Escape

Collector's edition in deluxe hardcover mediabook with matt lamination and additional art. Including the 'Great Escape' and a second CD with bonus tracks. Strictly imited to one pressing only! With 'Great Escape', UK dark rockers CRIPPLED BLACK PHOENIX take you on their new adventure and let you explore their sonic cosmos even further, where all its emotions are reflected on to this earth. From the angry “Rain Black”, to the unnerving “Madman” and forgiving “Nebulas”, CRIPPLED BLACK PHOENIX arise once more. U.K. supergroup and progressive post-rock musical collective Crippled Black Phoenix have featured nearly 30 members in their rotating roster.

Journey is an American rock band that formed in San Francisco in 1973, composed of former members of Santana and Frumious Bandersnatch. The band has gone through several phases; its strongest commercial success occurred between 1978 and 1987. Escape (stylized as E5C4P3 on the album cover) is the seventh studio album by American rock band Journey, released on July 31, 1981. It topped the American Billboard 200 chart and features four hit Billboard Hot 100 singles – "Don't Stop Believin'" (#9), "Who's Crying Now" (#4), "Still They Ride" (#19) and "Open Arms" (#2) – plus rock radio staple "Stone in Love." It was certified 9x platinum by the RIAA and sold over twelve million copies worldwide, making it the band's most successful studio album and second most successful album overall behind Greatest Hits…

One of Taylor Deupree’s many side projects on the Instinct Ambient record label. Good example of early american ambient. Slow and meditative most of the time, almost lounge-like at points, it's actually quite difficult to listen to it all the way through, but worth it in the end.

Escape was a groundbreaking album for San Francisco's Journey, charting three singles inside Billboard's Top Ten, with "Don't Stop Believing" reaching number nine, "Who's Crying Now" number four, and "Open Arms" peaking at number two and holding there for six weeks. Escape flung Journey steadfastly into the AOR arena, combining Neal Schon's grand yet palatable guitar playing with Jonathan Cain's blatant keyboards. All this was topped off by the passionate, wide-ranged vocals of Steve Perry, who is the true lifeblood of this album, and this band. The songs on Escape are more rock-flavored, with more hooks and a harder cadence compared to their former sound. "Who's Crying Now" spotlights the sweeping fervor of Perry's voice, whose theme about the ups and downs of a relationship was plentiful in Journey's repertoire…

The second Zinatra album, “The Great Escape”, originally released in 1990, is a melodic hard rock holocaust at its own right. The songwriting and instrumental part of the album is more focused and to the point, frontman Joss Menner has stepped up as the-singer raising his game manifold but most importantly there is one Robbie Valentine behind the keyboards also taking a leading role in terms of songwriting.

Korngold: Another Dawn & Escape me Never - William T. Stromberg
1995 | Ape + Cue | Scans in PDF | 61':20' | 229 MBs | 3 Files

Although it may be surprising, there are still enough hidden treasures in the not excessively long catalogue of Korngold's film music; some of them for sheer oblivion, some other for its difficulty to be found. We already mention on our review of the Rhino double CD The Warner Bros Years, the fact of the allegedly disappearance of Another Dawn (1937) original masters, what marked it the only unavailable title of the Korngold/Warner relationship. This gap is now covered thanks to the efforts of arranger and composer John W. Morgan, in a new demonstration of patience and love for a music; submitted to the avatars of fate, this forgotten score for the forgotten William Dieterle film includes, curiously, one of the more well-known themes of his author, the one he used later on the beginning of his famous Violin Concerto, op.35. Korngold's usual symphonic and thematic unfolding, still on his first steps inside the movie business, with some so personal musical gestures which more than mahlerian are unmistakable viennese, finds a nice complement on the programmatic ballet composed for Escape Me Never (1947), the last of his collaborations with the Warners which saw the public light -although, really, it was composed before Deception (1946)-, a colourful work yet to be uncovered on its whole, which after its naive and scarcely original plot includes the only popular song composed by Korngold (Love for Love), as well this terrific musical fantasy, nicely rounded by Morgan because on the film it was abruptly interrupted. As a counterpoint, and without losing value his work, once again there is the lack of a bit of passion on Stromberg's baton, as it happens on The Prince and the Pauper, but this is one of those cases on which the importance of the music is far above the rest.

Review by bs magazine