Mercy (2000)

They were originally named 'The Hot Chocolate Band' by Mavis Smith, who worked for the Apple Corps press office. This was quickly shortened to Hot Chocolate by Mickie Most. Hot Chocolate started their recording career making a reggae version of John Lennon's "Give Peace A Chance", but Brown was told he needed permission. He was contacted by Apple Records, discovered that John Lennon liked his version, and the group was subsequently signed to Apple Records. The link was short-lived as The Beatles were starting to break up, and the Apple connection soon ended. In 1970 Hot Chocolate, with the help of record producer Mickie Most, began releasing tracks that became hits, such as "Love is Life", "Emma", "You Could Have Been a Lady", and "I Believe in Love".

In the 1970s, Harvey Mason was one of those busy L.A.-based sessions players who had one foot in jazz and the other in R&B. The drummer backed his share of soul heavyweights (including Earth, Wind & Fire, Aretha Franklin, James Brown and the Brothers Johnson), but he never lost his jazz chops. Recorded in 1976, Earthmover is among the mostly instrumental albums that Mason provided during his stay at Arista. This self-produced LP, which finds him trying to balance commercial and creative considerations, is a mixed bag. Some of the material is strong, especially the cerebral fusion item "No Lands Man" (which boasts Jan Hammer on keyboards) and the funky "Bertha Baptist." And the contemplative "First Summer" is an enjoyable track that reminds the listener of the underrated Hawaiian funk/fusion outfit Seawind, which isn't surprising because it was co-written and arranged by Seawind's Bob Wilson.

This recording is, quite frankly, a marvel. In the opening bars of the Kyrie, where tradition dictates a powerful, agonized cry for mercy, Philippe Herreweghe offers a gentle, awestruck plea that took this listener's breath away. Extroverted movements like the Gloria, Et resurrexit, and Sanctus lack nothing in excitement; Qui tollis and Dona nobis pacem feel like fervent prayers… – Matthew Westphal

In the liner notes to this premiere recording of his completion, Levin says: "The completed version offered in this recording, however, seeks to respect the 200-year-old history of the Requiem . We have tried not to revise as much, but as little as possible and in a manner we fee it faithful to the character, writing, voice leading, design and structure of Mozart's music."