title: A marvelous rendition for both works!

text:
If you would make an objective account about the greatest piano quintets ever composed from the Romantic period, you should include both of these works among the five ones.

But if, additionally you consider the artistic stature of these interpreters, the added value still grows. On on hand, Jan Panenka, with his honest musicianship is with Ivan Moravec and Rudolf Firkusny the dream trio of the Czech pianism along the past century. On the other hand, you have the Smetana Quartet, one of the most distinsguished chamber ensembles from that country.

The sound quality is prodigious. Dvorak's Quintet Op 81 is sublimely expressive without falling into the dangerous waters of sentimentalism; the Schumman Op is just a step behind the renowned version od Demus and Barylli.

So, keeping into account all these factors, it's absoltely a must-buy this extraordinary album. You will be always rewarded.


title: Anthological recordings!

text:
The European Quartet exhibits in this set a formidable blend of musicianship, histamina, sheer lyricism and enraptured inspiration.

To my view, there is no opther version capable to get close to this one. The Sextet is played with such conveyance, impeccable phrasing and superb approach. The Quintet Op. 97 is also a very interesting version to keep in mind.

an d I still wonder why these emblematic and peerless recordings have not been released on CD format yet.

A true mystery. Don't let this set is out of your musical collection.


title: Knock out performances!

text:
Georg Demus joined forces with Barylli Quartet and made in the early Fifties what most of critics still regard the unsurpassed version of both chamber works.

The Piano Quintet and Quartet are played with vivid expression, flair and verve. Demus plays with febrile passion always remarking the minimum facets of this romantic composer, but depicting the classic approach free of cheap or tearing exhibitionism.

You can get this extraordinary CD in Amazon Japan in a superb remastered edition. Not to be missed.


title: A legendary album!

text:
Leopold Wlach as soloist, proves he was among the great ones of the instrument. These recordings are simply outstanding. The fevered lyricism as well as the impressive domain of musical lexicon obligates me to recommend you without reserves.

The Konzerthaus of Vienna adds their well known gifts of interpretive brightness and accuracy.

This recording must be yours. Forget the price because - once you get it- you will forget, given the memorable results. Don't miss this collector item.


title: A legendary album all the way through

text:
Robert Gerle (1924-2005) is one of those cases in which one thinks what is going with this fabulous violinist whose talent still remains unknown for most of people.

His formidable intonation, superb lyricism and accurate technique is always under the service of the expression. What conviction and untamed honesty displays. You must get this album no matter what the prize means; because at the end of the journey the sum of the parts will exceed by far the effort of your own.

Absolutely reccomended.


title: Referential recordings!

text:
I would really like to know what's has been of this memorable album, that has not seen yet its exhumation from the files of Sony BMG.

This album captures with febrile intensity the best available versions in the market on both pieces. Morton Gould and the CSO display histamina, accurate expressiveness and enraptured flair.

The decade of the sixties was -for the Chicago Symphony- one of its most reminded: What explosion of efervescence and indomitable outburst of energy! Perhaps the other version that is just one step bellow is Antal Dorati at the front of the Minneapolis Symphony Orchestra, but to my mind, this version is unsurpassed until this date.

Don't miss it under any pretext.


title: Historical recordings!

text:
Taking into account who is at the front of the Royal Philharmonic, the fact these were the only symphonies conducted by Morton Gould, being the world premiere recordings in the Western hemisphere and the mysterious fact this album had not been transfered in CD format, you should not do without of this album.

I listened it carefully last Sunday and the reading of the Third is out of this world. So, if you have the chance to locate it just do it. It's a worth to acquire it.

The approach is brilliant, loaded of dramatic punch and enough adrenaline to fullfill even the most exigent listener. Don't miss it.


title: A must-have album!

text:
Michel Podolski (1928) a Belgian lutenist, makes a fabulous and towering performance in both selections. His musicality, lyricism and accurate balance made of him a legendary virtuosi of the instrument. His influence still remains on these new generations of lutenists.

Under no circumstance you should not miss this album, whose release in CD format should be a first priority.


title: Historical performance!

text:
This album captures in plain intensity the colossal artistic stature of this peerless legend of jazz. You won't believe it what you will be about to hear. every track is by itself an undeniable proof of his brilliant talent and stubborn drive.

A must have for any jazz collector or humble admirer of this genre. Not to be missed.


title: Distinction, refinement and panache!

text:
Helene Boschi (1917-1990), is virtually an unknown French-Swiss pianist. She studied with Alfred Cortot and Yvonne Lefebre. And her sound is unique. Filled of poetry and enraptured lyricism. Her Schubert via French approach is filled of surprises, overwhelming details of fingering and an evanescent flow that really seduced me from the first moment I heard her.

I guess this album must be a real treat for you to get it, but it's worth every penny you pay for it. This sound is actually missed and that's why I would like recall your attention.

Absolutely wondrous and besides an unforgattable experience. Don't miss it!!!


title: Prodigious performance!

text:
All of us are well aware about the opulence and expressive sumptuousness of Philadelphia Orchestra. And once again, Ormandy demonstrates the reason of his first rank distinction as conductor.

This album allows us to taste and enjoy every single episode of this emblmetic orchestral work. The drive, flair, enraptured inspiration joined forces with those formidable strings, winds and metals of such glorious ensemble.

Not only a weird collector item, but a deservedly masterpiece all the way through. And please wait for the release of this album in CD format according the restoration of Mark Obert Thorn.

Catch this album. You will always be rewarded.


title: If you love Shostakovich, this album must be yours!

text:
By unexplainable reasons this album has not been exhumated from the oblivion since its first release.

And I still wonder why I am the first one to review it. First and foremost, you have Andre Previn in the piano April 1962 under the baton of Lenny bernstein conducting the New York Philharmonic giving a ravishing version of the First Piano Concerto. Second in January 1958 Bernstein at the piano and conducting the Second Piano concerto. the Orchestra inspired and Bernstein unrecognizable. He displays one of his most memorable performances the history reminds; idomatic and overwhelming all the way through. And finally Leonard Rose under Ormandy conduction with the Philadelphia playing the Cello Concerto No 1 Op 107 of Shostakovich, November 1959. Exultant and memorably performed, Rostropovich displays all the possible histamina and Ormandy his well known mercurial approach around this famous Cello work.

In sum, you will obtain much more than the sum of the parts. This is a collector album. No doubt it, and not even blink in case you can buy it.


title: Szell's major achievement along his prestigious career!

text:
Not many know that Georges Szell was a tireless pioneer of Bruckner in Europe. But when he settled in USA, his efforts for trying to make Bruckner more widely known, he had to accept certain conditions and his ideals were left aside.

To my mind this Bruckner's Third is his lifetime performance. And please don't forget Gould's opinion. He affirmed Szell was much better director than Bernstein was.

Your musical collection will never be complete while you don't have this musical document. Acquire it without hesitation.

A must have recording.


title: Trios to collect!

text:
The Beaux Arts Trio achieved a special distinction with these admirable recordings, featured by the perfect balance between radiant musicality and sheer commitment. Listen for instance the First movement of the Trio No. 21 in C Adagio Pastorale and you will realize how sublime was the approach. They never appear to be hyper romantic, but classical.

The rest of the album is first rate. And believe me: Once you had bought it, you will be shielded for ever about any other version available in the market. Memorable and distinguished performances. Don't miss it.

This is my last review of 2011. I wish to my all my readers as well as the Amazon family, a very and productive happy New Year.


title: Sublime conviction, radiant musicianship!

text:
Trio di Bolzano was a fantastic chamber ensemble that had a short artistic life. But fortunately for all of us, they left us these priceless musical legacies.

Shostakovich Trio Op 67 was played with idiomatic distinction and genuine expression. The Ravel Trio fresh and natural, without cheap poses, filled of dazzling musicality.

The unresolved question still remains: Why do these recordings continue isolated from the rest of the world? They really deserve be exhumated from the basements and remastered in CD format.

Exceptional set all the way through!!!


title: Roberto Szidon: In memoriam (Sep/15/1941/- Dec/ 21/ 2011)

text:
Roberto Szidon passed away just two days ago. I had the chance to meet him in 1978 in occasion of an unforgettable recital he gave with his musical partner Jenny Abel.

He belonged to that generation of talented South American pianists (Nelson Freire, Martha Argerich, Luz Moura Castro and Horacio Gutierrez). His pianism was always fresh, with imagination and polite expression.

This album captured him about one of his most beloved composers.Heitor Villalobos. His radiant vitality and diamantine phrasing make this album be a must-have choice. I have this recording as well his extraordinary Villalobos' Sonatas for violin (with Jenny Abel); so I can give faith of it.

Don't miss it.


title: Enraptured musicality!

text:
The couple Doktor - Reisenberg worked succesfully. These two viola sonatas are transcriptions of his two sonatas for clarinet. Nevertheless, the viola accents the noturnal atmosphere and the requested lyricism.

Both were first rate performers and the degree of vitality is mercurial. Don't leave aside this curious recording. It will capture you from start to finish.


title: Extraordinary artistic achievement!

text:
The members of the wind section of the NYP agreed to gather to record this outstanding recording. Hoverd by this expected vitality and fevered Dyonisian drag and sparkling virtuosity, this Octet, Sextet and Rondino know no rival to the present. I listened them yesterady and I may affirm it without any doubt. If you have this album, preseve it make a digital transfer for the sake of your intimate circle of friends. It would be an original gift due the fact of this recording be rescued from the oblivion seems unlikely.

An unprecedented achievement.


title: One of the three most exciting versions ever recorded!

text:
The three most admirable versions of this fabulous and spelling Piano Concerto are in first place, the unique and unsurpassed performance of William Kapell who literally took over it; the memorable version of Mindru Katz accompanied by Adrian Boult and finally this exciting and frantic performance of Oscar Levant conducted by Dmitri Mitropoulos and The New York Philharmonic.

This recording has it everything you may ask: delirious moments, passionate pianism, efervescent flair and mercurial vitality.

If you get these three versions, you will be shielded for the rest of your life.

Don't miss it.


title: Waiting for its release on CD format!

text:
Howard Mitchell was one of the most legendary North American conductors ever born. His low profile perhaps kept him away from the show business. But if you take a look around about his little reecordings, you won't be able to deny this man certainly, had always something to say.

The Appalachian Spring has powerful contenders (Copland and Bernstein) but Mitchell confers it a singular approach. Serene, introspective and hovered of feverish dream.

Billy The Kid is formidable. It captures with fascinating realism the spelling legend.

Salon Mexico is an extraordinary achievement. Mitchell recreates with efervescent vitality the atmosphere of tavern smell of beer, cigarettes and beautiful women with an authentic Mexican flavour.

Fanfarre is the least brilliant of these works. Bernstein is miles awy from this version.

