Victoria Monet I'm The One

Franz Liszt was not an organist. On the organ he never acquired anything like the level of virtuosity that distinguished his pianism; his pedal playing in particular remained limited. Nevertheless, Liszt regularly appeared at the organ, even during his years as a travelling piano virtuoso. His earliest performance probably took place in the Swiss city of Fribourg in 1835. In 1839 he played in the church of San Luigi dei Francesi in Rome, in 1843 in St Peter and Paul in Moscow and in 1845 in Mulhouse in Alsace.

On the follow-up to her landmark debut, Happy Come Home (1987), Victoria Williams' skills as a multi-faceted songwriter become increasingly stronger and more distinct. The lack of aural opulence – such as Van Dyke Parks' string arrangements – reveal a less-forced approach, resulting in a giant leap forward in terms of the development of Williams' own voice. Likewise, her rich Louisiana bayou roots increasingly influence her music and act as a strong motif throughout not only Swing the Statue, but her future releases as well – most notably her contributions to the Original Harmony Ridge Creekdippers. Perhaps drawing upon her own experiences, Swing the Statue has an air of melancholia wafting throughout much of the album. Both "Boogieman" and "I Can't Cry Hard Enough" – while divergent in terms of musical style – speak directly to the feelings of loss and abandonment. These aptly juxtapose against the innocence and youthful awe of "Look at That Moon" and "Wobbling" as well as the spiritual guidance found in "Lift Him Up" and "Weeds." Unlike Happy Come Home, Swing the Statue is exceedingly more reserved and somewhat stark – with an emphasis on acoustic instrumentation. These aptly inhabit Williams' remarkably jazzy arrangements.

Angel Dream is a special reimagining of the album She’s The One to celebrate the 25th anniversary of its original release. This also brings to a close the celebration of Tom Petty’s masterpiece Wildflowers, as most of the songs on this album were recorded during the same time period. She’s The One included some songs that were left off the original Wildflowers album, recently included in the Wildflowers & All The Rest re-issue. To take the place of those songs, four previously unreleased songs have been added here – two Petty originals (“105 Degrees” and “One of Life’s Little Mysteries”), a cover of JJ Cale’s “Thirteen Days”, and the instrumental “French Disconnection”. An extended version of “Supernatural Radio” is also included. The album has been remixed & remastered and brand new cover art commissioned – emphasizing that this is a Tom Petty & The Heartbreakers album, rather than a soundtrack album. This very special version for RSD Drops is pressed on cobalt blue vinyl.

To celebrate the 25th anniversary of the release of "She’s The One," we are releasing a remixed, remastered and re-imagined version of this album. The original album included several songs that were left off the original Wildflowers album (recently included as the "All The Rest" disc in the "Wildflowers & All The Rest" re-issue), so this re-release is an appropriate ending to the campaign celebrating the Wildflowers-era. Ryan Ulyate (Tom’s long-time engineer and producer) has remixed the audio, and the song selection is designed to work as a Tom Petty And The Heartbreakers album, rather than a soundtrack album. Four unreleased tracks have been added; the rocker “105 Degrees” (written by Petty), a cover of JJ Cale’s “Thirteen Days”, “One of Life’s Little Mysteries” (another Petty original), and an instrumental (“French Disconnection”) in the same vein as the instrumentals on the original album.

Originally released by Misra Records. CD edition only. The One Burned Ma is an album of 4-track recordings made between March 96 and February 2000.

Harry Christophers's account, with The Sixteen Choir and Orchestra it was recorded live in the rich acoustic of St John's Smith Square, London, in March 1989, with a chorus of eighteen and a period instrument band of twenty-one. Christophers leads a solid, warm, and effective account of the 1724 version. Ian Partridge is a distinctive and compassionate Evangelist; the unusual timbre of his elegant, mature voice often calls to mind that of Aksel Schiøtz. Once again, the singing and the playing are of a particularly high quality. Having opted for the original versions of 'Betrachte meine Seel' and 'Erwäge', Christophers makes extensive use of the lute as a continuo instrument in other portions of the Passion.