Ccm 11

Douglas Knehans (b.1957) - Lux Dei: New Works for Choir - CCM Chorale, Brett Scott (2015) {Ablaze Records ar-00021}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 231 Mb | MP3 @320 -> 142 Mb
Full Artwork @ 600 dpi (jpg) -> 22 Mb | 5% repair rar
© 2015 Ablaze Records | ar-00021
Classical / Modern Classical / Choral / Sacred / Post-Modern

The works included on this disc traverse an almost 25 year span of interest in writing for large vocal forces. Some of my largest works have been for choir—such as my St. Luke Magnificat or my Shoah Requiem—but on this disc the works, apart from my Missa Brevis, are for a cappella choir. Writing for a cappella choir is a very inspiring medium coupled, as it is, with text and language and the inherent timbral interest of varied vowel and percussive consonant sounds in the voice. The works, apart from Silence from my Two Looks at Silence, are all in Latin and owe more than a little to my background as a Catholic and Catholocism's traditional sacred liturgical literature. —Douglas Knehans.

Fred Neil - The Many Sides Of Fred Neil (1998) {2CD Set Collectors' Choice Music CCM-070-2 rec 1966-1971}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 807 Mb | MP3 @320 -> 366 Mb
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© 1966-71, 1998 EMI Music / Collectors' Choice Music | CCM-070-2
Folk Rock / Folk / Psychedelic / Singer-Songwriter

For many, the name Fred Neil will be familiar only as that belonging to the songwriter of the modern classic "Everybody's Talkin'," or perhaps "Candyman," "The Dolphins," or "Other Side of This Life," songs that Roy Orbison, Tim Buckley, and the Jefferson Airplane, respectively, recorded. However, Neil's influence extends much farther. John Sebastian, David Crosby, Stephen Stills, and Bob Dylan all claimed him as an influence, since he blended traditional and contemporary folk, blues, rock, gospel, Indian, and pop influences into a distinctive, idiosyncratic style. His music was not only influential, it was quite rich on its own terms and some of the best music of its era.

Gary Lewis & The Playboys - The Complete Liberty Singles (2009) {2CD Set, EMI Music CCM-2013 rec 1966-1970}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 408 Mb | MP3 @320 -> 246 Mb
Full Artwork @ 300 dpi (png) -> 39 Mb | 5% repair rar
© 1966-70, 2009 Collectors' Choice Music / EMI Music Special Markets | CCM-2013 / 509996-96951-2-4
Pop / Rock / AM Pop / Oldies / Soft Rock / Pop Rock

Although they weren't particularly innovative, and nothing they recorded ever changed the course of rock or pop music one iota, Gary Lewis & the Playboys don't really deserve the marginalization they've gotten to the footnote side of rock & roll history. They were a 1960s singles band, pure and simple, and the perfect example of a "summer band," one that plays fun songs full of bright harmonies, specializing in melodic singalongs that made up for what they lacked in depth by being infectious and persistent. Yeah, drummer and singer Gary Lewis was the son of comedian and star Jerry Lewis, but that's just the footnote to a footnote. Lewis could sing, and he was skilled enough at it to do it while he was playing drums, so forget any notions that his recording career was due entirely to privilege.

The Journeymen - Coming Attraction - Live! (1962) {2003 Collectors' Choice CCM-416-2, inc 10 bonus tracks}
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© 1962, 2003 Capitol / EMI / Collectors' Choice Music | CCM-416-2
Contemporary Folk / Folk Revival / Folk-Pop / Traditional Folk

The second long-player from the Journeymen finds the trio of Dick Weissman (banjo/vocals), Scott McKenzie (guitar/vocals), and John Phillips (guitar/vocals) live at the Padded Cell in Minneapolis, MN, during June of 1962. This album follows on the heels of their eponymous debut effort from the previous year with a dozen tunes that include reworkings of traditional as well as new compositions. Phillips' skillfully scored vocal arrangements are a precursor to his work with the Mamas & the Papas some five years down the line.

In the late '70s and early 80s, Amy Grant enjoyed little exposure outside of Christian circles. But that started to change in the mid-'80s, when A&M promoted her aggressively in the secular market. And in the '90s, secular audiences accounted for the vast majority of her sales. Christians were hardly the only ones buying Heart In Motion, one of Grant's biggest sellers. Even though she wasn't beating listeners over the head with her beliefs, Grant's wholesome, girl-next-door image was a big part of the appeal of perky pop-rock offerings like "Every Heartbeat," "Galileo" and the major hit "Baby Baby." And it's certainly a key element of another huge single from the album, the idealistic ballad "That's What Love Is For." Grant was a major star, and best of all, she wasn't acting like one.