But albeit his fanfarre doesn't match, this album will reward you from start to finish. Don't miss it.


title: Collector item!

text:
Antal Dorati was in top form with these three Overtures. If it's true Fidelio has never been played but for Fricsay, dorati gives an exciting resoltion. His Coriolan was a majusucle surprise. Adrenaline and musculature that matches with my other favorite reading Otto Klemperer. The Leonore III extraordinary, efervescent and radiant.

His Fifth Symphony is formidable too. The drama sense and febrile fierceness make of this version of my six favorite versions ever recorded.

Try to get this legendary album by all your memans. It will reward you from start to finish.


title: A collector item!

text:
As is well known, Michael Ponti is probably the most daredevil classic pianist ever born, he has entered with greater intensity and ferrous conviction in trying to rescue and raise awareness for the memory of the future, old forgotten and overlooked treasures despised by many. For you have a rough idea of the vast repertoire of Ponti, he has played Adolf von Henselt, Anton Rubinstein, Charles Valentin Alkan, Joachim Raff, Ferdinand Hiller, Moritz Moszkowski, Hans von Bronsart, Henryk Melcer, Felix Blumenfeld, Joseph Reinberger, Scharwenka, Nikolai Medtner, Clara Schumann, Ignaz Moscheles,  Carl Tausig, Mili Balakirev, Carl Reinecke, Liszt, Scarlatti, Frederic Chopin, Joseph Haydn, Modest Mussorgsky, Ravel, Sigismond Thalberg, Rimsky Korsakov, Felix Mendelssohn, Johannes Brahms, Henry Charles Litolff, Saint Saens, Serge Prokoviev, Eugene D'Albert, Franz Berwald as well as Scriabin, Tchaikovsky and Rachmaninov complete piano works.

Ponti captures with invigorating flair, tireless fierceness but above all with a surprising mastery the musical lexican of these pieces.

Hungarian Gypsy melodies, Hulka Fantasy, One only lives once are performed with this unequalled Gypsy taste combining force and lyricism. The same may be told about Hope Op. 3, The Ghost ship (in which he gives a flaming tour de force performance loaded of mystery and nuance), Caprice waltzes on Themes of Strauss and Concert Etudes Op. 1.

Since I got this LP in 1978, I never cease to hear it. And I still wonder why it has not been exhumed from the underground files of VOX records.

It should be a good idea to make an effort and edit this wonderful set of this almost forgotten talent of the pianistic literature, who died so young, having much to say: Carl Tausig.

Try to get it and if you may download from a blog, please let me know it.


title: Treasures of the file!

text:
One of the most complete, fruitful, solid and formidable chamber ensembles ever existed, from 1950 with Badura Skoda at the piano, Jean Fournier at the violin and Antonio Janigro at the cello.

This ensamble gave the most idiomatic and colossal version I have ever heard of this celebrated trio No. 2 Op. 100 of the great Schubert.They captured with radiant vitality and irrepresible panache, the unmatched musicality of this work hovered by that Vienesse taste. The interpretive eloquence, the game of chiaroscuro, the wonderful contrasts of dynamics and impeccable phrasing of these accomplished musicians, led to a recording that already became a cult issue among connoisseurs.

Try to get a copy of this historic recording. You have my word. Worth it.


title: Intense and vibrant set of Beethoven overtures

text:
Hermann Scherchen showed his musicianship with the Vienna State with this formidable and exciting of vibrant readings of these well known overtures. The best of the set are Coriolan, The Consecration of the house, The ruins of Athens and King Stephen.

I bought them in LP format and recently (just ten days ago, I could make a copy from a download from a blog in CD).

I hope for its exhumation from the recording files. And I think to myself I'm not the only one. Perhaps this desire be a reality at short time for music's sake.

While awaiting the decision, try to locate them and check for yourself the radiance and superb versality of these performances.


title: First rank performances!

text:
As far as I know, Edith Farnadi was the first female pianist to win two times the prize for piano Franz Liszt.

In honor to the truth, many audiences in this side of the Atlantic have not been very attuned to her excellent piano playing, bravura technique, noble expression and wonderful phrasing.

By the time that both recordings were performed, there were not many versions available on the market. However, the colossal presence of Sir Adrian Boult on the podium was itself a palpable evidence of the highest level of musicianship. Soloist and conductor were able to achieve a superb balance between dynamism and rhapsodic flight without ever falling into vulgarity or false tinsel frequently incurred the many renowned performers who monopolize the music scene today.

Edith Farnadi established a standard pike with these interpretations have been matched by a small number of renowned pianists (Richter-Kondrashin, Gyorgy Cziffra, Byron Janis, Samson Francois, Claudio Arrau and John Ogdon).

Needless to say these recordings have cult status among connoisseurs and serious discofilos. I fervently hope that sooner rather than later the label Deutsche Gramophone edit these sensational recordings in CD format to the delight of many.

In case you possess this album, try to digitize as this edition is a true relic record label.


title: Legendary recordings!

text:
I acquired this outstanding LP in 1976. And its content is unparalleled. What continues to surprise me was that wonderful ability that Louis Kentner was capable  to engage so effectively the lyricism, vitality and nerve with which he played these parts. Kentner possessed technique, impeccable phrasing, intonation and bright limpid grace, often transcending the spirit of these works strongly rhapsodic.

For reasons which remains an absolute mystery to me, this album still remainswithout being released on CD format. since the seal Musical Concepts has been given the task of exhuming old Vox seal historic treasures, I have reason to suppose that question will be one to two years for this transfercnica happen.

With the hope that some kind reader has access or availability to senior management of the label and may facilitate this desired materizlizacion project.

Totally recommended.


title: One of the most devoted interpreters of Chopin ever!

text:
Adam Harasiewicz belongs to a generation of pianists in what the sense of color, search of self-expression not necesarily was under the service of arousing the elemental emotions. His playing is far from the fevered lyricism. rather, Harasiewicz sounds very idiosyncratic, personal and intimate. He does not seek expressive beauty but the way, taking a clear freedom in tempos, to round out the melodic phrase for the sake of more personal expression.

In general, Harasiewicz is more comfortable with the Nocturnes rather than the Preludes. I feel that in the Nocturnes more sense of intimacy, introspection depicted by a marked filigree balance.

Buy this album. It is a rewarding experience.


title: Our lives are the rivers that will give at sea who is dying!

text:
In all honesty I could not find words to describe the more accurate sadness that I saw the sudden death of Kurt Sanderling (09/17/11) a director who always kept a low profile, but without pretensions or pettiness when undertaking the execution of a work giving the best. This version of Rachmaninov's Second Symphony - in my view, still remains within 6 egregious verson ever made ''of this Op.

Tonal warmth, refined poetry,pristine phrasing and feverish lyrical are its main virtues. And speaking of the Philharmonia not only the end result is satisfactory but eloquent.

A version that should be present in your treasured collection.

In memoriam!


title: Historical recordings of first order!

text:
The significant relevance and undeniable transcendence of Fritz Reiner can not say that was accidental and even less free,and these recordings constitute substantial evidence.

The album was made in Italy, 1991 and begins with Aaron Copland's Concerto for clarinet with Benny Goodman as soloist. Reiner conducted the NBC Orchestra the First Radio Performance (o6-11-51). This work was the most influenced by his stay in Paris and can see traces of Eric Satie's ballet Parade with its reminiscent airs of his Rodeo. Reiner and Benny Goodman recorded the most expressive and diomatica version is known so far in the history of the disc.

Then, another world premiere of Boris Godunov excerpts from the giant bass Alexander Kipnis in front of the New York Philharmonic Live on 07/23/1944.

Finally, the work of Reiner's favorite Shostakovich, the Sixth Symphony. This execution is not as expansive or as protean as he would do years later with the Pittsburgh Orchestra. Nevertheless, it's propulsive and forceful. Recorded also New York Philharmonic Live on 15/08/43.

An album of impresicindible valuable not only for fans of Reiner, but for all lovers of great music.


title: Genius and Legend

text:
Within the great legends of the violin, Ginette Neveu stands out as one of the most egregious and meaningful. Her career, iron discipline and selfless conviction made ''her an icon of the instrument.

For many perhaps as a surprise but this version of the Brahms Violin Concerto is by far my favorite among the great, vibrant and espectuclares versions that exist on the market.

This interpretation oozes flaming passion, overwhelming vitality, melodic architecture and besides, that ineffable texture and lyrical gypsy surrounding the Third Movement.

The unexpected fatality intervened in her life and prevented her from reaching 30, but her legacy was defining. She was the greatest female violinist of the twentieth century.

In memoriam.


The peerless pianism of Edwin Fischer is carved in releif once more thorugh this distinctive and historiacl performance of 1942 with the best conductors the history has ever had.

The final outcome is thoughtful, philosophical, authoritative, slow-paced and reflexive Brahms, that still retains the essence of the score but so originally expressed and few times equalled in which intensity and poetry concern.

A must-have recording.


title: Samson Francois' inimitable panache!

text:
The style is something you 'll never learn, even with the best teacher in the world. It's inside your soul and so, it flows and just be perceived.

Samson Francois belonged this reduced elite of pianists. With his radiant eclat, astonishing fingering and overwhelming phrasing, always achieved to express the accurate balance and refined lyricism without ostenation or luxurious pose.

In hands of Francois, his Debussy sounds - as well as his Chopin - tinged of a special scent, not only the score, but the spirit and the atmosphere. Francois recreated a singular interpretative universe with sublime originality and powerful aerial architecture.

This album must be part of your invaluable collection. Don't doubt it and go for it.


title: An unrepeatable experience !

text:
As I have expressed in previous reviews about the egregious stature of this musical genius, Richter made - during the seventies - the most extraordinary contribution respect the musical approach respect Schubert (adding his name to Schnabel and Fischer during the thirties and forties, while Kempff and Badura-Skoda during the fifties and sixties).

The dark mystery, existential anguish, tense atmosphere through the contrast of the inner and dissonant voices  that gravitate in Sonata D 958 demanded from him a tenacious analysis of the score and requires for us - mortal listeners - a true commitment at the moment to appreciate this magisterial legacy, requesting major attention and participation. Richter was not born for the expected enjoyment of the music by itself. He always was a serious artist, deeply worried by revealing unsaid issues beneath the musical score.

The hypnotic treatment Richter made of  Sonata D. 960 has no paragon. The intention to expand the timings until unsuspected dimensions, revels by itself his unfaltering stubbornness who  allowed him to travel around the unexplored mythical paths in what Schubert demonstrates he was ahead his time and at the same time he was the true herald of the musical expressionism we will find in Mahler and then in the Viennese school headed by Schoenberg, Berg and Webern, decades later.

At the end of the performance you may really feel you have been conveyed to a superior level of conscious and totally convinced Richter possessed that enviable faculty just a few artists are capable.

