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Berlioz – Requiem
A solo male tenor voice is featured in the ninth movement, the Sanctus. There are long held notes played by the flute. Women's voices also sing, perhaps answering the tenor. Later, the low strings and cymbals join in. A full orchestral fugue ends the movement. In his original version, Berlioz requested ten tenors for the solo part. The final movement, containing the Agnus Dei and Communion sections of the Mass, features long held chords by the woodwinds and strings. The movement recapitulates melodies and effects from previous movements.
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Country Joe & The Fish – Electric Music For The Mind and Body
"Based upon the diversity of music, quality of product and their extraordinary rate of progress, Pure Pleasure Records is our re-issue record company of the year." - hi-fi+ 2005 Country Joe and The Fish's debut album, was one of the first psychedelic albums to come out of San Francisco in 1967. Many timed their acid trips to peak during Country Joe and The Fish performances at The Avalon or The Fillmore, where they were frequent performers. Tracks from the LP, especially "Section 43", "Grace", and "Not So Sweet Martha Lorraine" were played on progressive FM rock stations like KSAN and KMPX in San Francisco, often back-to-back. A famous version of the song "Love" was performed at the 1969 Woodstock Festival.Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results — given the prodigious talents and wide-ranging orientation of this group — might've scared off most major record labels. Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance.
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John Fahey : The Yellow Princess
Fahey recorded this 1969 LP before his eccentricities had gotten the better of him, and he launches into this acoustic set with guitar rhythms that chug along like old American Mid-Western cross-country steam locomotives. It’s a pleasant journey to take, rattling along with the odd surprising flourish to mark the way, a random piece of dissonance to keep you awake and, above all, a reassurance that you’re in safe hands. From hammock-swinging relaxation to high energy tension, Fahey leads you through safely to the end. Fans of Leo Kottke should apply immediately. Fahey, who died in 2001, may have been a barmpot – but we miss him.
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Mahler – Symphony No. 2 in C Minor – ‘Resurrection’
The Symphony No. 2 by Gustav Mahler, known as the Resurrection Symphony, was written between 1888 and 1894, and first performed in 1895. Apart from the Eighth Symphony, this symphony was Mahler's most popular and successful work during his lifetime.
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Mississippi John Hurt – Today
Another outstanding record that's the result of the Folk Blues Revival of the 1960's when, generally-speaking, young White Americans began to appreciate and search for the blues of older Black Americans. One of the most famous "rediscoveries" that came of this movement was that of Mississippi John Hurt, who before this 1966 release, had not recorded since 1928. Hurt was a supremely-skilled guitarist with a warm, inviting voice. Typical of the Vanguard releases from this period, the recording is excellent - perfectly sparse, ambient and true. The material is comprised of standards and originals, including his famous "Candy Man." This is another essential record in any blues collection. Mastered by Kevin Gray and Steve Hoffman.
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Skip James – Today!
Clear, crisp modern recordings of the spooky, mysterious style of Blues Skip James developed early last century. His guitar playing is perfect. His high haunting voice floats and then holds and makes the hair on the back of your neck crawl. His piano playing is unpredictable yet concise. His unique style, which recorded earlier in his life (1930) sounded almost archaic (positively so), now sounds strangely modern due to the increased fidelity of the magnetic tape used for the recording. An unusual and original talent, Skip James was one of the best.
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Varese – Ameriques / Milhaud – L’homme et son desir / Honegger – Pacific 231
Those who plan the contents of a recorded album sometimes deliberately choose material of sharp contrasts. More often, a central theme is sought. However, unity of intention provides the optimum condition for music offered on a recording, even though arrived at by severely opposed techniques and aesthetics, and even when the relationship is subtle, as is the case with the three compositions included in this album.