50 Years: Anthology 1970-1976 is a forthcoming box set that contains the complete work of Dutch rock group Focus between 1970 and 1976.
50 Years: Anthology 1970-1976 is a forthcoming box set that contains the complete work of Dutch rock group Focus between 1970 and 1976.
Who, you might be asking? OK, so Americans may regard Southern California’s revivalists of powerful melodic punk *Face To Face *as something of a punk rock institution but over on this side of the pond their tumultuous ten-year career is more viewed as a punk rock travesty. For despite touring incessantly throughout the states and putting out consistently well written and well-received albums throughout the nineties, headlining venues up to 3000 capacity the band still had not released anything in Europe.
This seventh and final installment of the Anthology of the Royal Concertgebouw Orchestra covers the years 2000 to 2010, a rich period in the orchestra's history largely characterized by the changing perspectives of a new century. Indeed, it was in 2004 that Riccardo Chailly relinquished his position as chief conductor, to be replaced by the Latvian maestro Mariss Jansons, who shifted the orchestra's focus more towards Tchaikovsky, Richard Strauss and Shostakovich. A generation of orchestral players retired and were succeeded by a group of outstanding young musicians, most of them hailing from outside the Netherlands, resulting in a growing internationalization of the Royal Concertgebouw Orchestra. Also in this period, the launch of the orchestra's own in-house record label, RCO Live, breathed new life into its rich recording tradition.
This seventh and final installment of the Anthology of the Royal Concertgebouw Orchestra covers the years 2000 to 2010, a rich period in the orchestra's history largely characterized by the changing perspectives of a new century. Indeed, it was in 2004 that Riccardo Chailly relinquished his position as chief conductor, to be replaced by the Latvian maestro Mariss Jansons, who shifted the orchestra's focus more towards Tchaikovsky, Richard Strauss and Shostakovich. A generation of orchestral players retired and were succeeded by a group of outstanding young musicians, most of them hailing from outside the Netherlands, resulting in a growing internationalization of the Royal Concertgebouw Orchestra. Also in this period, the launch of the orchestra's own in-house record label, RCO Live, breathed new life into its rich recording tradition.
Finally, someone put together a high-quality, well-thought-out, and official Soft Machine anthology. Fans have had to wait a long time for this, and Sony International obviously felt the weight of that responsibility. Culled from their ABC/Probe releases through their CBS/Columbia material, these selections are given the grand treatment of faithful (and illuminating) 24-bit remastering by Sony International, as well as a comprehensive and heavily illustrated 16-page booklet detailing the Soft's colorful musical history. There is nothing in the way of long-lost live material here, nor are there any rare, basement tracks - save the inclusion of the band's first single, whose A and B sides appear here, probably for the first time officially - but there are already several widely available compilations that focus on Soft Machine obscura exclusively, and Sony leaves it to them to enlighten the fanatics who are hungry for the rarest of the rare…
5CD box set anthology of the legendary instrumental rock band including their greatest hits, covers from Japanese pop bands like Southern Allstars and The Spiders, film music and live recordings from their Japanese tour!
In 1995, Yo-Yo Ma, Edgar Meyer, and Mark O'Connor joined forces on Appalachia Waltz, the first of a series of Sony Classical albums celebrating the varied musical textures of Americana. Over the course of six years, several albums were cut, among them Short Trip Home, Liberty!, Uncommon Ritual, and Midnight on the Water, in addition to the Grammy-winning Appalachia Waltz. Each project may have had its own specific instrumental focus, although the shared theme was clearly to obfuscate the genre lines that separate classical and traditional American music on a 200-year journey from the concert halls of Britain to the Shenandoah Valley.