Søgeresultat: forerunner 205
Bach Johann Sebastian Kantat Bwv 201, 205&213?

Bach Johann Sebastian Kantat Bwv 201, 205&213?

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Bach Johann Sebastian Kantat Bwv 201, 205&213?
Cottars Forerunner

Cottars Forerunner

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Release Date: 2006-02-06, Audio CD, Crs
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Pris 194.22,-

Cottars Forerunner
Mozart: Cassations KV 63 & 99; Divertimento KV 205

Mozart: Cassations KV 63 & 99; Divertimento KV 205

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Release Date: 2007-07-24, Audio CD, Accent
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Pris 165.79,-

Mozart: Cassations KV 63 & 99; Divertimento KV 205
Johann Sebastian Bach Bach - Cantatas BWV 205 and 110

Johann Sebastian Bach Bach - Cantatas BWV 205 and 110

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Release Date: 2007-06-25, Audio CD, Arts
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Johann Sebastian Bach Bach - Cantatas BWV 205 and 110
Helmuth Rilling Bach: Secular Cantatas - Der zufriedengestellte Aeolus BWV 205; Quodlibet BWV 524 (Edition Bachakademie Vol 63) /Rilling

Helmuth Rilling Bach: Secular Cantatas - Der zufriedengestellte Aeolus BWV 205; Quodlibet BWV 524 (Edition Bachakademie Vol 63) /Rilling

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Release Date: 2000-04-24, Audio CD, Hänssler
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Helmuth Rilling Bach: Secular Cantatas - Der zufriedengestellte Aeolus BWV 205; Quodlibet BWV 524 (Edition Bachakademie Vol 63) /Rilling
Otep Sevas Tra

Otep Sevas Tra

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Otep are an LA four-piece, led by tough girl Otep Shamaya, who make one of today's filthiest rackets. Brilliantly produced by Terry Date (Pantera, Deftones), Sevas Tra moves from the deepest, dirtiest grind, through electronic atmospherics to full-on speed metal, following on from the dark likes of Nine Inch Nails and the aforementioned Pantera. The most important element here, though, is clearly Shamaya herself. Like her most obvious forerunner, Tairrie B of Manhole and Tura Satana, she screams and whines out her rage and pain, with Date's help, moving from a little-girl whimper to a bestial growl and on to an ear-splitting scream. And, again like Tairrie, she stands for female self-assertion in the face of a cruel world peopled by manipulative men (and, in the case of "Tortured", sexually deviant men). But Shamaya goes beyond Tairrie's post-Christian trauma into her own world of pagan goddesses and ecstatic festivals. Claiming to be influenced by classic authors, particularly the Beat poets (her name is an anagram of "Poet", and the album title of "Art Saves"), she believes in "trance-formation", the achievement of altered states through Otep's music. In this, she's akin to Jim Morrison at his most shamanic. Her doctrine's confused and sometimes morally dubious, but Sevas Tra is a major rush, nonetheless. --Dominic Wills
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Otep Sevas Tra
The Beach Boys The Greatest Hits, Vol. 2

The Beach Boys The Greatest Hits, Vol. 2

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Only one title on the second volume of the three-volume Good Vibrations best-of series cracked the U.S. top 10, 1964's "When I Grow Up to Be a Man." (Five of the selections here made the U.K. charts-"Do It Again," "I Can Hear Music," "Break Away," "Darlin'," and "Cottonfields.") In contrast to its loaded-with-hits predecessor, Greatest Hits Volume 1: 20 Good Vibrations, Volume 2 serves up songs that stand as second-tier Beach Boys-but only in commercial terms. The likes of "In My Room," "Don't Worry, Baby," "Caroline, No," and "Heroes and Villains" stand well above Volume One's "409," "Little Deuce Coupe," and "Sloop John B" in their contribution to the group's incredible legacy. Those hungry for hits will want to stick with the earlier volume, but burgeoning Beach Boys boosters will find this 20-song set every bit the match-and arguably the subjugator-of its all-hits forerunner. --Steven Stolder
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The Beach Boys The Greatest Hits, Vol. 2
Hamza El Din A Wish

