Ross Edwards naturally earns an important place in the Australian Composer Series. The piece that gives this disc its ostensible title, White Ghost Dancing, also alerts one to the wide range of his influences and musical enthusiasms. He ranges widely. Certainly there’s an acknowledged indebtedness to Aboriginal music but the driving rhythms surely owe their own special debt to Stravinsky – and in this particular case to the Rite of Spring. The fiery syncopation and the earth tones of Edwards’s winds also bring their own tangy sensibility and colour. Veni Creator Spiritus is an impressive …..Jonathan Woolf @ musicweb-international.com
More quality dance floor material from Jaques Fred Petrus and Mauro Malavasi steeped in the quality tradition of 80s groove with flair, finesse, panache and SOUL. Here we have a real treat with early performances from young superstars in waiting Alyson Williams and the delicious, delicious Meli'sa Morgan. Helping them shine resplendently is Eric McClinton from one-time Motown outfit Eric & The Vikings. Not only do we have a good album here we have discerning liner notes from 'me old mucker', David Cole of In The Basement magazine. This man's devotion to quality music and his expansive knowledge are first rate and it is fitting to employ him for liner notes such as these.
‘Electric Blue’ is the debut solo album release by Erasure frontman Andy Bell, co-written and produced by Manhattan Clique (Philip Larsen and Chris Smith). Originally released in October 2005 on Sanctuary Records, the album includes the hit single ‘Crazy’ and follow up ‘I’ll Never Fall In Love’, as well as duets with Jake Shears (Scissor Sisters) and Claudia Brucken (Propaganda/Act). The new 3 CD 2017 deluxe version of the album (previously unavailable for a decade) features over 200 minutes of music, includes unreleased tracks and remixes, as well as updated 2017 remixes. It also includes a brand new continuous 45 minute dub mix of key album tracks, freshly reimagined by Manhattan Clique, as well as the remastered version of the original album. Presented in a bound book, the package also includes unseen artwork from the original photo session by acclaimed photographer Tim Flach, plus brand new liner notes, lyrics and commentary from the contributors.
With Lady Gaga becoming pop music's biggest star and releasing a handful of inescapable singles over the past year, a remix album of her recent work was all but inevitable. Thankfully, Gaga has employed a collection of more-than-capable producers to make her dance-ready smashes from "The Fame" and "The Fame Monster" even more propulsive on "The Remix." A majority of the tracks – including Starsmith's keyboard-heavy take on "Bad Romance" and a bombastic reworking of "LoveGame" that features a Marilyn Manson cameo – speed up the tempo and accentuate Gaga's earworm refrains. "The Remix" works best, however, when the artists use the singer's framework as inspiration for new musical sensations. Stuart Price flips around the chorus of "Paparazzi" to emphasize Gaga's sense of longing, while Passion Pit turns "Telephone" into a delicious mix of techno, dubstep and chipmunk vocals. "The Remix's" 10 songs won't replace Gaga's chart-topping hits, but the tracks offer enough interesting angles to attract Gaga diehards as well as casual dance music fans.
More quality dance floor material from Jaques Fred Petrus and Mauro Malavasi steeped in the quality tradition of 80s groove with flair, finesse, panache and SOUL. Here we have a real treat with early performances from young superstars in waiting Alyson Williams and the delicious, delicious Meli'sa Morgan. Helping them shine resplendently is Eric McClinton from one-time Motown outfit Eric & The Vikings. Not only do we have a good album here we have discerning liner notes from 'me old mucker', David Cole of In The Basement magazine. This man's devotion to quality music and his expansive knowledge are first rate and it is fitting to employ him for liner notes such as these.