This album must be part of your collection. It's absolutely imprescindible, beyond all the coveted epithets. It's useless to affirm this is one of the five greatest artistic achievements of Richer ever made.


title: The flame of genius!

text:
The sudden death of Dino Ciani in 1974, robbed the world of a scintillianting pianist who was at the top of his powers.

Listening this album you will understand why. Don't miss this prizeless musical document.

In memoriam!


title: Legendary recordings!

text:
All of us are aware about Mitropoulos' transcendental relevance as conductor as well as immortal performances legated by him, specially in his two last decades of his productive career.His legacy with the the Vienna Philharmonic (Salzburg Festivals) and specially his legendary performances with the NYP.

But what most of people are not aware was his decisive contribution in order to forge the Minneapolis Orchestra (that would receive the bless of being directed by Antal Dorati in the golden decade of the Fifties and early Sixties).

What makes this album be a collector item has to do with the Caucasian wilderness, unstoppable effervescence and magisterial conviction Mitropoulos confers both Symphonies

The Fourth is admirably well phrased with remarkable rubatos in the First Movement and unbelievable ferocity in the last one. Recorded in 1940.

But the jewel of the crown is without hesitation, the Second Symphony , recorded in 1946. Its indomitable energy, the eruptive vitality and the visceral emotion is limitless.

Believe me, you won't be able to believe what you will be about to listen. And perhaps, after you have done, you will agree with me in this sense. No other available version in the market can match with this singular and unique Second one.


title: A superb artistic achievement!

text:
Cyprien Katsaris recorded this marvelous musical treasure when he was just at his thirt four. The performance of Beethoven's Eroica transcribed by Franz Liszt has been until this date the most extraordinary availble recording pof this legendary Symphony.

Katsaris conveyed to the very soul of the work. His accents, dramatic passages breath and exude noblesse in sum grade. I received this gift the last saturady and I listened it carefully yesterday evening. Lyric effusion, bravura passages, as well as an absolute domain of the material make of this performance not only one of the most transcendental findings in years. It also constitutes one of the tresured jewels of the pianistic repertoire.

By any circumstance you shouldn't miss this one.


title: To my mind, the most overpowering and cyclonic Pictures ever recorded!

text:
Since his debut in Carnegie Hall, 1972, Ponti was regarded "The new Horowitz ". Winner of the Busoni Competition 1964, Ponti devoted himself to record neglected, overlooked and forgotten piano scores of the great romantic tradition.

This album ranges a set of recitals given in Herkussaal Munich during the late seventies. The CD contains Haydn's Sonata Op. 58 recorded in  Jun 25 1979, full of gentle gaiety; then Maurice ravel with Gaspard de la nuit performed in October 22, 1980. Inspired and full of sinister shadows and above all sense of color and that incorporeal ambiance. But what I would like to carve in relief resides in his monumental, ambitious and cyclonic approach around Pictures at an exhibition, October 10, 1978, became a real sensation all the way through due the historical reference that most of audiences are accustomed to assume. The way he played every section, the dark shadows, humor and flair he impressed this emblematic Opus, lately orchestrated by Maurice Ravel and mostly known in this format. Believe me, I got the famous epic version given by Richter in Sofia, 1958, (in fact I owe four different versions given by Richter, as well as Ashkenazy, Firkusny and Berman versions),but if you peruse it carefully once you listen it, you will realize Ponti exceeds them in which concerns ferocius vision and vital flair,indeed, it's more compelling and striking.

And finally an authoritative and distinguished Liszt' s sixth Hungarian Rhapsody No.6 performance given in June 25 1979.

This album - my dear reader -  is a true revelation, because it reveals Ponti into a variegated and kaleidoscopic musical journey.

Don't miss it.


title: A first rate musical document!

text:
The close ties between Bohm and the Vienna Philharmonic are something really worthy to remark. Devotion, admiration and commitment worked out among director and orchestra and viceversa. One of the two most striking evidences were the fact he conducted the first centenary of the Orchestra on March 28,1942 and he made it again on March 28, 1967 about the 125th anniversary.

Pelleas and Melisande's Schoenberg dates from June 1,1969. It's a live recording and constitutes probably the most eloquent and vibrant Pelleas you ever heard in your life. It's the only recording Bohm made of this work, so the historical transcendence talks by itself.

Death and transfiguration's performance dates from May 1963 (mono register) and if not for the resplendent version given by Victor de Sabata at Salzburg Festival in 1954 with the same Orchestra, I would chose as my first choice. The pulse, nerve and granitic approach make of this performance a peerless experience.

This album was edited with motive of the 150th anniversary of the Orchestra and since I bought it (in 1993) has been one of my most beloved musical treasures.

Don't miss this CD by any reason or circumstance. A real historical jewel all the way through.


title: Superhuman mastery!

text:
Due his multiple concerns respect the wide musical range, Earl Wild epitomized like just a few, a kaleidoscopic artist. That's why many people have always considered him three pianists in one. On one hand, we shouldn't forget his notable accounts about the repertoire of the 20th century (including pieces of his country fellowmen like Mac Dowell's piano concerto and Samuel Barber's works) besides, his profound commitment respect the classical heritage and finally his daredevil approach respect many pages of the musical literature. Ignored, dismissed or neglected by unknown motives. Nobody can deny his fiendish fingerwork, irresistible flair (the Scharwenka and Paderewski piano concertos) , tonal ambiance and majestic lean.

All the album is stunning. But Roberto El diablo and Mephistpo Waltz are by far ryhe supreme masterworks recorded here. Specially effective is the treatment given the waltz, hovered by clever tinges and sheer enraptured accents. Dreamlike suggestions that even approaches us to the original literary sources (Lenau).

It would be unfair, to forget two essential North American pianists who devoted a good part of their lives to play contemporary music (John Browning, Raymond Lewenthal and William Kapell), but in the case of Wild he went far beyond. Who could deny he was one the main driving forces at the moment to remind Liszt' first centennial in 1986?. He traveled around the world with entire cycles of this composer whose close affinity was more than obvious.  On the other hand in his early thirties he devoted to diffuse George Gershwin's music, a fact that for those times earned many negative critics by critics and certain audiences. (something similar happened with Leonard Pennario playing an extensive repertoire of Louis Moreau Gotschalk).

But with the centennial of Chopin in 1949 and over the years Wild proved for his country and abroad he was a pianist of relevant stature. He joined forces to the notable interest arouse from the sixties around many forgotten works of Romantic composers, which earned him a well deserved status.

In memoriam (1915-2010)


title: Historical recordings!

text:
If there's a conductor along the musical history who dedicated himself with reverence to give us the best of his craft, was precisely, Wilhelm Mengelberg.

To my view, Mengelberg will have a special status around three fundamental composers. Brahms, Strauss and Beethoven.

This Fourth still remains as a prime milestone recording. And it's appropriate to recall the Fourth is not only the most difficult to perform, specially in what concerns the last movement in which most of conductors fail in order to maintain the tempo without making concessions respect the dramatic feature that hovers the work.

Don't hesitate for a second and go for it.


title: Supreme musical treasures!

text:
The last Saturday I had the chance to get a now unvailable recording of this exceptional CD, whose historical transcendence surpasses the unthinkable.

The aristocrtaic approach of Joseph Suk and the enormous devotion of all the members of the Prague Symphony mad epossible a true giant achievement. The tune, approach and performance of this set is absoltely out of this world. Accuracy, sumptuos lyricism and tonal elegance make of this album a true referential album.

In case you had the chance to find in some dark store in Europe, North America or the rest of the world, please don't let it pass in front of you.

A milestone recording!


title: Forget about your previous versions of Romeo and Juliet: this is the supreme one!

text:
During the forties the supreme baton of Bruno Walter, faced daring artistic sessions. This risky bet by the high management of Los Angeles Philharmonic in those ages. Walter conducted Tchaikovsky's two emblematic Op. The Fifth whose approach is interesting, due Walter never patronized the introspective mood as a goal by itself. Instead he added part of his undeniable experience as Mahler's conductor (and keeping into account the narrow spiritual proximity among both composers, the final outcome is worthy to mention).

But surprisingly, the jewel of the crown was this incandescent performance of Romeo and Juliet. Walter made the entire flight direct to the core of the work, carving in relief the intense tension, emotional expression and the pathos of the tragedy, like no other conductor was able to expose it. The febrile anguish of the lovers of Gerona is remarked from start to finish without falling into commonplaces with eloquent refinement, but hovered by a visceral deadly approach.

Believe or not, this album is part of the legend. Don't miss it.


title: Meticulous perfection !

text:
This version of Bruckner's Eighth Symphony still remains among the three greatest readings anytime. Together with Furtwangler's Berlin Philharmonic 1949 and Gunther Wand, this performance is robust, solemn and noble.

The expressive profundity of the Adagio and the virile Finale is has always left breathless. And together with the memorable Bruckner's Ninth, is one of the most treasured musical files ever noticed.

The Simpson's Symphony rehearsal is quite significant about the level of talent of this unforgotten conductor.

Don't miss this CD.


title: Historical recordings!

text:
"Empolese" is an Italian term that means "twice Tuscan." Ferrucio Busoni (1866-1924)just may be understood in his cuadruple facet (pianist, theorist, composer and director) because of the fact his cosmopolitism, mysticism and renovator spirit. Married with a Swedish woman, his numerous tours nurtured and shaped an untamed and unpredictable musical personality.

This album includes several works almost unknown for the great public. Not only because the renown prestige of artists and soloists, but the variety of the program. In case you are (as I am) a serious admired of Busoni's craftsmanship, you must get this one.  The presence of batons such as Michael Gielen, Adrian Boult, Barenboim and Copland and Dietrich Fisher Diskau, Gerald Moore, Jaime Laredo and  Roger Tear seem to talk by themselves.

The supreme highlights are Elegiac berceuse (a heartfelt composition devoted to his own mother after she passed away.9, the inspirational Violin Concerto, (surprisingly well played by Jaime Laredo) an Opus of overwhelming lyricism and profound melodic density, the Four songs, the Lustspeiegl overture Op. 38 , and the Rondo Arlecchinesco are pieces that should be performed with major frequency on the great musical stages.

So, while Orchestras, conductors or soloists decided themselves to perform some of these brilliant orchestral pieces in the recent future, it would be convenient to acquire as soon as you can this notable album,released in 1993.

A must-have.


title: A collector item!

text:
Stylistically speaking, Carl Nielsen (1865-1931) is a child between two eras- the era of the late Romanticism and decadent pallor that suffered in Austria and Germany ; albeit it retained a naive splendor in Scandinavia, due the expansion of the Nationalistic wave since the second half of the XIX Century. On the other hand the presence of the untamed nature - fiords, forests, rivers and the wild wind that blows from the Pole, allowed the arising of an "Epic Pastoral" that nurtured the inspiration of Nielsen and Sibelius. Besides, the emergence of the Impressionism and the rupture of the tonality consolidated the modern music. The musical era already endured more than five years, there was a visible ebullient creativeness around several latitudes.

