Hi buddies! Despite I'm not a fan of Barenboim as a conductor, here in Spain, we have a magazine (is almost as sect) that promotes all the cds signed by Dani, like a sort of last revelation when things were invented time ago... Anyway my sick interest defeated me :P and was attracted by this Spanish pressing LP from the junks...and it really impressed me. Its sound is really nice!!! It has a nice performance of the music that I don't know why EMI didn't reissued on cd. The matter comes from the Side B; it has a lot of tracking noise so the groove is totally useless. The transfering of Divertimento was done, but couldn't take a decent sound from it. That's why I didn't add it here. Despite of that, Divertimento was reissued on and old EMI Matrix cd coupled with Schoenberg's Transfigured Night and Hindemith's Trauermusik, so if someone has it, it will be welcome. Please, let me know if you like how it sounds :) Enjoy!
In my rush to find the best guitarists in the classical genre, I found Pepe Romero, Spanish guitarist member of the legendary guitar group Los Romeros of Spain.
This collection of ten Classical symphonies concertantes was recorded (quadraphonically!) in 1977 and issued as a five-record set by EMI Electrola. Now it has been licensed by CPO and reissued economically on just three CDs.
Angelo Branduardi was born in Cuggiono, in the Milan area.
Cardboard sleeve (mini LP) reissue from Lou Reed. Part of a 9-album Cardboard sleeve (mini LP) Lou Reed reissue campaign featuring the albums "Lou Reed," "Transformer," "Berlin," "Rock and Roll Animal," "Sally Can't Dance," "Lou Reed Live," "Metal Machine Music," Coney Island Baby," and "Rock adn Roll Heart." Lou Reed's solo debut suggests that neither Reed nor his new record company were quite sure about what to do with him in 1972. It would be years before the cult of the Velvet Underground became big enough to mean anything commercially, leaving Lou pretty much back where he started from in the public eye after five years of hard work, and he seemed to be searching for a different musical direction on this set without quite deciding what it would be.
Nearly 30 years after it came out, Lou Reed's solo debut suggests that neither Reed nor his new record company were quite sure about what to do with him in 1972. It would be years before the cult of the Velvet Underground became big enough to mean anything commercially, leaving Lou pretty much back where he started from in the public eye after five years of hard work, and he seemed to be searching for a different musical direction on this set without quite deciding what it would be; while the best tunes are admirably lean, no-frills rock & roll, there are also several featuring tricked-up arrangements that don't suit the material terribly well (at no other time in history would anyone believe that Steve Howe and Rick Wakeman would be a good choice as backing musicians for the guy who wrote "Sister Ray").