22953. (George Frederick Händel) Belshazzar, Oratorio [d. Knothe; Schreier, Frank-Reinecke,
. . . . . Treckel-Burkhardt, Pohl]
22954. (7 Seconds) 7 Seconds
22955. (Youth Lagoon) The Year of Hibernation Read more »
Category Archives: C - LISTENING - Page 21
First-time listening for July, 2012
Posted by Phil Paine
on July 31, 2012
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Paul Oakenfold — Global Underground 004 Live in Oslo, 1997
Posted by Phil Paine
on July 5, 2012
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This fine mix was recorded live at Cosmopolite Club in Oslo, Norway, as part of the Quart Festival. The two-cd set shows two rather different sides of Oakenfold’s considerable talent. The first cd is very mellow drum & bass merging into goa trance, barely dance-able, but quite entertaining to listen to. The second cd is lively house that would be best enjoyed on your feet. This comes from the period when the club scene was probably at its peak in Europe. Neither part is a “dense” mix (tracks come together only a few bars at a time). There is nothing here that has the impact of Tranceport, but it’s a good solid set. Lucky were the Norwegians on that floor.
First-time listening for June, 2012
Posted by Phil Paine
on June 30, 2012
No comments
22924. (Dead Kennedys) Spend July 4th With Dead Kennedys [Live at Central London Poly,Nov 26 . . . . . 1982] (released 1992)
22925. (Bing Crosby) Bing Crosby with Paul Whiteman Orchestra
22926. (Adele) iTunes Live from SoHo
22927. (Rastafari Elders) Rastafari Elders Read more »
First-time listening for May, 2012
Posted by Phil Paine
on May 31, 2012
No comments
22906. (Jimi Hendrix) Band of Gypsys
22907. (Frank Zappa) Jazz from Hell
22908. (Cramps) Songs The Lord Taught Us
(Feodor Chaliapin) Feodor Ivanovich Chaliapin Sings: Read more »
First-time listening for April, 2012
Posted by Phil Paine
on April 30, 2012
No comments
22861. (Ben Howard) Every Kingdom
22862. (360) Falling and Flying
22863. (Sophie Milman) Take Love Easy
22864. (Teruyuki Nobuchika) Morceau Read more »
First-time listening for March, 2012
Posted by Phil Paine
on March 30, 2012
No comments
22833. (George Frederick Händel) Jephtha [Complete Oratorio; d. Creed; w. Ainsley, George,
. . . . . Denley, Oelze, Köhler, Gooding]
22834. (Dandy Warhols) Thirteen Tales from Urban Bohemia
22835. (Stomu Yamashta’s Go) The Complete Go Session Read more »
First-time listening for February, 2012
Posted by Phil Paine
on February 29, 2012
No comments
22833. (George Frederick Händel) Jephtha [Complete Oratorio; d. Creed; w. Ainsley, George,
. . . . . Denley, Oelze, Köhler, Gooding]
22834. (Dandy Warhols) Thirteen Tales from Urban Bohemia
22835. (Stomu Yamashta’s Go) The Complete Go Session Read more »
First-time listening for January, 2012
Posted by Phil Paine
on January 31, 2012
No comments
22810. (Andy Horace) Seek & You Will Find
22811. (Zap Mama) Ancestry in Progress
22812. (Liars) Sisterworld Read more »
Street Dogs’ “Back to the World”
Posted by Phil Paine
on January 29, 2012
No comments
You might recognize the voice of Mike McColgan, former lead singer of Dropkick Murphys in this album. After a stint away from the music scene to work as a Boston firefighter, he came back with a new punk band. DM was sort of an American version of the Pogues with a bit of Clash mixed in. This band seems to be less celtic-sounding. The political lyrics, a kind of nostalgic Boston Southie, AFofL/CIO ambience, are similar to those of DM, as exemplified by the last track, “Unions and the Law.” “You Alone” and the album title track are catchy songs. A punk band is only as good as its drummer, and Joe Sirois, formerly in the Mighty Mighty Bosstones, is extremely good. The album is a good listen, with no dull patches and lots of professionalism, but nothing that really grabs me and shakes me.
Mozart’s “Haffner” Symphony
Posted by Phil Paine
on January 8, 2012
No comments
When I first began listening to Mozart, the “Haffner” Symphony #35 (K.385) did not make as strong an impression on me as #36, #38, or #40 did. Now that I listen closely to a performance by Neville Marriner, I see that I was not “getting it.” It’s not just a suped-up serenade, though Mozart did use a quickly-composed serenade as its basis. It definitely belongs with the “Linz” and the “Prague” symphonies as part of a group where Mozart remolded the symphony from the suite-like presentation he had learned from Haydn into the tightly unified and logical form that he was to pass on to Beethoven. The material is cheerful, elegant, and dance-like, but the treatment is far from frivolous or slight. And, on listening closely, I can see all sorts of subtle ways in which elements in each movement refer to the others. The ending presto, with its sudden dynamic shifts and odd silences, is particularly splendid, and complements the opening allegro’s arresting beginning in a most satisfying way.