced by Chuck Leavell, Warren Haynes' first solo album is a refreshing change of pace from his work with the latter-day incarnation of the Allman Brothers Band. Although the feel of this album is undeniably classic rock, with much of Free's bluesy swagger, it is also vaguely reminiscent of '80s rock at times (check out the Mr. Big-esque verse to "Fire in the Kitchen"). The focus on Tales of Ordinary Madness is clearly on Haynes' songwriting chops. For the most part, the songs on this record are tight and concise, focusing on immediate riffs, gritty vocals, and cool arrangements to sell them.

Joseph Suk's Ripening is one of the most amazing of all post-Romantic orchestral works. It is immensely complex in its structure: a celestial introduction is followed by a cogent progress of scherzos and slow movements, of funeral marches and fugues, all concluded by a serene coda. Yet the work is immediately comprehensible as a musical drama, made clear through the coherence of the thematic and harmonic material. Pesek and the Royal Liverpool Philharmonic perform like modern-day deities. They fall short of the heights of Talich and the Czech Philharmonic, but Talich gave the work its premiere. Nonetheless, Pesek gives Ripening his very considerable all: his concentration holds the gigantic structure together as a single arch. Plus, his players articulate every instrumental detail, right down to the beatific wordless women's choir at the work's close. Highly recommended.

Lamentations or tenebrae were composed for the Matins services of Thursday, Friday and Saturday in Holy Week but were sung on the preceding evening. Each service consisted of three nocturnes and each nocturne was divided into three lessons. The Lamentations of Jeremiah were always sung during the three lessons of the first nocturne of each service. That makes nine tenebrae in all. Scarlatti however, set to music only six of them, all of which are sung on this new release. Five of the Lamentations are for soprano and the remaining one for tenor.

Here is the Band Captured on their 25th Anniversary Tour (With the Original Mkii Lineup for Ardent Fans) Live in Birmingham, England. This Performance is the Same Concert that was Featured on the Dvd Presentation "Come Hell Or High Water". Just a Few Nights Later and Guitarist Ritchie Blackmore Would Desert this Monumental Reunion Tour, Never to Return to the Band Again. Thus, this Concert is to Be Held all the More Dear by Longtime Fans, as the Band was Tight and Consistently Hit their Marks on this Night. Drummer Ian Paice was Heard to Say "it Works Extremely Well Or it Doesn't Work at All". It Really Worked this Night!

‘The Infotainment Scan’ was originally released in 1993 and was the band 15th studio album reaching no 9 on the album chart.
This set contains singles and demos as well as BBC sessions and three live shows from the era. Compiled in conjunction with Fall expert Conway Patton and has notes by Fall guru Daryl Easlea and have been mastered by long time engineer Andy Pearce with art by Becky Stewart.

Coverdale•Page is an album by Whitesnake lead vocalist David Coverdale and former Led Zeppelin and London session guitarist Jimmy Page (as Coverdale•Page), released by Geffen Records on 15 March 1993. The album was recorded at Little Mountain Sound Studios in Vancouver, Criteria Studios in Miami, Granny's House in Reno, Nevada and Abbey Road Studios, London. Recording commenced in the fall of 1991 and concluded in early 1992. It was produced by Jimmy Page, David Coverdale and Canadian record producer, Mike Fraser. Adding to the Led Zeppelin sound of this album was the John Bonham-influence of former Montrose drummer Denny Carmassi. According to David Coverdale, the traffic sign shown on the cover of the album signified "two roads joining to one road. Try to express unification or joining together."

Francesco Cavalli’s musical production is dominated by his forty or so operas (some of which are still of doubtful authenticity). Cavalli’s apparent nonchalance no doubt helped to foster the legend of a person who seemed to be constantly hesitating between the security of a post at St Mark’s and the attraction of melodrama. Moreover, his functions as singer and organist in Venice did not stipulate that he was to compose religious music; his priveleged position at the basilica, which was synonymous with social success, nevertheless encouraged him to leave his mark. When he was appointed maestro di cappella on Rovetta’s death, he devoted himself to enriching a corpus of new music destined for the repertory of St Mark’s.

Try Anything Once is the first solo album by Alan Parsons, released in 1993. It was his first album since the split of The Alan Parsons Project. This album features vocals by Ambrosia's David Pack, Jacqui Copland, former Mindbender and 10cc guitarist Eric Stewart, and Manfred Mann's Earth Band frontman Chris Thompson. The album features completely digital recording and mixing. It was recorded at Parson's first "Parsonics" studio in Sussex England with the orchestra recorded at Air Studios in London.

