Let me be honest: I got this for the Mahler, and it's excellent. I'll look at the Beethoven concerto some time down the road. But for me, this was my best encounter with the Mahler first in a long, long time. Even though I didn't agree with every interpretive decision that Fabio Luisi made, he knew exactly what he wanted, and exactly how to express what he wanted to the Dresdeners via his hands, eyes, and face. This guy is amazing.
As such, this is my third encounter with Luisi. The first two were the Bruckner 9th and Richard Strauss' "Alpine" symphony; both on Sony, and both of those are excellent. But then again, the Staatskapelle has had a long history with both Bruckner and Strauss. But I think this orchestra was also born to play the Mahler 1st. In fact, they've already made two very good commercial recordings of M1: one with Otmar Suitner in 1962 (sans expo repeat), and one with Hiroshi Wakasugi in 1986 (I own that one). However, both are now hard to find. I want to cover some specifics, so indulge me in some subjective blather first.B. Guerrero – Amazon
At the end of March 2011, Bill Nelson and the Gentlemen Rocketeers, along with one hundred plus guests, populated Studio A at Metropolis, West London, for a dynamite concert reminiscent of the Marquee club in its heyday. A blistering fourteen song set from the band, which covers much of Bill’s career to date, was the result. We’re delighted to present that set here on both CD and DVD, together with an interview with Bill and a sublime four track solo set as DVD extras.
Celebrating the 40th Anniversary of Elvis Recorded Live On Stage In Memphis, this Legacy Edition presents an expanded 2CD release of the monumental complete concert experience featuring tracks left off the original album (because of the spatial limitations of vinyl). The entire concert has been remixed and remastered. Disc 2 of the newly remastered expanded Legacy Edition of Elvis Recorded Live On Stage In Memphis presents a recently located recording of Elvis' complete concert "test run" held for an ecstatic live audience at the Richmond Coliseum, on March 18, 1974, two days before his historic concert return to Memphis (where he'd last played live in 1961).
The cover of Ten Years After's 1973 album Recorded Live depicts a giant reel-to-reel recorder, which certainly captures the era when this double-LP set was recorded. Approaching the end of their run – only one more album would come, 1974's Positive Vibrations – Ten Years After were deep into the thick of '70s arena rock, so everything they played on-stage wound up stretching well beyond the five-minute mark, sometimes reaching upward of 11 minutes…