7 is the 7th and last studio album by hard rock band Talisman released on 20 October 2006 on Frontiers Records. It was recorded under the working title of "BAR", which stood for "Bitter-Angry-Resentful", basically a joke referring to the guys’ outlook on certain life events. It was dropped in the end in favour of the more immediate "7". "7" is an album that encompasses several music styles, but keeping intact the elements of the Talisman trademark rhythms. The Swedish bass player and songwriter Marcel Jacob (ex-Yngwie Malmsteen, Europe) teamed once again with US vocalist Jeff Scott Soto, formally of (Yngwie Malmsteen, Soul Sirkus and Journey), drummer Jamie Borger (Treat) and guitarist Fredrik Åkesson (Currently a member of Opeth) to give birth to the recording.
"Having listened for over half a century to tens of thousands of recordings of Mozart’s music, be it piano music, string quartets, symphonies, operas, et al, I have been hugely energised by these recordings, not because they are so great, but because they are so terrible!"
This is the first of the two Ballads albums recorded in Japan in 1986-1987 by the inimitable Richie Beirach. I've been trying to get them for many years, but they have been nearly impossible to track down. Now finally, they are being reissued on the Japanese Sony label.The music is great- it's Richie Beirach playing a mix of his marvelous originals and a few standards. It's great to hear these solo versions of Elm, Nightlake, Leaving and Sunday Song. As usual, Richie's playing is impeccable-the mood goes from eligaic to dark and brooding. There's also a wonderful letter perfect hommage to Bill Evans on his version of My Foolish Heart.
Ashkenazy and Gavrilov give a full-blooded performance, rhythmically incisive and with every minute gear change and every nuance finely judged. Without doubt, this has to be one of the most satisfying, nay galvanizing, two-piano recitals I have had the pleasure of sampling for a long time. Ashkenazy and Gavrilov commence proceedings with a rhythmically taut, crisply articulated account of the rarely heard two-piano arrangement of the Scherzo a la russe. Originally intended as music for an abortive project for a war film, the Scherzo is more frequently heard in either its orchestral or jazz ensemble versions, but as Ashkenazy and Gavrilov so persuasively prove there is much to be said for more than an occasional airing in Stravinsky's own arrangement for two pianos.
From folk anthems to movie themes and French chanson ballads, 25 songs from one of the great pop culture icons of his time, including three previously unissued tracks.
With his cheeky, disillusioned, home studio-recorded folky yet rocky songs, Brad, a 31-year-old musician from Ottawa, inevitably gets compared to Beck quite often. As much as it can be a compliment, no artist likes to be told they sound like another; but by now Brad has gotten to terms with the parallel. “It used to bother me, I took it as ‘hey you’re a crappy Beck impersonator with no ideas of your own!’ But other musicians told me they get compared to Beck all the time also. So maybe it’s the musical equivalent of ‘tastes like chicken’. The guy’s done so much in many different styles it’s easy to compare nearly anything to something in his catalog.”