Man of Flowers

Recorded at the Dvořák Hall of the Rudolfinum, Prague, 17-19 December 2016 (Martinů – live) and on 24 August 2017 (Novák). Bohuslav Martinů and Jan Novák shared similar fates – both of them left their country and wandered around the world. The two composers also had a relationship as a teacher and pupil. Novák referred to his studies with Martinů in New York in 1947 as having had a major impact on his development as a music creator and human. Martinů’s influence is palpable in Novák’s Philharmonic Dances (Choreae Philharmonicae, 1956), three symphonic fantasies that provide wide scope for showcasing the virtuosity of both the soloists and the groups of instruments. The present recording of the work (the very first made in a studio) helps us to pay off our great debt to Novák, an artist who gave preference to being a “free exile” against having to breathe the oppressive air in his homeland, reigned over by a dictatorial regime.

This Collectables reissue combines two similar Percy Faith dates originally released on Columbia Records in the early '60s, House of Flowers and Adventure in the Sun. The big-band leader provides 24 elegant renditions of classic Broadway show tunes, including "House of Flowers," "What Is a Friend For?," "Tropical Merengue," "Carmellita," and "Tropic Holiday." Although not essential, this is a respectable two-fer that traditional pop fans should be aware of.

Porter Wagoner - The Bottom Of The Bottle (1968) & Confessions Of A Broken Man (1966) (2013) {Omni Recording OMNI-173}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 458 Mb | MP3 @320 -> 187 Mb
Full Artwork @ 300 dpi (jpg) -> 36 Mb | 5% repair rar
© 1966-68, 2013 RCA Victor / The Omni Recording Corporation | OMNI - 173
Country / Nashville Sound / Country Pop / Traditional Country

Not only does it sport one of the greatest album covers of all time, but 1968’s ‘The Bottom Of The Bottle’ is also one of the very finest of Porter Wagoner’s legendary string of concept LPs. Alcoholic cautionary-tales fashioned from pedal steel, string bass and pure pathos – Porter’s cast of inebriates shuffle from barstool to gutter to grave. ‘Wino’ opens proceedings with surreal back-alley sound-scapes and heart-rending narration, ‘Daddy And The Wine’ charts the downfall of a heart-broken man and ‘One Dime For The Wine’ a rural man’s obliteration in the faceless urban jungle.

Brandon Flowers' solo debut, 2010's Flamingo, seemed to make the case that the line between a Killers album and a Flowers album was blurry at best. Largely a continuation of the anthemic Springsteen-influenced sound of the Killers' 2006 effort Sam's Town, Flamingo also revealed Flowers' inclination toward glossy, synth-heavy, '80s adult-contemporary productions. For his sophomore solo outing, 2015's The Desired Effect, the line between the man and his band begins to sharpen. Produced by Ariel Rechtshaid (Madonna, Vampire Weekend, HAIM), the album finally finds Flowers achieving an unmistakable sound of his own, with the kind of effortless sophistication that a seasoned musician hopes for.