| | Francesco Tricarico Frescobaldo Nel Recinto CD Francesco Tricarico Discography of CDs
Frescobaldo Nel Recinto Music Francesco Tricarico Frescobaldo Nel Recinto Songs | 1. | Animali |
| 2. | Sposa Laser |
| 3. | Ragazza Little |
| 4. | Mamma No |
| 5. | Acquedotto Fosforescente |
| 6. | Cavallino |
| 7. | Formiche |
| 8. | Cielo Rosa |
| 9. | Ogni Giorno |
| 10. | Sommergibile Blu/Ogni Giorno 2 |
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Frescobaldo Nel Recinto Review
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As any quick perusal of old Top 40 rock & roll station playlists will attest, singles were where the shakin' action was, as rock & roll albums were scarce as hen's teeth back in those pre-Beatle days. But when the record companies decided to issue one, it was usually an artifact of high rockin' value and some major influence. Naysayers to the contrary, this debut album by the Northwest's first great rock & roll combo is just such an artifact. The Wailers dispensed crude, greasy, largely instrumental rock & roll music for those who came to shake it up and shake it down, and it's all on fine, rhythmic, open display here. This album is amazing in its own simplistic, nuthin'-special way, its crudity almost palpable. There's only one vocal aboard, Kent Morrill's "Dirty Robber," later covered and torched by the Sonics. Everything else is built ...
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As satanic as anything need be, Cradle of Filth are a black metal ensemble from Suffolk, England, who've managed to keep it extreme, while being wildly popular internationally. They may be the most popular black metal band in the world because they've managed to break away from the genre's relatively small cult following and successfully infect all sorts of disaffected teenagers, especially in Europe. They never veer drastically from the usual black metal staples: movie monster-type vocals, lots of high-pitched screams, indecipherable lyrics, and relentless, punishing riffs. But Midian has its fair share of melody too. (Most of the finest metal does have some ...
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Principally recorded at Paisley Park, Minneapolis, Minnesota and Sunset Sound, Los Angeles, California.
After an adventurous run through fields of Beatlesque psychedelia, Prince seemed ready to get back to the task of creating the epic that both his audience and adoring critics had been demanding since PURPLE RAIN. Originally put together as a three-LP opus titled CRYSTAL BALL (but pared down pre-release by the picky artist), SIGN O' THE TIMES wasn't exactly the historic merger of rock and R&B that the world had been expecting. Instead, it played like an ...
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O Moon of Alabama is one of a series of albums released by the German Capriccio label reissuing period recordings of the music of composer Kurt Weill from the late 1920s and early '30s. It is unusual in that it includes no music at all from Weill's best-known work of the period, The Threepenny Opera, because that music is contained on other Capriccio albums. Instead, this disc presents a miscellany of recordings of music from the operas Rise and Fall of the City of Mahagonny, The Tsar Has His Photograph Taken, and The Silverlake, and the plays Konjunktur and Happy End. In most cases, Weill's lyric partner was Bertolt Brecht, who also wrote the words for the songs in The Threepenny Opera, and some of the songs here are as just as well-known, notably "Bilbao Song," "Alabama Song" (which is given both an instrumental reading by Marek Weber & His Orchestra and a vocal version by Lotte Lenya), and "Surabaya Johnny." Clearly, the last was a particular favorite in its day, as it has proved since; here, there are no less than four versions, two of them instrumentals, one in German by Lenya and one in French by Marianne Oswald. The most ambitious piece is an eight-and-a-half-minute medley of music from Mahagonny sung by a "large ensemble" and played by the orchestra that performed in the show's Berlin production. Lenya is in that ensemble, too, and the singer, Weill's wife, of course, in fact has 13 vocals among the 23 selections, her dominance much increased by what might be called the album's addenda. After the 15 tracks that make up the main material, the album concludes with the tracks from the three-78 rpm set Six Songs by Kurt Weill, a recording made in New York in 1943 featuring Lenya accompanied by Weill at the piano. On it, they introduce "Lost in the Stars" six years before it became the title song of Weill's final Broadway musical, and Lenya sings one more version of "Surabaya Johnny" for good measure, bringing the total here to five. The last two tracks are songs written to be broadcast as propaganda in Germany in the final days of World War II. Although this material comes a decade after the earlier tracks, it fits the theme of the album in the sense that the compilation rounds up rare and obscure Weill recordings long out of print and preserves them in the digital ...
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