Nielsen's Third Symphony (1911) is not only a hymn to joy of living and exquisite nature poem. Nielsen foresees the first fissures in the horizon, and we may feel it along the development of the First Movement (the employment of the Waltz with an ironic smile, precedes in almost a decade respect Ravel's La Valse (1920). The powerful incandescent vitality and mercurial outburst of energy gives this work a distinctive place respect the corpus of his Symphonies.

On the contrary Nielsen's Sixth (1925), is the most contemplative and introspective of his Symphonic works. The melodic lines are shared by an adequate balance strings and metals. To my view, Nielsen his time is next to come and his febrile invectiveness might be labeled as retrospective. These musical ideas are hovered by a nostalgic mood. You may notice far echoes of a brief passage of Brahms' First Symphony in the Second movement, for instance. But the Final movement, mistakenly regarded for many critics as flippant and vulgar, are (to my mind) an elusive parade of intermingled livings and memories that probably inspired to Copland at the moment to compose his Rodeo in 1940.

Jasha Horenstein made an emblematic reading with the Third at the front of the BBC and the Sixth with the Halle Orchestra.

So, please, don't let to acquire this singular musical document of first-level priority.


title: Cult recording!

text:
Schoenberg's Chamber Symphony Op. 6 is work which remains in the middle of the road between the late Romanticism and the new musical tendencies that surrounded the world by then as much as a personal musical lexicon that began to blossom in the mind of this composer. Jasha Horenstein always had a close affinity with the creator of Dodecaphonic master. Since the early Fifties J.H. recorded with Vienna symphony one of the most well reminded performances of "Verklaerte nacht" . In this opportunity, this reading was astringently played with the accurate doses of introspective contemplation and bitter dissonances.

Sibelius' Fifth is perhaps the most cosmic and ethereal Symphony of the Finnish composer. But to my mind Horenstein's performance has highlights moments but integrally, lacks a pertinent vitality. Indeed, the work demands major histamine and the outcome results a mite uneven. Despite the final movement is well played the absence of structural vision weakens the whole structure.

Despite of this brief comment, this a must-have CD due its enormous historical importance.


title: Milestone recording !

text:
One of the most significant virtues of Jasha Horenstein was his untamed devotion and unerring conviction for divulgating many remarkable works , like this one, for instance.

The Royal Philharmonic always had that majestic sound that always characterized it. This version is hovered by a mercurial vehemence and incandescent flair.

The First Symphony was premiered on November 6, 1935 by sir Hamilton Harty. The First movement, solidly build is a succession of restless and terse themes, played with sublime commitment. The second movement, is marked deliberately "with malice" is prickly and challenging. The third movement reminds us to Paul Hindemith. The final movement is delineated in four sections: the first heroic, the second energetic, the third is fugal and contrapuntal are superbly performed; the final is really the jewel of the crown. A fiery intensity permeates the last section hovered by a triumphal scent.

Finally Wagner's Faust Overture  at the front of the BBC Orchestra is really showy and luminous. Written in Paris in 1810, the same year as Rienzi.

Acquire this sublime CD as soon as you can. It's a real musical feat.


title: A treasured musical document!

text:
Royal Festival Hall, June 14, 1972. Leopold Stokowski was in his nineties when decided to conduct Brahms' First Symphony Op. 68.

The approach given to this notable work was a true success. In order to understand the given approach, we should understand he began his career as organist. That's why we may feel how this work was performed keeping in mind a Choral scent, visibly perceived specially in the last movement.

The audacious rubato of the third movement, the deliberate solemn introduction doesn't diminish a bit the passionate intensity that permeates the work from start to finish. The London Symphony as always played with that characteristic éclat. The final ovation talks by itself.

Silvia Marcovici (20 by then) performed the Glazunov Violin Concerto with majestic charm and spring charm.

An album to collect.


title: A treasured musical gem!

text:
The meeting of Oscar Levant (mistakenly for many regarded as well as Earl Wild, Gershwin's voices)with Efrem Kurtz made possible to record a vibrant and striking performance of this noble piano concerto. This version depicts not only the pastoral epic, but the nostalgic rapture with flaming flair and expressive lyricism.

A sublime experience.


title: A dazzling performance!

text:
Many people tend to forget the historical relevance of this prominent director. He accompanied - neither more nor less - figures of the artistic caliber like Anna Pavlova and Isadore Duncan. That demolishing evidence is by itself, an immediate warranty of refined interpretive solvence.

This version of the most famous Op.of Jacques Offenbach is - at least to my mind - the most captivating and Dionysian performance I have never heard before.

To be absolutely honest, Efrem Kurtz has not yet received the expected diffusion that he should deserve. For instance, this work and the radiant version of the Suite Gayne of Aram Kachaturian. I really hope the top management of Sonny label become aware about the egregious importance of this collosus of the musical direction and then proceed to release on CD format both recordings.


title: Steeled conviction!

text:
Since the middle fifties until the late nineties, a fervent and sincere interest by the Romantic tradition seemed to flourish around the musical world. Maybe this curious phenomena has to do with several important dates, the centenary of Chopin's death (1949) , bicentennial of Mozart's birth (1956) , bicentennial of Beethoven's birth (1970), the centennial of Liszt' s death (1986) and the 150th  anniversary of Chopin's death (1999).

With the arrival of so many musicians, artists and composers from Europe since the WW1, the musical world was immersed into a process of musical experimentation (the avant garde movement headed by the Six, group, the new tendencies of the ballet Prokoviev, Stravinsky, the far echoes of the Impressionist movement (Debusy and Ravel) the tendency of preserving and maintain the Romantic echoes (Sibelius)into we know today as Post Romantics ( Busoni, Casella and Respghi), we should remind the dodecaphonists  with the break of the melodic lines (Schoenberg, Hartmann, Hindemith, and Berg among so many others) but at the same time with that big wave that brought with itself names as Stokowski, Rachmaninoff or Paderewski, whose style indeed influenced a new generation of remarkable north American composers and performers, we should have to keep in mind the long expected emigrant pianists from the iron's curtain allowed the Western Hemisphere to rediscover those vanished sounds and missed tunes of the late ages of the Romanticism movement (because the cultural isolation of U.R.S.S.).

This complex fusion nourished and wrought first-rate personalities, and made it possible the awakening and renaissance of Alkan, Thalberg, Tausig, Melcer, Bronsart, Moscheles, Scharwenka, Hiller, Rubisntein, Medtner or Pixis.

The certain of case is we had in the first two decades of the XX Century, the rise of the feminine universe in the keyboard - plenty of extraordinary gifts - who emerged running the risk to perform pages of an unknown and forgotten repertoire (Rosalyn Tureck, Jonas, Guiomar Novaes, Rosita Renard, Rena Kyriakou, Edith Farnadi, Nadia Reisneberg) and a name who usually tend to overlook the presence and transcendence of Felicja Blumenthal.

Her admirable musicianship is still recognized and beloved for many connoisseurs. She devoted to interpret missed works of the close and far Romanticism movement. That was a huge challenge in that decade of the fifties but she ran the risk and recorded a vast musical wasteland.

I really think it's time to pay attention this artist of low profile if you may, but convincing artistic proposals in order to make known and diffuse those lost names of the music.  .


title: A living legend of the flamenco!

text:
Along the flamenco there have been emblematic figures - specially along these last two decades - but all these have a common debt with Paco de Lucia, the gladiator, the herald the master musician of ravishing virtuosity and unequalled style.

It's absolutely impossible not to be engaged after listening him from the first bars.

Don't miss this album.


title: Master is the only word !

text:
The presence of Leonid Kogan in the musical stages was always qualified of electrifying vitality and absorbing passion. He displayed with his accustomed touch of genius, the maximum of the expressive possibilities without limiting himself to demonstrate us he just was not a brillant virtuoso but he knew to combine elegance, virility, tune technique and temperament in which the Apollonian and Dionysian approaches were always melted.

In my personal list, he will stand out as one of the ten best violinists ever born.


title: Art in the hell!

text:
If Reinhard Hauff `s "Franz Blum's tantalizing" (1975) was a forceful metaphor about the prison regarded as human jungle, "Four minutes"  is an admirable saga where two opposed forces meet one each other in all its nakedness. An old piano teacher has consecrated all her life to give piano lessons in a prison. Finally she finds a very gifted girl of just sixteen and she bets for her complete success to fulfil a set of frustrated expectations around her brutal emotional existence, her affective collapse with her father and the way she involved in order to protect her boyfriend and advocating be guilty of a crime she never committed.

All these pieces will have to be gathered and arrayed by this old lady, but as you may guess, she hides too the unseen face of the moon and the reason that impulses her to sacrifice her entire life in that penal institution.

The ghosts of the past will rekindle silent spectres and missed illusions, and the rebelliousness of that young lady will be a constant along the hard learning and  adaptation process to participate in a piano festival for young talents of the keyboard.

Incisive, caustic and realistic portrait, told with original narrative devices. The cast is really impressive and no single frame is wasted.

A stunning masterwork and one of the top twnety best films of 2006!


title: Divine inspiration!

text:
Federica von Stade shows us why she is one the most beloved exponents of the Bel canto all over the world.

This album finds her in an enraptured state with this well known Berlioz `s  Opus, her expressive and sheer lyricism make of this album a must have.

Don't miss it.


title: Radiant perfromances!

text:
The egregious musicality of Georg Demus swore a encomiast allegiance to Bach's memory. This is an exceptional album that shows us to Demus fully inspired and absolutely immersed in Bach's universe. Plenty of austerity, cosmic poetry and outstanding phasing leaving, (with a minimum employment of the pedal).

Chromatic Fantasy BWV 903 is played with such sobriety and aristocratic approach that really will amaze you. Toccata and Fugue in D major BWV 912 is extraordinarily performed, with a zealous sense of the geography of the score. Toccata and Fugue in C minor BWV 911 is shaped of  fluidness and that special humor in the initial exposition, the domain of counterpoint, harmonic modulations and limpid phrasing make of this version one of his best achievements ever. It's worthy to remark the change of character between Toccata and the Fugue was sublime. The Fugue is impregnated of profound lyric flight, and one of the two major pearls of the crown of the whole set.

Then we have from Anna Magdalena `s small notebook, four pieces No. 1 Minuet; No. 3 Marching tune;N0. 5 Miniuet and no. 6 Marching tune, all of them played with such humanity and radiant lyric splendor.

Then we arrive to the Saraland BWV 812, another little gem. But you will be surprised when you listen the jewel of the crown; the adorable Capriccio about his beloved brother's departure BWV 992 is played with majestic fingering, impeccable phrasing and huge inspiration.

