Indebted 2

Johann Stamitz is considered the father of the Mannheim School and thus the founder of modern classical orchestral music. At the beginning of our century, Hugo Riemann even described him as Haydn's long-sought predecessor, who was to fill the unseemly gaping hole between the so completely different styles of the Baroque and Classical periods with a certain exclusivity. In the compositional output of Johann's two famous sons Anton and Carl Stamitz, solo concertos and concertante symphonies occupy a large place. As virtuosos on their instruments, they created compositions not least for their own use. Surprisingly, however, only a few concertos by Johann Stamitz have survived, most of them violin concertos that are indebted to the model of the instrumental concerto developed by Antonio Vivaldi. The fast first movements are in ritornello form, i.e., the succession of tutti ritornellos and violin solo episodes. Technically demanding are the double stops and chords combined with wide leaps in the first movement of the second concerto. Polyphonic, polyphonic playing on the violin seems to have been an absolute speciality of the violinist Johann Stamitz.

Les Chants Magnétiques was the third of Jean Michel Jarre's albums in a row to update Tangerine Dream's atmospheric sequencer trance for a synth pop and mainstream crossover audience.

Billy Wilder's Sunset Boulevard ranks among the most scathing satires of Hollywood and the cruel fickleness of movie fandom. Hotly pursued by repo men, impoverished, indebted "boy wonder" screenwriter Joe Gillis ducks into the garage of an apparently abandoned Sunset Boulevard mansion. The owner, imperious silent star Norma Desmond (Gloria Swanson) inveigles him into helping her with a comeback script that she's been working on for years. Soon the cynical and opportunistic Joe becomes Norma's kept man. More melodramatic than funny, the screenplay by Wilder and Charles Brackett began life as a comedy about a has-been silent movie actress and the ambitious screenwriter who leeches off her.

By the late 1960s, sales on the King label were so dominated by superstar James Brown that other releases by the company were overshadowed and underpromoted. What's more, Brown's success was so massive that, as the liner notes to this CD aptly state, "King's release schedules were dominated by records by Brown, his band, or records that seemed to sound as if they were made by Brown." Almost a couple dozen such tracks from obscure 1967-1973 singles (with the exception of a previously unissued take of Bill Doggett's "Wet and Satisfied") are on this compilation, stretching even past the point where Brown left King for Polydor. Most of the artists are as little known as the singles, with the exception of the Coasters, Hank Ballard, and Bill Doggett, all '50s rock stars who were long past their prime by the time these cuts emerged. Brown had direct or indirect connections to some (though not all) of these discs, sometimes in the production and songwriting departments.

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