Essg 90260

Sator is a Swedish rock band. The band was founded in Borlänge as Sator Codex in 1981. Sator Codex released one album, "Wanna Start A Fire?" and three singles before shortening their name in 1987 and continuing without their previous lead singer Björn Clarin and changing their sound. Chips Kiesbye is also a successful producer and has worked with The Hellacopters, Sahara Hotnights, Millencolin and several other rock bands…

An incredibly rare second album by Rumplestiltskin, an unusual progressive rock studio project, originally put together by producer Shel Talmy. Their debut album was released in 1971 and featured an all star cast of top session players. Among them were Alan Hawkshaw, Alan Parker, Herbie Flowers, Peter Sterling and legendary drummer Clem Cattini. This 1972 follow up has a strong magical theme and the ten tracks include such potent items as Lord Of The Heaven and The Earth , Can t You Feel It and I Am The Last Man . A eleventh bonus item is a version of the old Karl Denver hit Wimoweh . As an example of session men taking their cue from young prog rockers, this album provides an insight into how record industry professionals responded to the challenges of the Seventies.

John Cage (1912–92) is regarded as one of the most influential and controversial composers of the 20th century. It is not only his music that this reputation is based on – his ideas were revolutionary, and he cast doubt on the supremacy of European art, and music when it was unchallenged and such views were considered heretic. Cage rejected the status held by harmony, instrumentation, and even the development of music from one point to another. He disconnected harmony from rhythm to liberate western music from its hitherto privileged hierarchies – iconoclastic stuff for 1940s America!

A wonderful reading it is, as authoritative as its predecessors and every bit as well played but somehow more profound, more humane, more lovable if that is a permissible attribute of an interpretation of this Everest among symphonies. […] It is the sense of the music being in the hearts and minds and collective unconscious of Karajan and every one of the hundred and more players that gives this performance its particular charisma and appeal.