Авторевю August 2011 (russia)

Two classic easy-listening albums by Paul Mauriat and His Orchestra, originally released in 1971 and 1969 on the Philips label, together on one CD and remastered from the original stereo tapes for Vocalion's trademark crystal-clear sound. French composer/conductor Paul Mauriat is a classically trained musician who decided to pursue a career in popular music. His first major success came in 1962, as a co-writer of the European hit "Chariot." In 1963, the song was given English lyrics, renamed "I Will Follow Him," and became a number one American hit for Little Peggy March. Mauriat is best remembered for his 1968 worldwide smash "Love Is Blue."

Casual Silence was founded in 1993 by three singers from different musical backgrounds. After originally starting as a rock cover band, Casual Silence soon grew into a melodic rock band with mainly her own work. The compositions, autobiographical lyrics and influences from the rock, symphonic and progressive metal, were effortlessly transformed into exciting songs with a sound of its own. In 1997 the band launched her debut album “Bad Side Memories”. With this album they also got ample opportunity to prove themselves live on the stage. In 1999 the mini-disc “Shamelessly Dressed” was released, which showed the group has developed in a versatile way. After the release of this second album, the name ‘Casual Silence’ often appears in the pop and rock magazines and the band became a well known name in the regional rock scene…

There have been countless UFO live recordings issued over the years, with the best undoubtedly being 1979's classic Strangers in the Night. But certainly one of the more intriguing live UFO releases came in 2008 with the arrival of the four-disc set Live Throughout the Years. And what makes this set stand out from the oodles of other live UFO items is that it includes standout live performances from three different decades – 1976 (London), 1982 (London), and 1998 (Vienna)…

As all four of the discs in this set have been reviewed in these pages before, this notice accordingly provides only a brief summary. J. F. Weber discussed the Read more in Fanfare 33:2, the Weihnachtshistorie and Auferstehungshistorie (the Nativity and Resurrection narratives) in 33:5, and the Matthäus-Passion in 35:1, while Ronald E. Grames and I both covered Die sieben Worte and the Johannes-Passion in 34:2. In all instances the reviews were enthusiastic and offered unqualified endorsements of these performances as the recordings of choice for these works; now having the opportunity to hear them all, I heartily re-affirm that collective judgment.