War All Day Music

There really are more War best-of packages than the situation warrants, and while the double-CD The Very Best of War is a fine compilation if you don't already have one in your collection, it's questionable whether it was a necessary addition to the band's discography. For one thing, it doesn't differ all that much from the previous two-CD War best-of on Rhino, Anthology (1970-1994). Sure, each has a few tracks not on the other, but both are built around their lengthy string of big hits. Even Barry Alfonso's accompanying essay was adapted from the liner notes to Anthology (1970-1994). Still, this does have all of the big chart hits and a few minor ones, as well as standout album tracks from throughout the 1970s and early '80s that illustrate the band's versatility. Reading the small print on the track listings, it's revealed that half a dozen of these cuts are edits that either appear here for the first time or were only available on previous anthologies or imports.

For some reason, there still isn't a truly comprehensive single-disc War collection on the market. Rhino's Grooves and Messages easily comes the closest, although its unnecessary remix disc kicks up the price a bit (and one could argue about a couple of omissions in favor of latter-day tracks). That makes Rhino's own double-disc Anthology (1970-1994) even more valuable – it might be too much for casual fans who just want War's biggest hits, but there's absolutely nothing missing here. All the hits are included, of course, as well as some overlooked singles and fine album tracks; plus, Anthology does fans a service by gathering the highlights from their uneven later work, which is more disco-tinged and less distinctive. A concise overview this is not; what Anthology illustrates instead is the full scope of War's versatility, and their loping, easygoing way with a groove.

First new WAR album in 20 years includes bonus original platinum + greatest hits album never before released on CD. Features special guest collaborations with Cheech & Chong, Tower of Power, Joe Walsh, Malik Yusef and the USC Marching Band.

…Parrott parades his smooth and integrated forces with less instant theatricality. Instead we have here a typically homogeneous and unfolding scenario: how organically and gently "Tis Nature's voice" emerges, with Rogers Covey-Crump expressing the passions with a wonderful air of mystery. So too, "Soul of the world" — what a transcendent concluding passage — which has never been bettered for atmosphere and clarity of ensemble. The solo singing here is good (there is some exquisite work from Emma Kirkby and from tenors Charles Daniels and Paul Elliott in "In vain the am'rous flute").

When War reunited in 1994 and recorded Peace Sign — their first album since 1983's Life (Is So Strange), the band's sound hadn't changed very much. Instead of going high-tech and trying to appeal to urban contemporary tastes, the influential Angelenos continued to offer the type of slow and relaxed yet gritty soul and funk they'd been playing 20 years earlier. The results is a decent album that's hardly in a class with All Day Music, The World Is a Ghetto or Why Can't We Be Friends?, but it has its moments.

In 1939, Steiner was borrowed from Warner Bros. by Selznick to compose the score for his next film, Gone with the Wind (1939), which became one of Steiner's most notable successes. Steiner was the only composer Selznick would consider for scoring the film, states Thomas. Despite 1939 being Steiner’s peak year for the number of scores he composed—twelve films in all—he was given only three months to do it. When the film was released, it was the longest film score ever composed, at nearly three hours. The composition consisted of 16 main themes and almost 300 musical segments. To meet the deadline, Steiner sometimes worked for 20-hours straight, taking Benzedrine pills to stay awake.

The Journey Home: Live from the Kennedy Center. Inspired by the 100th anniversary of the end of WWI, the concert, which sold-out at the time, explores timeless themes of longing, loss, love, and the search for peace in the wake of catastrophe. Musical selections range from Schubert's Der Wanderer, to Vaughan Williams' Songs of Travel, as well as popular tunes and art songs by composers and poets who died in the war. The concert is performed by Grammy Award winning baritone, John Brancy, and pianist (and host of NPR’s From the Top), Peter Dugan in a 2018 live performance from the Kennedy Center’s Terrace Theater. The concert was presented by Vocal Arts DC and the General Delegation of Flanders to the United States. Brancy and Dugan will also release a single and music video from their performance of, “Where Have All the Flowers Gone,” from the album.