Rob Clearfield a Circle

The Ablist is the debut solo album by Robert Aguilar, better known as American hip-hop turntablist Rob Swift. A longtime member of The X-Men, who changed their name to The X-Ecutioners to avoid being sued by Marvel Comics. This album was released in 1999 on Asphodel Records and features cameos from Pharoahe Monch, Johnny "Juice" Rosado, and his DJ crew The X-Men.

In 1963, Rob made a name performing around the 60’s pop scene in Sydney as lead vocals for The Nocturnes. 1970’s were spent touring the Variety and Club circuit with The Thomas Brothers duo and as a solo artist. Following his interest in theatre, Rob graduated as an actor from NIDA in the 80’s. He cherished his 1206 performances singing in the ensemble of Les Miserables. Rob also appeared in Aspects of Love and developed his alter ego, saloon singer Tony Delarte, performing solo in cabaret and corporate venues. Currently, Rob can be heard announcing and producing jazz radio programs on Community Radio and singing swing with Big Bands in Sydney. This new jazz-influenced album, Who Am I?, is a fine work and will have broad appeal.

Here comes a double dose of uncompromising, high-octane, live power-blues-rock from one of the most adept practitioners of the genre! This double-disc set contains wall-to-wall killer licks and a dirty-low-down blues-rock feel as Rob Tognoni's fancy fretwork, crushing chords, and sparkling solos slice through the rock-solid rhythm section.

The 32-year-old Bergen-born saxophonist-composer Marius Neset has been at the height of his creative powers, especially on the evidence of a trio of consecutive albums released since 2014 on ACT, one of Europe’s leading jazz recording labels. He’s been keeping good company too. Aligning with other internationally-renowned, kindred spirits working at the borderline between jazz, improv and classical music, Neset released Lion in 2014, originally a ‘live’ commission in collaboration with the celebrated young Trondheim Jazz Orchestra, and collected a Norwegian Grammy award (Spellemannprisen).

The Beatles’ revolver has become a new era album that uniquely identifies what it was. The music nature of the Beatles that extended the Oldies of the 50’s left the residue up to around “BEATLES FOR SALE”, the treatment of the world is idle, and actually “HELP” has “four people The idol “is given to the title. But the high artistic glimpse of that “HELP” was deepened with “RUBBER SOUL”, indicating that the Beatles were becoming an existence that does not fit within the idol category of one. Until then, I had been doing a tour in parallel with recording, but after stopping the tour in 1966, I will combine the styling of studio work and make ‘Sargent Peppers’. This album gets a high reputation both inside and outside, but it seems that “revolver” was the reason for its production. Indeed there are also reasons for time, but there are many songs that are difficult to reproduce on the stage with the technology at the time, without having played one song from the “revolver” at the stage. The “Paperback · Writer” which was the same period recording that was only released as a single was only played on the 1966 tour, “Rain” on the reverse side uses reverse rotation of the tape It was impossible. The Beatles must have perceived the real pleasure and entertainment of studio production with ‘revolver’. It should have thought that if it takes more time it will be able to create a more dense album. That was connected to Sargent Pepper’s discontinuance of the tour activity afterwards.

Best known for his work in collaboration with director Tim Burton, composer Danny Elfman created one of the most distinctive bodies of work in contemporary film music, bringing his talents to a dark fantasy world populated by superheroes, monsters and freaks. The son of novelist Blossom Elfman, he was born May 29, 1953 in Amarillo, Texas. Raised in Los Angeles, he and brother Richard relocated to France in 1971, where he joined a theatrical group. Elfman subsequently moved on to Africa, returning to the U.S. only after battling a bout with malaria; he then reunited with Richard, who had directed the 1980 film The Forbidden Zone and asked Danny to compose the score. Assembling a band dubbed the Mystic Knights of Oingo Boingo, Elfman recorded the movie's soundtrack.