Three songs – "Welcome to the Club," "Memory Lane," and "Two Steppin' Mind" – appeared on the bottom half of the Billboard singles chart, which suggested that Tim McGraw had some talent but wasn't anything special…yet. In a year that introduced Clay Walker and Doug Supernaw, hardly anybody noticed this young-hat act at the time (but they would), while his contemporaries have already become has-beens. Signed to Curb Records, McGraw, a Louisiana native, would quickly establish himself….
Krenek's eight String Quartets constitute a significant output of works and offer a fascinating testimony of many of the musical styles prevalent in the Pre-2nd World War Austrian-German world, from a burning late Romantic style indebted to Krenek's teacher Franz Schreker, to strict dodecaphony, by way of early Schoenbergian free atonality, Bartokian angularity, Stravinskian neo-classicism and jazz- inspiration. The first seven were written between 1921 (the composer was 21 then) and 1944, the eighth coming as a much later afterthought, in 1980……
…Rapoport’s instrument, by the way, is a copy by Oliver Cottet of a bassoon by Prudent of around 1760 – just right for the music. Dard’s prefatory note, to return to it for a last time, speaks of the desirability of performers bringing to the works "the necessary lightness and feeling". Rapoport and Dubreuil very definitely do so…
The Crack is The Ruts first album, released in 1979 and containing the UK hit singles: "Babylon's Burning" (No. 7 in the UK chart in June 1979) and "Something That I Said" (No. 29 in September 1979) The white-reggae-ish "Jah War" which was written in the aftermath of the Southall unrest and the over-use of force by the Metropolitan Police Service's Special Patrol Group in 1979 was also released as a single but didn't make the UK chart.
This supreme set includes all 24 performances from the two events, Ornette’s last performance at the «Celebrate Brooklyn» show and his Memorial at Riverside Church.
One might have a little trouble locating composer "Giovanni Simone Mayr" in a music dictionary, where his name is most likely listed as Johannes Simon Mayr. Mayr was German, but practically worked the whole of his long career in Italy, and his music conforms strongly to early nineteenth century Italian tastes. Although born roughly halfway between Mozart and Beethoven and outliving the latter by nearly two decades, Mayr apparently never felt the compunction to wield the cudgel of Romanticism, preferring to stick to the tried and true Classical tradition known best to him. This would have served him well in Italy, where the Romantic revolution was slow to take hold and did not find acceptance until Giuseppe Verdi dragged Italian music kicking and screaming into the nineteenth century.