Believe when I tell you, this album must be acquired for you in case you are a profound lover of Bach's music, You simply won't believe the level of excellence from start to finish.

A formidable purchase for yourself or any beloved friend around.


title: The refined playing!

text:
As we know, Arturo Benedetti achieved his own sound, a sort of personal landmark that only very distinguished seal that just a few pianist along the history have been capable to develop.

This successful collaboration with the legendary baton of Giulni conferred this Mozart `s performances of vigorous vitality and notable refinement. It will be very hard for us to listen such level of vision in the new generations to come.

That's why I recommend it plainly.


title: Prieceless musical document!

text:
These musical arrangements of Friedrich Silcher (1789-1860) based on musical motives of Bonn's giant are simply extraordinary. Perfectly harmonized, these adaptations keep intact the Beethovenian mood. Leonard Hokanson makes a notable support to Herman Prey, this admirable baritone. Both of them join forces and impress with vitality, and formidable sense of the ethos of the composer to pay a well deserved homage to delight us with these twelve arrangements, that securely will surprise you due its relatively little diffusion.

Acquire as soon as possible this outstanding album, to listen over and over again.


title: An epic director just reminded for a few!

text:
The admirable directorial talent of Paul van Kempen still remains in the most absolute mystery. His fame as well as Victor de Sabata was not major just because they were a sort of gypsies conductors, without a fixed Orchestra, they were true wanderers, conducting here and there and being recognized from time to time.

In the particular case of Van Kempen, the main feature was his astonishing ability to transform the sound enriching of clever features I had the opportunity to get (thanks to the infinite kindness of a friend) a live performance with the Concertgebouw of Amsterdam around Brahms Fourth Symphony, twelve years ago and believe me this is the most incandescent and mercurial version I have ever heard.

This set reveals with undeniable veracity, the masterful conduction and accurate phrasing around Beethoven that has nothing to do with previous conductors. Imagination, mercurial breadth and flaming approach are among others, remarkable factors to take into account respect this distinguished director.

Pitifully, this notable director has not received the deserved support through his countless apparitions with this Dutch orchestra. My fervent hope is that someday the priceless files of the Concertgebouw decide definitively to release once for all the enormous amount of treasures that must remain nestled and forgotten; because to my mind this would be the expected chance the people around the world knew more about this neglected genius of the baton.


title: Exrtraordinary and vibrant performance!

text:
Mitropoulos was one of the most remarkable conductors in Shostakovich's works. In this case, the version of the Fifth Symphony is absoltely radiant loaded with mercurial energy and great dynamic in what concerns the temps.

A must-have in your inavaluable collection.


title: Strange curves of sensibilities and mysticism: A national patrimony!

text:
Maria Rivas is one these notable, cogent and above all kaleidoscopic voices in a genre hard to classify, just because she interprets a multiform fusion of popular music, folklore, jazz and even some successful incursions I classics. I still remember vividly his emotive and warmth version of Rachmaninov Vocalise Op. 45 on July 14, 1992 in the prestigious Magna Aula.

The most impressive feature of her virtuosity resides in the fact she can displace from Bolero, to a seductive jazz piece or a famous Caribbean theme without any effort, and preserving in each one of these performances the accurate atmosphere. It's worthwhile to remark the fabulous musical arrangements that support her. You simply won' t believe the sensual version of Stardust, for instance, the fascinating performances of Besame mucho and Agustin Lara's Noche de ronda,  or the classic Johnny Mercer' s composition Blues in the night.

An album to collect, for enjoying it, dreaming, and loving.


title: An historical legacy!

text:
The reciprocal contribution among both well different but well convinced artistic personalities as Scherchen and Badura Skoda made possible a pleasant and joyful Second Concerto.

The Fifth is extremely dynamic and very exciting. Recommended specially for all those hard fans of this notable Austrian pianist.


title: Emblematic and desert island choices!

text:
Dvorak's immense talent as composer of chamber works deserve to him, even a major status that most of people tend to estimate. The spirit of eloquency, sheer lyricism and brisky musicality make of this set a true must-have.

Don't miss this set under any pretext.


title: Enraptured and invaluable musical gems!

text:
I have always thought Yehudi Menuhin was a true Renaissance` s man. He must have cultivated the friendship as a Greek Gods gift. According the vast amount of different players and conductors all along three quarters of century, nothing seems to contradict it.

His musical interests were signed for this previous sense of sincere conveyance and desires to accomplish new horizons and establish with the listener an immediate rapport. You may feel in this introspective and dainty piano chamber works, the sublime accuracy  of a superior artist in progress.

It was not mere casualty his multiple collaborations were abundantly fruitful not only for both players, but the musical universe in general.

These pieces are played with such enraptured inspiration and absolute conviction, that hardly you will be able to get in the actual market any other recording that is even close in what resemblance, character or sheer approach

Gratifying and rewarding recordings to keep in mind.


title: Pure gold!

text:
The gelid precision was possibly the main feature in the conducting art of Igor Markevitch.

In this sense he always knew to maintain the perfect and desires equilibrium between the objective and the subjective approach of the music.

His reading of the Rite still figures among the five top performances ever made. Pulcinella is simply unsurpassable under his baton. The fairy's kiss is only surmounted by the magisterial vision of Ernest Ansermet. His Petruchka is admirable plenty of vivid expression.

But there is still more. His Prokoviev is faultless, he maintains the expected roughness and sharp cynicism all along these three works.

In sum this is a golden compilation that every hard collector should acquire. Absolutely recommended.


title: Treasures of superior level!

text:
The Budapest string quartet was (who can deny it?) one of the most legendary chamber ensembles in the first half of the XX century. They wrote with golden letters glorious pages of the chamber literature. Mozart' string quintets, Brahms string quintets, Beethoven's  string quartets, Sibelius' Intimate voices or Mendelssohn and Grieg' s string quartets, but besides the historical collaborations with notable soloists established  unequalled landmarks of faultless precision and sublime musicality.

This album contains a demolishing evidence about the previous statement, when recorded the lovable Schumann' s piano quartet with the magisterial pianists Clifford Curzon in the peak of his musical powers.

Recommended without reserves for any chamber music's hard collector.


title: A genius in progress!

text:
Oscar Peterson was probably the most famous jazz pianist in the world; more important, he was also, in the opinion of many, the best there has ever been. Perhaps, the name of Art Tatum could compete in what respects to inspiration and mood. The classical training, his full command of the piano was simply awesome, but however his most admirable gift was the overall range of emotional frequencies, that included from the most reflective poignancy and subtlest lyricism to the most effusive joyousness and ability to make roar the piano. He always played with the piano instead of play the piano. That astonishing easiness of his voluptuous phrasing and perpetual lyrical expressiveness constituted one of his multiple personal landmarks.

The fortunate association with Ed Thigpen and Ray Brown between 1959 and 1965, led perhaps to one of the most brilliant, inspiring and fruitful period in the impressive career of Peterson. After you listen this overwhelming trio, you will proudly to affirm this trio has been one of the most solid ever formed before in the whole Jazz Era.

This is - without exaggeration - one of the most valuable musical documents of this Jazz giant.


title: The guitar is an Orchestra in miniature!

text:
After you listen this admirable selection of works played by this splendid soloist, you will agree with this wise statement of Hector Berlioz.

Go for this representative stage of this golden guitarist.


title: Passion for clarity!

text:
The Italian heritage made of him one of the most sublime Operatic conductors in the music. His passionate style, his perpetual obsession for the accurateness, his different and expansive grimaces at the stand are still reminded.

But all these titanic efforts were compensated and fortunately for us, who have been blessed with some of his most winning performances. His version of Prelude and Liebstood from Tristan and Isolde  still remains among the untouchable and legendary versions recorded in any age.

Pitifully for him, he was like Paul van Kempen a privileged conductor without a fixed Orchestra, a gypsy Director in all the sense of the word.

If you merely have heard about his craft, I beg you to acquire all what you can from his eminent director whose time begins to show.

This is an anthological CD; a true collector item.


title: An everliving album!

text:
The title of this fabulous album obviously comes from the suggested and funny Woody Allen picture: Radio Days. The CD in question possesses a spelling rapture and contains magical tunes that we know so well that we can no longer remember where they come from. Legrand made a sublime journey by the memory' folds.

Who have been able to forget Tico Tico? the song that launched the career of Carmen Miranda, the everlasting beautiful Charmaine that finds in Mantovani 's version a rival hard to beat. Where or When is a classic melody from Rodgers ' inspiration. Smoke in your eyes is one the best tracks of the album, Three coins in the fountain is very warm and for the last themes Legrand made magic arrangements The Song of Moulin Rouge ( but never surpasses his own approach given in I love Paris, the best instrumental album ever recorded in 1954), Fascination is by far, the best track of this album, special acknowledge goes to

Begin the beguine, Fascination and for closing with gold 's clasp, Eternally (Limelight).

An album that will revive your most intimate moments and livings through your life. And if you are a teenager , go for this set of unforgettable selections, because the time will engage you at least, with one of these tracks.

This is a record without time, so typical of the masterworks.


title: An excellent  option !

text:
If you really want to get close to the essential facets of the caribbean sound and what bolero means for the latinamerican people acquire this album .
First at all , Leroy Holmes was the sublime orchestra that supported many recordings and succesful albums of famous leader singers and crooners of the sixties decade such as Tito Rodriguez , Chucho Avellanet , Daniel Santos and Al Zeppy among others .
In this case Holmes plays a set of unforgettable classics of the popular repertoire such Inolvidable or Llanto de luna.
Holmes owned this special golden touch which allowed to be the most expressive orchestra leader in those years of the latinamerican song.
An interesting buy for you and recommended for those special moments .


title: Wasn’t my favorite!

text: I love Ronnie Dunn but , this  CD wasn’t what I thought it would be.  Old songs he was singing.  Not his song’s either!


title: dba bubble

text: i love the music . i nread it was eorprtian style music. techico  say a littleb prayer planet love  kiss the sky i love those song .i think the same people has 65dba


title: Timeless classics!

text: Timeless classics!


title: Works great

text: Works great and was just as expected.


title: Great bonuses

text: Plays great and loved all the extras!


title: Just as expected!!

text: Plays great!


title: Works great!

text: Plays great and came just as described.


title: Pricey but, it was a present.

text: Honestly I probably wouldn't have purchased this with the price and shipping costs but it was a present so I went for it. The person it was purchased for was happy with it so I guess that is what matters.


title: Works great!

text: Works great and just as expected.


title: Love the bonuses!

text: Got everything just fine, just what we expected and works and sounds great!


title: Sounds great!


title: Sounds great!

text: Works great!!


title: Great album!

text: Works well!!


title: Great album

text: Great album and all the extras are always a nice surprise bonus! Worked great and sounds amazing!