This excellent heavy prog album was released after Sir Lord Baltimore disbanded & involved the members of Sir Lord Baltimore & produced by Vinny Testa. The Bloody Mary album is in the same vein of Sir Lord Baltimore - perfect heavy progressive rock from USA. Fantastic vocals, swirling organ, fuzzy guitar and pounding drums.

The keyboard works of François Couperin – the most famous of the 18th-century clavecinistes – have never enjoyed quite the same popular revival as those of Scarlatti and Bach. No doubt Couperin’s comparative neglect is due partly to the fact that his intricate ornamental lines transfer awkwardly to the piano; but it is also true that the surface naivety and understated virtuosity of many of his pieces belie their musical substance.

When first approaching The Great Rock 'n' Roll Swindle, it's best not to think of it as a Sex Pistols album; rather, keep in mind that it's the soundtrack to a movie that was mostly about Malcolm McLaren and only tangentially concerned the great band he managed. Only eight of the twenty-four songs on The Great Rock 'n' Roll Swindle feature the same band as on Never Mind the Bollocks, and most of those capture them stomping through covers in the studio, sometimes to impressive effect (Johnny Rotten sounds positively feral on the Who's "Substitute" and the whole band tears into "(I'm Not Your) Stepping Stone" with malicious glee) and sometimes not (Rotten reveals he doesn't know the words to either Chuck Berry's "Johnny B. Goode" or Jonathan Richman's "Roadrunner," and the band's familiarity isn't much greater).

Reissue. Two CD set. Digitally remastered and expanded edition. Spilt Milk is the 1993 record that seamlessly blended Manning's penchant for the lush vocal harmonies and detailed pop composition of bands like Queen and XTC with Andy Sturmer's quick-witted, sardonic lyrical sensibility. With the exception of gentle opener "Hush", there's not a track on here that doesn't hide some inventive turn of phrase or piercingly clever insight, whether it's describing the happy-go-lucky protagonist of "Sebrina, Paste and Plato" as a "love-a-tarian", or filling nearly every line of "He's My Best Friend" with sly innuendo. And despite employing a wider vocabulary than many of his contemporaries, Sturmer's writing still rolls off the tongue marvelously, never sounding forced or pretentious.

When the Hollies - one of the best and most commercially successful pop/rock acts of the British Invasion - began recording in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time. They quickly developed a more distinctive style featuring three-part harmonies (heavily influenced by the Everly Brothers), ringing guitars, and hook-happy material, penned by both outside writers (especially future 10cc member Graham Gouldman) and themselves, eventually composing most of their repertoire on their own. The best early Hollies records evoke an infectious, melodic cheer similar to that of the early Beatles, although the Hollies were neither in their class (not an insult: nobody else was) nor demonstrated a similar capacity for artistic growth. They tried, though, easing into somewhat more sophisticated folk-rock and mildly psychedelic sounds as the decade wore on, especially on their albums (which contain quite a few overlooked highlights).

For this change of pace, singer/pianist Shirley Horn performs 15 songs associated with Ray Charles. Of course, Horn sounds nothing like Charles, but she sometimes captures his spirit on such songs as "Hit the Road, Jack," "You Don't Know Me" (which finds her switching to organ), "Makin' Whoopee" and "How Long Has This Been Going On." Joined by her regular trio (with bassist Charles Ables and drummer Steve Willliams), some of the songs have Ables switching effectively to guitar, while Tyler Mitchell fills in on bass. Altoist Gary Bartz guests on five of the dozen selections. While emphasizing ballads, as one always expects, this is a fun set that includes more medium-tempo tunes than usual for a Shirley Horn set.

'The Best of Jethro Tull The Anniversary Collection,' released in 1993, is a best-of box set by British rock group Jethro Tull. Included are some of the band's biggest and best hits spanning from 1968 to 1991. A two disc collection, 'The Anniversary Collection' compiles releases from 1968-1974 on disc one, and releases from 1975-1991 on disc two, including early hits like, 'This Was' to Tull's later work, like 1991's 'Catfish Rising.' With such a comprehensive collection, it's interesting to hear the changing roster of characters (the original lineup has changed many times, but for Ian Anderson - vocals, flute - the one constant). Jethro Tull has managed to persevere for decades because they remain a scion of hard rock and ingenuity, and the plethora of amazing tracks included on 'The Anniversary Collection' is testament to this. Included are two tracks from, 'Crest of a Knave' - the album that won Jethro Tull the 1989 Grammy for Best Hard Rock/Heavy Metal Performance in 1989, the first Grammy of its kind over awarded. This is the definitive collection of Jethro Tull, and fans, old and new alike, should not miss owning 'The Best of Jethro Tull The Anniversary Collection.'