Boredom in Brno Nuda v Brne (2003)

No less than the prodigious Meat Loaf once exclaimed of Adiemus (composer/producer Karl Jenkins), "What vibe is that?," but it's likely classical purists will never quite understand this fascinating blend of world music and Beethoven, Chopin, and Rachmaninov (et al.) that creates a musical realm all its own. Jenkins' idea to mix his own compositions - blending orchestral and choral arrangements sung in his own invented language, a truly exotic type of vocalese - with new twists on famous composers is perhaps risky, but will be fascinating to the open-minded. He dives right into the mix with "Rondo," an adaptation of the last movement of Beethoven's Violin Concerto, with the often percussive drama of the orchestra joining or trading lines with the rousing female choral chanting…

Ever since the mid-'90s, that Glenn Hughes has been one busy gentleman. After sorting out his personal life, Hughes returned to recording and touring like a man possessed as he began cranking out album after album in a short period of time – including 2003's Songs in the Key of Rock. And for those who thought that Hughes may begin mellowing after the aforementioned "downtime," the rip-roaring album opener, "In My Blood" (in which Hughes sounds quite a bit like ex-Deep Purple bandmate David Coverdale) will silence any doubters. Also included is a tribute to Hughes' old pal John Bonham on "Higher Places (Song for Bonzo)," as well as a song that sounds like the spitting image of Bonham's band, "Get You Stoned." Vocal-wise, Hughes sounds stronger than ever on Songs in the Key of Rock – something that can't be said for some of his lead singer peers from the same classic rock era.

Sir Neville Marriner conducts this 250th Anniversary performance. Soloists include Sylvia McNair, Anne Sofie Van Otter. The performance is supported by an informative background film "For Ever and Ever", explaining the circumstances behind the compositi.

In late 2003 TD surprised their fans with the announcement of Rockface, a live recording from the 1988 North America tour. The double album was finally released on December 18th, 2003 and features a virtually untouched soundboard recording of the third-last gig of that tour, recorded in Berkeley/San FranciAfter several bootlegs and fan releases this album is the first official recording from that tour featuring the short-time line-up Froese/Haslinger/Wadephul. The sound quality is excellent for a live album, though not always studio standard…

Since their early formation by Edward Friedrich in 1968, Join In passed through many genres and personel changes; starting with blues and then hard rock, they eventually formed a jazz rock sound with some roots in krautrock that led to their only release in 1974. The band came from Marl, and besides the same city of origin and a record label, they also shared some of the musicians with the band Think that disbanded in 1974, namely, Frank Voigt, Rodrigo Ramor and Ricky Ramor. They where in close contact with Think while it was active and they regularly exchanged musical ideas. Main line-up that recorded Kentalope Island was made of Jörg Radeck and Wilfried Jens on guitars, Werner Bleck on bass, Udo Custodis on saxophone and Edward Friedrich on drums. Some time after releasing the album, the line-up had grown to nine members and in 1977 won Vest-Rock in Recklinghausen…

OMD's first full album won as much attention for its brilliant die-cut cover - another example of Peter Saville's cutting-edge way around design - as for its music, and its music is wonderful. For all that, this is a young band, working for just about the last time with original percussionist Winston; there's both a variety and ambition present that never overreaches itself. The influences are perfectly clear throughout, but McCluskey and Humphreys would have been the last people to deny how Kraftwerk, Sparks, and other avatars of post-guitar pop touched them. What's undeniably thrilling, though, is how quickly the two synthesized their own style. Consider "Almost," with its dramatic keyboard opening suddenly shifting into a collage of wheezing sound beats and McCluskey's precise bass and heartfelt, lovelorn singing and lyrics…