Hamza El Din A Wish

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Sudan's Hamza El Din is a master of the oud (a fretless forerunner of the lute), and the man who first introduced Americans to the instrument in the '60s. On this, his first album in three years, his playing is as wonderful and mesmerizing as ever--you can almost feel his fingers touching the strings. While some of the pieces are formal and classical in a Middle Eastern manner, on others he takes flight, using his virtuosity to travel through the whole gamut of emotions in a way that would leave most guitarists in the dust. It all ends on an odd note, however, with a piece that's lovely, but almost New Age in its sweeping melodicism, and which might just (finally) break El Din to a wider audience. --Chris Nickson
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Hamza El Din A Wish
Stevie Wonder Hotter Than July

Stevie Wonder Hotter Than July

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By the time Hotter Than July was released, in 1980, Stevie Wonder's most fertile period was already over. The smash run that began 1972 ( Music of My Mind and Talking Book) and ran through Innervisions (1973), Fulfullingness' First Finale (1974) and 1976's Songs in the Key of Life was winding down. There was still enough magic left in Wonder for one last hurrah, however--and while July isn't its forerunner's equal in the heights it scales or consistency, it's still bears the marks of Wonder's best work: there's the regretful "I Ain't Gonna Stand For It", the reggae-crossover "Master Blaster (Jammin')", an oft-imitated classic (see Elvis Costello's "Watching the Detectives", for one); and the enormously successful paean to Dr. Martin Luther King, Jr., "Happy Birthday". --Randy Silver
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Stevie Wonder Hotter Than July
Various The Rough Guide To The Asian Underground

Various The Rough Guide To The Asian Underground

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Compiled by DJ Ritu, The Rough Guide to the Asian Underground gathers together most of that scene's prime movers, including State of Bengal, Joi, Fun-Da-Mental and ADF. Her selection opens with 1960s Indo-groover Ananda Shankar's "Streets of Calcutta", a kitsch forerunner of the more serious fusions to come in 1990s England. East London provided the mulching ground for most of these early experiments; Talvin Singh's Anokha club nights were the nexus for mixing tabla, sitar, bansuri flute and Bollywood strings with scratching, breakbeats and blubbery basslines. At first glance, he's the chief absentee, until we notice that Talvin's here in the guise of Mahatma T. All the set needs now is Nitin Sawhney and Badmarsh & Shri. As usual, the Rough Guide booklet includes an informative mini-essay, penned by Ritu, who also happens to include one of her own Sister India tracks. There is, however, a feeling that this compilation is arriving somewhat tardily, retrospectively gathering in the last decade. It's only Asian Dub Foundation who continued to be a strong force. This whole scene has now passed its media peak, but these influences have been absorbed into the general fabric, making a permanent dancefloor difference. -- Martin Longley
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Various The Rough Guide To The Asian Underground
Harold Budd The Pavilion of Dreams

Harold Budd The Pavilion of Dreams

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The 1978 recording debut from reformed avant-garde composer and eventual ambient forerunner Harold Budd consists of four chamber works (written between 1972 and 1975), which utilised varying combinations of harp, mallet instruments, piano, saxophone and female or male vocals. Two years before his fateful first studio collaboration with Brian Eno (who produced this album), Budd was creating hypnotic music in an acoustic mode. All of the works herein--including "Two Rooms", whose latter half is an adaptation of John Coltrane's "After The Rain"--sustain a similarly dreamy vibe. An important credo for Budd was to make music as pretty as possible as an antidote to the noisy avant-garde he had escaped from. One cannot fault him for the lovely sounds he created here, although fans familiar with his more cinematic works might be caught off-guard. Regardless, the pleasant Pavilion Of Dreams provides insight into Budd's past, and it offers the same somniferous effect as a gentle lullaby, making it perfect for late evening listening. -- Bryan Reesman
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Harold Budd The Pavilion of Dreams
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