C. A. Gilbert

Halfway to Heaven is the second studio album by Brantley Gilbert. It was originally released on March 16, 2010 via Average Joe's Entertainment. The deluxe version of the album was released on September 13, 2011 via Valory Music Group. This re-release featured remixes of all the tracks, as well as several new tracks that were not on the original version of the album.

This album was released in 1973 following the amazingly original albums 'Back To Front' and 'Himself' released in 1972 and 1971. It seems the 70s are O'Sullivan's vintage era and it is astonishing he could keep writing so many songs of highest quality and originality. Like the previous album, this one includes, not only hit songs like 'Get Down' and 'Ooh Baby', but also heart-warming and memorable songs like 'Where peaceful waters fllow', 'Afriend of mine' and 'They've only themselves to blame'. One of the characteristics of this album is the unabashed sense of humour and striking melodies which go very well with the witty lyrics in the songs like 'I'm a writer not a fighter', 'Who knows perhaps maybe' and 'If you love me like you love me'. This is certainly one of the best albums by O'Sullivan.

Manuel parfait pour les débutants souhaitant s'initier à l'électronique et l'électricité.

A sudden switch in image accompanied Gilbert O'Sullivan's second album, 1972's Back to Front and its simultaneously released separate single "Alone Again (Naturally)." Gone was the mischievous little scamp sporting a jaunty cap and hand-me-down tweeds, in was a slick, hairy-chested lothario and along with this visual makeover came an aural overhaul, with O'Sullivan's sprightly show tune-inspired pop sounding slicker than before. And it's not just that Back to Front is given a gloss that would not have seemed out of place on a televised variety show from 1972, it's that O'Sullivan is taking great care to write sprightly theatrical tunes, songs that take great pride in their clever-clever twists, smiling, crowd-pleasing melodies, and the proudly cheeky sentimentality that drips off of “Clair,” to name the most obvious example here. In many ways, the unabashed showbiz cheer of Back to Front trumps the bedsit introspection of Himself: in his heart Gilbert O’Sullivan is a song-and-dance man possessing a way with a snappy hook or tearjerking melody, qualities that are amply – and charmingly – displayed here.

Paul Brandon Gilbert is an American hard rock and heavy metal guitarist. He is best known for being the co-founder of the band Mr. Big. He was also a member of Racer X, with whom he released several albums. In 1996, Gilbert launched a solo career, for which he has released numerous solo albums, and featured in numerous collaborations and guest appearances on other musicians' albums…

This is a superb recording of the Two-Part and Sinfonias (Three-Part Inventions) of Johann Sebastian Bach. Kenneth Gilbert is a wonderful interpreter of Bach's keyboard music and in this recording plays an instrument made in 1671 by Jan Couchet that was subsequently enlarged in 1778. The Two-Part Inventions and Sinfonias consist of 15 parts; they were written as technical exercises and as composition demonstration pieces originally for his son Wilhelm Friedemann. The various pieces were probably written separately and were gathered together by Bach in major/minor key sequence and published in 1723. The recording is clear and well balanced. Kenneth Gilbert plays beautifully; the music is lively without being ostentatious.

Kenneth Gilbert's vital rhythmic sense and love of refinement are qualities which can be strongly felt throughout this set.

Although not quite at the level of profundity of his teacher Gustav Leonhardt's recording, Kenneth Gilbert's 1983 recording of Book 1 of Bach's The Well-Tempered Clavier does have a style and polish that Leonhardt's too often lacked. Thus, while Leonhardt goes further into some of the minor-key fugues to find intellectual and spiritual depths that Gilbert does not plumb, Gilbert's playing is so much more elegant and graceful than Leonhardt's that it is difficult to choose between them. For listeners who approach The Well-Tempered Clavier as a volume of virtuoso works whose success depends on the effortless refinement of the player, the Gilbert, with its superbly remastered sound, will be the one to get. For listeners who approach The Well-Tempered Clavier as a volume of prayers written as preludes and fugues, the Leonhardt will be preferable. Both are superb and both belong in any Bach collection.

Everyone who has sat at a piano stool at a tender age will find old friends amongst the pieces comprising this delightful anthology. Kenneth Gilbert has arranged his programme in four parts. First he plays the eight Preludes, BWV924-31, of the Clavier-Buchlein which Bach compiled in 1720 for his eldest son, Wilhelm Friedemann, then aged ten; he follows these with the Six Little Preludes, BWV933-8, and five further Preludes, BWV939-43. A sixth in C minor, BWV999, is also included but was evidently intended for lute.