Lisa Guyer Band

Celtic harpist Lisa Lynne Franco began studying music as a child; initially attracted to folk sounds, she took up the guitar and mandolin, later playing bass in a local rock band. While enrolled at Hollywood's Musician's Institute of Technology, she concurrently enjoyed a thriving career as a session player; upon discovering the harp in 1985, Franco also formed a progressive rock outfit dubbed Bigger Than Blue. After landing a deal with the German label Innovative Communication, however, student visa problems forced the band to dissolve, so Franco instead played all the instruments on 1991's debut LP Bigger Than Blue. Three more efforts for the label - Romantic Dreams, My Way, and Silken Wings - followed while she formed a new group, Celestial Winds, which earned a significant following playing the boardwalk along Venice Beach.

Celtic harpist Lisa Lynne Franco began studying music as a child; initially attracted to folk sounds, she took up the guitar and mandolin, later playing bass in a local rock band. While enrolled at Hollywood's Musician's Institute of Technology, she concurrently enjoyed a thriving career as a session player; upon discovering the harp in 1985, Franco also formed a progressive rock outfit dubbed Bigger Than Blue. After landing a deal with the German label Innovative Communication, however, student visa problems forced the band to dissolve, so Franco instead played all the instruments on 1991's debut LP Bigger Than Blue. Three more efforts for the label - Romantic Dreams, My Way, and Silken Wings - followed while she formed a new group, Celestial Winds, which earned a significant following playing the boardwalk along Venice Beach.

Celtic harpist Lisa Lynne Franco began studying music as a child; initially attracted to folk sounds, she took up the guitar and mandolin, later playing bass in a local rock band. While enrolled at Hollywood's Musician's Institute of Technology, she concurrently enjoyed a thriving career as a session player; upon discovering the harp in 1985, Franco also formed a progressive rock outfit dubbed Bigger Than Blue. After landing a deal with the German label Innovative Communication, however, student visa problems forced the band to dissolve, so Franco instead played all the instruments on 1991's debut LP Bigger Than Blue. Three more efforts for the label - Romantic Dreams, My Way, and Silken Wings - followed while she formed a new group, Celestial Winds, which earned a significant following playing the boardwalk along Venice Beach.

Celtic harpist Lisa Lynne Franco began studying music as a child; initially attracted to folk sounds, she took up the guitar and mandolin, later playing bass in a local rock band. While enrolled at Hollywood's Musician's Institute of Technology, she concurrently enjoyed a thriving career as a session player; upon discovering the harp in 1985, Franco also formed a progressive rock outfit dubbed Bigger Than Blue. After landing a deal with the German label Innovative Communication, however, student visa problems forced the band to dissolve, so Franco instead played all the instruments on 1991's debut LP Bigger Than Blue. Three more efforts for the label - Romantic Dreams, My Way, and Silken Wings - followed while she formed a new group, Celestial Winds, which earned a significant following playing the boardwalk along Venice Beach.

Having lent their esoteric funk-folk stylings to Prince & The Revolution during the late legend’s purple reign of the early-80s, Wendy Melvoin and Lisa Coleman left the band to pursue their own maverick musical path in 1986. Fan-favourite Eroica, their third and final album for Virgin Records, saw the duo hit a new creative peak – drawing on influences ranging from Sly Stone to Joni Mitchell to create a vibrant psychedelic-funk- folk sound that was uniquely their own.

Immortal Memory is a collaboration between vocalist Lisa Gerrard and Irish composer Patrick Cassidy. Billed as a cycle of life and death and rebirth, Immortal Memory is better described as an orphaned film score. Cassidy's warm arrangements allow the former Dead Can Dance singer to step out of the dark medieval world that she's called home for nearly 20 years – though there is much of that world within these castle walls – and focus on the simplicity of love, faith, and loss with a grace that's bereft of the icy perfection of her previous work. Gerrard, whose voice has aged like the finest oak, displays an almost supernatural mastery of the material. Her effortless contralto wraps itself around the ten Gaelic, Latin, and Aramaic spirituals like an evening prayer, making each stunning entrance the equivalent of audio comfort food.