New Pwoer Generation Exodus

The King’s Consort, with many of our new, second-generation period instrumentalists, exhibits all the benefits of authentic timbre and texture – there is no need nowadays to make allowances for uneven tone or bad intonation. The New College Choir are spot-on, poignant in mourning, exultant in victory. The whole ensemble is recorded over a wide stereo spectrum which leaves every detail clearly audible. Emma Kirkby’s ‘Israelitish Woman’ enlivens even the most pedestrian numbers. Catherine Denley contrasts but blends in their five duets, and has great facility over an impressive range. Bowman is superb in ‘Father of Heav’n’. Jamie MacDougall rises to the virtuoso challenge of the warlike hero, and Michael George focuses with no less clarity as Simon. Any weaknesses in this, the first ever complete recording, are Handel’s.

Once the kings of the Bay Area metal scene – the birthplace of thrash – Exodus were unceremoniously demoted from their post with the arrival of Los Angeles' Metallica in 1982. And while they proceeded to eke out a hit-and-miss career of their own over the next few decades, all the while influencing at least two separate generations of younger thrash bands, Exodus were ultimately fated to be the ultimate also-rans of the genre they helped spawn…

Prince Rogers Nelson (June 7, 1958 – April 21, 2016) was an American singer-songwriter and multi-instrumentalist. Widely regarded as one of the greatest musicians of his generation, he was known for his flamboyant, androgynous persona and wide vocal range, which included a far-reaching falsetto and high-pitched screams. Prince produced his albums himself, pioneering the Minneapolis sound. His music incorporated a wide variety of styles, including funk, R&B, rock, new wave, soul, synth-pop, pop, jazz, and hip hop. He often played most or all instruments on his recordings.