During the early '90s, Phish emerged as heirs to the Grateful Dead's throne. Although their music was somewhat similar to the Dead's sound – an eclectic, free-form rock & roll encompassing elements of folk, jazz, country, bluegrass, and pop – the group adhered more to jazz-derived improvisation than folk tradition.
The Clash were the only first-generation punk band capable of (or perhaps interested in) tailoring their up-from-the-gutter firepower to suit arena-size audiences. Here, at last–a decade and a half after their demise–is proof of their substantial stage skills. –by Steven Stolder, amazon.com.
Fiona Apple defied categorization or any easy career path, almost running the pattern in reverse, opening her career as a highly touted and popular alternative singer/songwriter, then transitioning into a cult artist. Apple certainly benefited from the open-door policy of modern rock in the mid-’90s, following the path of crossover alt-rock piano-based songwriters like Tori Amos, but Apple was hardly an Amos copycat: she had a strong jazz undertow in her vocal phrasing and melodies, she had richer arrangements, she had a poppier bent to her songs. All these things helped her 1996 debut, Tidal, find a wide audience, one that increased considerably in the wake of the controversial video for the single “Criminal,” but Apple made it abundantly clear that she wasn’t an amateur provocateur with her sophomore album, When the Pawn Meets the King, an album that increased her critical reputation and cult, which would be pillars of support during her intense battles while making her third album, Extraordinary Machine. Collection includes: 'Tidal' (1996); 'When The Pawn…' (1999); 'Extraordinary Machine' (2005), and 'The Idler Wheel…' (2012).
In celebration of Carlos Kleiber's 80th anniversary, here, for the first time ever, is a unique, limited-edition 12-CD box-set of his complete Deutsche Grammophon recordings: each one a classic — presented in top audio quality.