title: Great Album!


title: Great extras!

text: Great album and exactly as expected.


title: Great Album!

text: Great album and exactly as expected.


title: As expected

text: Exactly as expected and works great!


title: Just as Expected!

text: Just as described and expected. Works great!


title: Just as expected.

text: Not really a whole lot to say other than, it worked, arrived quickly and was just as expected all things considered.


title: Great Album!

text: This was just as expected and love the bonus keychain, it is adorable!


title: Just As Expected

text: Great album and poster and just as expected!


title: Great Value!

text: This came with so much extra stuff it was amazing! Loved everything, works great and have a very happy child on my hands.


title: Just As Expected

text: Great album and just as expected. Love the extras these sets come with!


title: Great Album


title: Love All The Extras!

text: Love all the extras this set came with. It really was worth the price.


title: Shiloh CD

text: Purchased this CD used From Novatechs. It is in as new condition.  Shiloh was Don Henley, of the Eagles, first band.  Excellent CD.


title: Talbot Collection

text: Purchased used from Jay's Classic Vinyl.  Absolutely fantastic.  In new Condition.


title: Talbot McGuire Album  (CD)

text: Purchased from DJFJAZZ as a used item.  It's perfect, in NEW condition.  Great album.  I purchased all of Barry McGuire's Christian albums in the early 1970 as well as Terry Talbot's albums.  Barry stayed in my home in 1978 when he visited my church in Wales during a tour of the UK.


title: Veni Domine take an odd turn to keep things interesting

text:
Stockholm’s obscure Veni Domine released seven albums from 1992-2014 before calling it a day. Their style is akin to Queensryche, but with longer, more convoluted songs and heavier guitars, sometimes copping a vibe of experimental gothic doom or epic progressive rock/metal, not to mention featuring biblical themes. As the years progressed, they would sound less-and-less like 80’s Queensryche and trailblaze their own path.

Released in 2007, TONGUES is the band’s sixth album and, like the previous album 23:59 (2006), you can hear alternative influences beyond Queensryche, Candlemass and Fates Warning. For instance, you’ll hear a Saviour Machine/goth rock vibe here and there, like in the opening song “October” and “You Leave Me Cold.” Meanwhile the second track “Scream” throws in a White Zombie rap-like section, which turns your head and surprisingly sounds organic and good.

Unlike their first two albums where all the songs were long, TONGUES includes a nice mix of long and short tracks with the title cut (the closing song) being by far the longest at 16:27. Meanwhile “Tree of Life” runs almost 10 minutes. These are the exceptions, however, as seven of the tracks run around 4-5 minutes.

At the end of the day this is a worthwhile release by a talented band, it’s just more experimental and therefore weirder compared to their first four albums. It’s an eccentric mix of goth and power/prog with a bit o’ doom. In short, you have to be open-minded to appreciate it.

The ten tracks clock-in at 1 hour, 7.5 minutes.

GRADE: B/B-


title: Magnificent debut by this Swedish power/prog/doom metal band

text:
Stockholm’s obscure Veni Domine released seven albums from 1992-2014 before calling it a day. Their style is akin to THE WARNING era Queensryche (1984), but with longer, more convoluted songs and heavier guitars, sometimes copping a vibe of experimental gothic doom or epic progressive rock/metal, not to mention featuring biblical themes. As the years progressed, they would sound less-and-less like early 80’s Queensryche and trailblaze their own path.

Released in 1992, FALL BABYLON FALL is the band’s stunning debut, which is timeless metal. If you like the above description, I encourage you to check out this unique band. All seven songs are long with “Wisdom Calls” being the shortest at 6:44. The closing epic is no less than 21 minutes!

While this is the kind of album you just press ‘play’ and enjoy from beginning to end, my three favorites cuts are “King of the Jews,” “Armageddon” and “O Great City.”

The seven tracks clock-in at 1 hour, 7 minutes.

GRADE: A/A-


title: Bride experiments during their grunge/alternative rock phase

text:
Released in 1998, ODDITIES is the nineth studio album by Kentucky’s Bride. The band has always enjoyed exploring soundscapes with their sound, refusing to be limited by a particular genre. Their three 80’s albums were metal similar to Priest/Maiden/KD, albeit with their unique quirks, whereas their first two early 90’s albums were of the GnR variety; I’m talking about KINETIC FAITH (1991) and SNAKES IN THE PLAYGROUND (1992). This early 90’s period marked the height of their popularity.

Their next release, SCARECROW MESSIAH (1994), was similar to the previous two yet took its own path and segued into the band’s grunge/alternative rock period from 1995-2001, which began with DROP. In other words, don’t expect any metal from the five albums released during this era, like their first three albums, or the GnR-influenced hard rock of the next three.

While ODDITIES, along with DROP, are arguably my least favorite Bride discs, they’re good for what they are with several hooky songs, the best three located on the second half of the album, starting with the unique “Spirit,” which features mellow stanzas, but a dynamic chorus. “God’s Human Oddities” is another highlight with its moody, bass-driven verses and all-around catchiness. Then there’s the eccentric “Die a Little Bit Every Day.”

Other songs, such as “I Ain’t Coming Down,” “I Found God” and “Closer to the Center of the Earth,” will probably rub off on you with repeat listens, as they did with me.

If you’re a fan of Bride and their wide-ranging style, you’ll enjoy ODDITIES. If you’re new to the band, I recommend starting with KINETIC FAITH (1991), SKIN FOR SKIN (2006), TSAR BOMBA (2009) and HERE IS YOUR GOD (2020), which are my favorite albums by the band.

The opus features fourteen tracks clocking-in at almost 56 minutes.

GRADE: B


title: The third of three odds & ends albums by Bride

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Released in 1997, LOST REELS III features quality demo tracks from the sessions of THE JESUS EXPERIENCE (1997). Two tracks did make it on to that album: "One Race," retitled "Human race," and "Cosmic Christ." Meanwhile "Alive" previously appeared on HEAVEN'S METAL HARD MUSIC COMPILATION VOL. 1 (1994), albeit under the title "I'm Alive."

That leaves about nine tracks exclusive to this compilation. Obviously Bride devotees will want to add it to their arsenal, particularly if they favor their mid-late 90's albums. Catchy songs like "Days of Shame" and "What Are We" are definitely worth the price of admission; meanwhile "Guilty", "Break My Spine and "Cover Dry Bones" are no slouches.

The original version of LOST REELS III was limited to 1000 copies, but Retroactive Records remastered & rereleased it in 2013 with new superb artwork, etc.

The twelve tracks run 42 minutes.

GRADE: B


title: The first of three odds & ends albums by Bride

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Released in 1994, THE LOST REELS is a compilation of tracks by Kentucky's Bride that were submitted as possible songs on proper albums, but not used, although three of the songs ended up being rerecorded for DROP (1995): "How Long," "Only Hurts When I Laugh" and two versions of "I Am the Devil, one of which is titled "It's the Devil." I'm assuming the first five songs were recorded around 1993. As for the rest: Tracks 6-9 were recorded in 1989; tracks 10-12 were recorded in 1988 with "Good Rock n Roll" originally hailing from the Matrix demo STUDIO JUNKIE from 1985; and tracks 13-20 were recorded in 1992.

This means that some fifteen of these songs are exclusive to this album. Needless to say, if you want these obscure tracks, you'll have to pick up this compilation. The original pressing was limited to 2000 copies, but it was remastered & released in 2013 by Retroactive Records with superior artwork, etc.

As usual with Bride, there's a lot of variety and the band tackles each (sub)genre passionately and effectively. While I personally don't need the few songs that appear on the immanent DROP, some of my favorites of the others include "Dirty" and "18," which are very catchy and should've appeared on proper albums. Meanwhile songs like the bass-driven "Help," the lively "Sugar" and "Fine Line" are no slouches. The stanzas of the latter are a little reminiscent of KISS' "Rock and Roll Hell."

The twenty tracks clock-in at 1 hour, 12 minutes.

GRADE: B


title: Progressive power metal with biblical themes

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Released in 1992, MAJESTIC SERENITY is the first full-length album by Pennsylvania’s Sardonyx, who debuted a couple years earlier with their REBEL OF REASON EP (1990). Their output history since then has been rare, but they released another EP in 2005 called LINEAR PROGRESSION that was less technical and focused on praise & worship metal. Their most recent full-length was SONS OF THE KINGDOM (2018), which is easily my favorite opus by the group since it features their catchiest songs and is the most “anointed” metal album I’ve ever heard.

MAJESTIC SERENITY, by contrast, is their most technical and progressive release. Unfortunately, the original album was marred by amateurish cover art, which was rectified by a 2007 rerelease with fantastic new art.

Tom Denlinger's vocals are pretty melodramatic, which I suppose you could call theatrical. I saw them perform live in 1994 on a Youtube video and they were stunning.

The band has its own unique sound and there's nothing else like quite this particular album, which features a wide breadth of diversity, everything from heavy or fast parts to quiet meditative pieces. Anyone who appreciates bands like Jag Panzer, Savatage, Metal Church, Crimson Glory, Fates Warning, Riot, Manilla Road and Cirith Ungol are encouraged to add this to their arsenal.

The eleven songs clock-in at 57:35.

GRADE: B+/A-


title: Half album of power metal praise & worship

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Released in 2005, LINEAR PROGRESSION is an EP by Pennsylvania’s Sardonyx, a power/prog metal band with hints of thrash that’s been active since their 1990 demo REBEL OF REASON, also an EP. They currently have two full-lengths out, MAJESTIC SERENITY (1992) and SONS OF THE KINGDOM (2018). The former opus was strapped with amateurish cover art, which was thankfully rectified by a 2007 rerelease with fantastic new art.

While the band has always been overt with their white metal themes, this EP focuses on praise & worship metal. As such, it seems more subdued compared to their other stuff, particularly the vocals, which are less melodramatic. However, there’s still plenty of potent guitar work. Look no further than the third song, “I’m Free.” Speaking of which, this particular song features some tasteful preaching at the end.

SONS OF THE KINGDOM is my favorite release by the band and I would honestly describe it as the most “anointed” metal album I’ve ever heard. This EP is similar and obviously a precursor. The only problem is that it’s just four songs running 20 minutes, but at least it leaves you wanting more (for those who appreciate the biblical themes anyway). Despite being an independent release, it sounds professionally polished.

At the end of the day, this is a worthy half-album for those who have some of this unique band’s other releases. Yet it’s also worthwhile for those who want a taste of what Sardonyx has to offer.

GRADE: B+


title: Bride is always experimenting and (almost) always good at it

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Released in 1994, SCARECROW MESSIAH is the sixth studio album by Kentucky’s Bride. The band has always enjoyed experimenting with their sound, refusing to be limited by a particular genre. Their three 80’s albums were metal similar to Priest/Maiden/KD whereas their first two early 90s albums were of the GNR variety; I’m talking about KINETIC FAITH (1991) and SNAKES IN THE PLAYGROUND (1992). This period marked the height of their popularity.

While I was never a big fan of Bride’s three 80’s albums, they went on to become a premier rock/metal act and represent the best of whatever sub-genre they explore. SCARECROW MESSIAH may not be as good as KINETIC FAITH (1991) or future opuses like SKIN FOR SKIN (2006), TSAR BOMBA (2009) and HERE IS YOUR GOD (2020), but it’s pretty much on par with THIS IS IT (2003).

Some critics argue that it’s just an uninspired copy of the two previous albums, but I disagree. SCARECROW MESSIAH is its own animal and the band gives it their all. Highlights include the Zeppelin-ish “Place,” the haunting “Murder,” the catchy “Time” and the frenetic “Doubt” with its notable melodic bridge.

The album features eleven tracks clocking-in at 42 minutes. Interestingly, all the song titles are one word.

GRADE: B+


title: Like DISTORTION, Forbidden breaks free of thrash for something… stranger

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Originally released in 1997, GREEN was the fourth of five full-length albums by Hayward, California’s Forbidden (which is just south of Oakland in the Bay area). The band plays technical thrash metal masterminded by guitarist Craig Locicero and have been on hold since 2012. My favorite album by them is easily their last one, 2010’s OMEGA WAVE. That disc took the late 80’s technical thrash of their first two albums — FORBIDDEN EVIL (1988) and TWISTED INTO FORM (1990) — and superbly mixed it with the peculiar arty approach of their two mid-90’s releases — DISTORTION (1994) and GREEN (1997).

That brings us to GREEN. With the emergence of grunge in the early 90s after the success of Nirvana’s NEVERMIND, Craig & the boys felt freed-up to drop the thrash metal polka and really explore their craft. Don’t get me wrong, there’s still a thrash element, but it’s less one-dimensional.

Like its older cousin, DISTORTION, everything about the band is technically improved on GREEN, but something about the songwriting prevents the songs from grabbing the listener. As such, you can listen to the whole album and enjoy it, but walk away not remembering any particular song. However, this is resolved by repeat listens: The more you hear, the more jumps out at you.

The highlights for me are the haunting doom of the opener “What is the Last Time”; the experimentalism of “Turns to Rage,” which includes spoken word during the stanzas and features a quirky post-chorus piece; the heavy grunge metal of “Blank,” which starts psychedelically; and the eccentric, but catchy closer. For those with a need for speed there’s a punk/thrash/speed trilogy (tracks 6-8).

The album was just too deep, too different, in the mid-90s for the average rock-metal aficionado who apparently preferred “a mosquito, my libido.”

GRADE: B+/A-


title: Basically Agent Steel with a different singer

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Released in 2015, FROM WORLDS BEYOND is the first full-length album by Los Angeles’ Masters of Metal, although it was preceded by a self-titled EP in 2013. Two of the four songs on that EP reappear on this album: “MK Ultra” and “Evolution of Being.” Masters of Metal formerly performed under the name of Agent Steel, albeit with a different singer, Bruce Hall. After releasing three albums as Agent Steel, Hall left and original singer John Cyriis took the band name intent on releasing new material (which was finally accomplished in early 2021, the album being NO OTHER GODZ BEFORE ME).

To be expected, the music sounds like the three Juan Garcia-led Agent Steel albums with Bruce Hall, but with a different singer, which happens to be guitarist Bernie Versailles. They had a vocalist for the band, but he opted out at the last minute, so Bernie took over. While he doesn't sound like Cyriis or Hall at all, he certainly has a serviceable voice, although not as notable or high. At least he doesn’t sound like anyone else.

The aforementioned “Evolution of Being” is definitely a highlight and a good representation of the band’s sound & skill, mixing Anthrax-like power/thrash with a well-done melodic chorus and head-turning post-chorus. Meanwhile "World Left in Cinders" and “Third Eye” are energetic speed metal while “Doors Beyond our Galaxy” nicely mixes doom with power metal for a notable cut. The last track, “Vengeance & Might” features James Rivera on guest vox. That’s all the songs I’ll site as this is a quality disc from beginning to end.

Needless to say, if you appreciate bands like Agent Steel, Helstar, Crimson Glory and Priest, you’ll appreciate what Masters of Metal has to offer. Unfortunately, they haven’t released anything since.

The album clocks-in at just under 47 minutes.

GRADE: B+


title: Heavy power/thrash from the returning Agent Steel with new singer Bruce Hall

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Released in 1999, OMEGA CONSPIRACY is the third full-length album by Los Angeles’ Agent Steel (who relocated to Florida at one point). It’s the first opus with singer Bruce Hall, who quit the band after a dozen years in 2010. Bruce apparently got frustrated by constant comparisons to John Cyriis, who sang on the first two albums, SKEPTICS APOCALYPSE (1985) and UNSTOPPABLE FORCE (1987). I’m familiar with Cyriis’ work on UNSTOPPABLE FORCE and the two prelease tracks from his 2021 Agent Steel album NO OTHER GODZ BEFORE ME, but I favor Hall because he has more diversity. Cyriis is really good, of course, but — let’s face it — he’s a one-dimensional helium singer.

With the revolving door of musicians, Agent Steel is basically guitarist/composer Juan Garcia and whoever hooks up with him, usually guitarist Bernie Versailles. Cyriis’ current version of the band, however, doesn’t include either unfortunately. Meanwhile Garcia & Versailles’ version of Agent Steel have released an EP & full length album under the moniker Masters of Metal (but they haven’t released anything since 2015).

As for OMEGA CONSPIRACY, it’s superior to UNSTOPPABLE FORCE and is akin to the power/speed/thrash of Helstar from NOSFERATU-onward. While Hall shot for a harsher, more diverse style on his third and final album with the band, ALIENIGMA (2007), he’s still very diverse on this first recording with Agent Steel.

This is a solid disc from beginning to end with lyrical themes revolving around conspiracy theories, aliens and ominous prophecies. It’s useless to cite individual songs as this is just superb heavy power/speed/thrash with melody and melancholic acoustic pieces interspersed. Kick-axx opener “Destroy the Hush” is a good frontrunner and sign of the quality metal to come. “Awaken the Swarm” is reminiscent of the approach of songs like “Beyond the Realms of Death,” “The Lady Wore Black” and “Children of the Damned.” Meanwhile “Bleed Forever” is a mournful piano-based ballad.

Fans of latter-day Helstar, as well as Sanctuary/Nevermore, Crimson Glory and Dio, should love this.

The ten tracks clock-in at just over 51 minutes.

GRADE: A-/B+


title: Meliah Rage’s solid power/thrash debut

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Released in 1988, KILL TO SURVIVE is Meliah Rage’s first studio album of ten as of this date (I’m including UNFINISHED BUSINESS, which was originally recorded in 1992 as their third album, but not released until 2002).

My two favorite albums by Meliah Rage are THE DEEP AND DREAMLESS SLEEP (2006) and BARELY HUMAN (2004), followed by a distant DEAD TO THE WORLD (2011). Paul Souza sang on all three. My next three favorites would probably be the first three: UNFINISHED BUSINESS, SOLITARY SOLITUDE (1990) and this one, all of which feature Mike Munro on vocals. I didn’t like Munro’s singing on the overlong MASQUERADE (2009), although it was serviceable, but he sounds quite good on the early albums. He’s from the Hetfield school of vox, but with a unique twang.

Speaking of Hetfield, Meliah Rage’s style is cut from the same power/thrash cloth as 80’s Metallica. KILL TO SURVIVE is not as head-turning as RIDE THE LIGHTNING and MASTER OF PUPPETS, but it’s certainly pleasing late 80’s power/thrash. SOLITARY SOLITUDE is even better.

“Beginning of the End” is a decent opener that sorta combines Riot’s “Swords and Tequila” with Maiden’s “2 Minutes to Midnight.” Meanwhile “Bates Motel” is the ‘hit’ of the album mixing a doom riff for the opening & chorus with a mid-paced riff for the stanzas and a cool melodic mid-section. The band usually includes a long instrumental on their albums and the well-done “Meliah Rage” fulfills that designation here.

The final four cuts are very agreeable, but unspectacular 80’s power/thrash.

The seven tracks clock-in at a streamlined 34.5 minutes. The album originally featured the title thrasher “Kill to Survive,” but Epic Records refused to include it because of its violent lyrics. However, the song is included on the group’s 1989 live album LIVE KILL, as well as the 2018 Hammerheart Records edition of KILL TO SURVIVE.

The 2000 Collectibles edition includes the first four songs from their follow-up SOLITARY SOLITUDE, which is the version I own.

GRADE: B


title: Review of FIND YOUR HEART A HOME

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The band was originally formed in Southern California in 1977 by guitarist Monte Cooley and bassist/keyboardist Gary Mann. After completing their first album in 1980 Cooley left. The band ultimately settled with four members during their most popular years in the early to mid-80s: Gary Mann, vocalist Nancy Jo Mann, drummer/lyricist Kris Klingensmith and guitarist Brian Belew. Their most popular albums were FEEL THE FIRE (1984) and APPROACHING LIGHT SPEED (1983).

Barnabas’ style straddled the fence between energetic, aggressive metal (e.g. NWOBHM) and curious experimental rock, sometimes throwing in pop rock (like Rush, Styx, Kansas or Boston). On top of the music soared the vocals of a singer that sounded like a cross between Heart and Grace Slick. But Barnabas were unique and didn't necessarily sound like any of these bands, not to mention they were overtly Christian in theme.

If you’d like a good example of Barnabas at their best, check out the song “Nicodemus” on Youtube, which was a B-side to the cut “Directory Assistance” from their first album HEAR THE LIGHT (1980). It was written in 1979 and is akin to Priest from that period, e.g. STAINED CLASS. Why the outstanding “Nicodemus” didn’t end up on a proper album is a big mystery.

Released in 1982, FIND YOUR HEART A HOME was the band’s second full-length album of five. Guitarist Cooley had left and was replaced by two guitarists for this album only, Michael "Mick" Donner and Kris Brauninger (Belew then joined for the rest of Barnabas’ career, which would be the next three albums). While there’s nothing as noteworthy as “Nicodemus,” “Stormclouds” (from APPROACHING LIGHT SPEED) or the trilogy “Prelude/The Dream/Breathless Wonderment” (from FEEL THE FIRE), FIND YOUR HEART A HOME is still a worthwhile piece of the Barnabas puzzle for those who appreciate the talent & diversity of this group.

The moving “Swordsman” is my favorite song followed by the lengthy closer “Star” with its long jam sessions. The title track is catchy pop rock while the two follow-up songs – “Conflict of Desire” and “Way to Destruction” – are interesting rock of that time period. “Boogie Tyme” is an amusing joke song mixing disco, jazz and reggae. The band obviously had a sense of humor.

There are a total of seven songs running about 36 minutes.

GRADE: B/B-

PS: I'll add a review of the first album, HEAR THE LIGHT (1980), as soon as I get around to it.


title: Great sampling of an undeservedly obscure band

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Released in 1996, AN ECSTASY OF FUMBLING – THE DEFINITIVE ANTHOLOGY is a compilation of Budgie from Wales. There are two discs featuring 26 songs from their ten full-length albums & one EP released in the dozen years from 1971-1982, plus two live tracks at the end.

Their first six albums featured Tony Bourge on guitar whereas their three 80’s albums & one EP featured John Thomas. (John also played on their 2004 album THE LAST STAGE, which was a compilation of their demos from the early/mid 80s and, for the most part, would have been the follow-up to 1982’s DELIVER US FROM EVIL).

This anthology samples highlights from both eras of the band. The 70s material is akin to Grand Funk meets 70’s Rush whereas the early 80’s stuff contains glimmerings of rock/metal bands from that era, like AC/DC, Def Leppard, Robert Palmer and Blue Oyster Cult, but with Budgie’s unique quirkiness. For instance, “Superstar” (a studio AND live version are featured) contains a riff that is very similar to “Whip It” by Devo. I’m assuming Budgie wrote the song before “Whip It” was released, which sometimes happens (two bands come up with a similar riff around the same time).

I like both eras of the band equally and each has their highlights. The amazing & original “In the Grip of a Tyrefitter’s Hand” hails from their 70’s period and is my favorite song by the band. Yet the 80’s era also has some quality stuff too, like “Panzer Division Destroyed,” which is my second favorite song by the band.

Needless to say, this compilation is a great way to reacquaint with the band or get to know them if you’re not familiar with them.

GRADE: A


title: Primeval thrash that's not one-dimensional

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Released in 2006, SODOM is the eleventh full-length studio album by Germany’s Sodom (and twelfth if you count their debut EP). The band originally formed in 1981 and released the aforementioned IN THE SIGN OF EVIL EP in early 1985. Although they started out with juvenile black metal lyrics (horror, occult & satanism) they quickly switched to war themes, as well as political/societal stuff.

I remember owning one of Sodom's early albums (on tape) back in the day, but it didn't leave much of an impact and so I didn't pursue the band further until twenty years later when someone suggested I check 'em out. So I listened to selections of CODE RED (1999), M-16 (2001) and SODOM (2006) on Youtube and my jaw dropped. Talk about improving! I had no idea they were such a top-of-the-line band and wouldn't hesitate to put them on par with fellow Germans Kreator, although Sodom are even more savage, sorta akin to Bathory, but with better production and real drumming rather than a friggin' drum machine.

For some reason, I had written them off as uncreative one-dimensional thrash, but that's simply not the case. Sure, they're thrash with the dynamic drumming thereof, but they're so much more. Many of their songs expertly throw-in great acoustic (clean channel) passages to keep things interesting, not to mention slower or mid-paced sections.

Bernd "Bernemann" Kost was the guitarist from 1996-2018 and was one of the core reasons for the greatness of the band’s output during this time, not to mention kick-axx drummers Bobby Schottkowski (1997–2010) and Markus "Makka" Freiwald (2010–2018). Of course bassist/vocalist Tom “Angelripper” Such is the formidable ringleader without whom the band wouldn’t exist.

My favorite songs on this disk are the opener "Blood On Your Lips," which starts out with a strumming Spanish acoustic before kickin’ in; the standout “City of God” with its hooky riffing; “Lay Down the Law” with its cool bass-driven stanzas and chorus with its notable riff; and closer “The Enemy Inside” with its superb opening.

Perhaps the album is self-titled because it’s a great introduction to the band for those not yet in the know.

The disc runs just under 43 minutes.

GRADE: A-


title: Heavy power/thrash from Agent Steel with singer Bruce Hall

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Released in 2007, ALIENIGMA is the fifth full-length album by Los Angeles’ Agent Steel (who relocated to Florida at one point). It’s the third opus with singer Bruce Hall, who quit the band after a dozen years in 2010. Bruce apparently got frustrated by constant comparisons to John Cyriis, who sang on the first two albums, SKEPTICS APOCALYPSE (1985) and UNSTOPPABLE FORCE (1987). While I’m only familiar with Cyriis’ work on UNSTOPPABLE FORCE and Hall’s work on this album, I strongly favor Hall because he has more diversity. Then again, I don’t know what mystery man Cyriis sounds like these days. He’s currently leading the band and has no doubt improved.

With the revolving door of musicians, Agent Steel is basically guitarist/composer Juan Garcia and whoever hooks up with him, usually guitarist Bernie Versailles. Cyriis’ current version of the band, however, doesn’t include either unfortunately. The new band reportedly has a sixth album ready for release.

As for ALIENIGMA, it’s superior to UNSTOPPABLE FORCE and is akin to the power/thrash/speed of Helstar from NOSFERATU-onward. Hall shot for a harsher, more diverse style of singing compared to his previous two albums and it works for me (I hate it when vocalists sound the same song to song).

This is a solid album from beginning to end. The production by Bill Metoyer is raw and heavy, as if the band is performing live right before you. Highlights include “Wash the Planet Clean” with its notable chorus; the punchy “Hail to the Chief” with its Helstar-ish technical riffing; the ultra-heavy “Extinct” with a sped-up “Perfect Strangers” riff thrown in; and the fast/thrashy closer “Lamb to the Slaughter” with its catchy chorus. Meanwhile “Liberty Lying Bleeding” stands out because it switches gears to something more melodic akin to Queensryche.

The album clocks-in at 53:00 minutes.

GRADE: A-/B+


title: Death Angel's eighth studio platter

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Released in 2016, THE EVIL DIVIDE is the eighth studio album by Death Angel. It’s a good release with quality production comparable to their previous two albums RELENTLESS RETRIBUTION (2010) and THE DREAM CALLS FOR BLOOD (2013), but it's more similar in tone to the former and less thrashy than the latter. Like THE DREAM, the songs don't seem as memorable as the ones from their four previous albums, ACT III (1990), THE ART OF DYING (2004), KILLING SEASON (2008) and RELENTLESS RETRIBUTION.

While I appreciate Death Angel’s thrashier numbers, e.g. from THE ULTRA-VIOLENCE (1987) and THE DREAM CALLS FOR BLOOD, what’s always made Death Angel stand out, for me anyway, is the way they balance out the more speedy numbers with amazing acoustic/creative/experimental parts, and sometimes whole songs. You'll hear this on THE EVIL DIVIDE, but the songs just aren't up to the caliber of ACT III, THE ART OF DYING, KILLING SEASON and arguably RELENTLESS RETRIBUTION. Still, it's worthy modern Death Angel, no doubt.

While all of Death Angel’s eight albums are worth getting, this is how I rank 'em:

ACT III
THE ART OF DYING (rough production -- for them, anyway -- but excellent & distinguishable songs)
KILLING SEASON
RELENTLESS RETRIBUTION
THE EVIL DIVIDE
THE DREAM CALLS FOR BLOOD
FROLIC THROUGH THE PARK
THE ULTRA-VIOLENCE

GRADE: B


title: If Queensryche was heavy & gothic in the late 90s

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Originally released in 1999, ARCHITECT OF THE MIND is the second of three full-length albums by Sweden’s HOLLOW, masterminded by vocalist/guitarist Andreas Stoltz. Their sound is akin to 80’s Queensryche and maybe Crimson Glory and Judas Priest, just updated to the late 90s. If you favor that era of Queensryche and want more of the same, albeit with a Scandinavian spin, you can’t go wrong with Hollow. All three of their albums are of the same quality and are enjoyable from beginning to end.

Some highlights include the catchy ‘hit’ “Binary Creed,” the haunting-but-driving “Alone in Darkness,” the Viking-era Bathory-ish “Shutdown” and “Father,” which is akin to BOC’s “I Love the Night.” But, really, this is an album where you just press ‘play’ and enjoy.

The disc runs 49:12

GRADE: A-


title: If Queensryche was still heavy & gothic in the late 90s

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Originally released in 1997, MODERN CATHEDRAL is the first of three full-length albums by Sweden’s HOLLOW, masterminded by vocalist/guitarist Andreas Stoltz. Their sound is akin to 80’s Queensryche and maybe Crimson Glory and Judas Priest, just updated to the late 90s. If you favor that era of Queensryche and want more of the same, albeit with a Scandinavian spin, you can’t go wrong with Hollow. All three of their albums are of the same quality and are enjoyable from beginning to end.

Some highlights include the haunting & driving “Can You Hear Me,” the profound hit “Crusaders” and the banjo-driven “Lies,” which is my personal favorite. But, really, this is an album where you just press ‘play’ and enjoy.

The disc runs 45:40

GRADE: A-


title: Debut from New Jersey's Hades

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Released in 1987, RESISTING SUCCESS was Hades’ first of six albums (as of this writing). They’re an American heavy/power metal act with elements of thrash & prog from New Jersey (just northwest of NYC).

To get a grip on their sound/style on this offering, think 80’s Mercyful Fate but more quirky & thrashy and minus the goat-sucking buffoonery. They have the sound and complicated song structures of MF combined with the quirkiness & thrash of Overkill and the intricate power/thrash/prog dynamic of Deadly Blessing. The latter two bands, incidentally, also hail from New Jersey. Despite Hades’ dark name, they occasionally flirt with overt biblical lyrics, like two excellent songs on this disk—the jammin’ “Widow’s Mite” and the moving partially acoustic “The Cross.” “Our Father” from $AVIOR$ELF (1999) is another example. Such themes are fitting since the word ‘hades’ appears in the Greek NT.

The production is rough in an early-mid 80s way, akin to MF’s second album (1984), but all the instruments are clear—including the progressive bass—and you get used to it. The drums are loud & proud. Due to the low-budget production, the slightly complex & offbeat structures, ideas and musical noodlings, it takes some investment to catch a grip with the album but, once you do, numerous highlights surface.

Aside from the two songs noted above, there’s the mid-paced “Sweet Revenge” with its interesting riffs and horror/gore lyrics. The title track features an infectious vocal melody during the quasi-chorus and its doppelganger (you’ll know what I mean). The closer “Masque of the Red Death” is epic with a doomy beginning and an overall Zeppelin-esque/Maiden-ish ambiance. The third track, “Legal Tender,” features a speedy lick riff and frenetic vibe reminiscent of Tension, an East Coast speed metal band from the same era (Maryland).

Their 1988 follow-up IF AT FIRST YOU DON’T SUCCEED has much superior production and ranks with my all-time favorite metal platters, although RESISTING SUCCESS isn’t too far behind.

GRADE: A-