In the summer of 2016, guitar virtuoso Jeff Beck celebrated 50 years of his musical career with an extraordinary concert at the famous Hollywood Bowl. Beck set the stage ablaze with incredible live versions of “For Your Love”, “Beck’s Bolero”, “Cause We’ve Ended As Lovers”, “Big Block”, “Over Under Sideways Down”, “A Day In The Life”, “Blue Wind”, and more. The night also included a legendary list of special guests including Steven Tyler, Billy F. Gibbons, Jan Hammer, Beth Hart, Jimmy Hall and Buddy Guy and concluded with an group encore of “Purple Rain” in honor of Prince.
Simon Meader and Alan Bruzon both have long and varied musical pasts but they were brought together by their love of synthesizers, ambient music, Berlin School electronica, Ableton Live and VST soft synths. Their work is based around live improvised pieces including guitars.
"Having decided to return to our Berlin School roots, we soon had enough pieces to release in two sections, possibly three. For Part 2 we set ourselves a "no drums" rule and found this gave the synths and sequences more gravitas and room to breathe. Mid-way we discovered a track which was started during our Space Rock! album which had the working title of "Berlin with drums". We decided to break our own rule and competed this track as the centre piece of the three complete with drums and anthemic guitar. We hope you enjoy it."
La diavolessa dates some way into the Galuppi/Goldoni canon, being the 13th of their joint ventures. It was first given during November 1755 at Teatro San Samuele in Venice, and like many of Galuppi’s operas soon traveled beyond the confines of Italy, being taken up in Leipzig and Prague in the year following its Venetian premiere. The motivational force of the plot is greed, but Goldoni also has some pertinent observations on social status to make. The action centers round the Naples home of Don Poppone, a wealthy fool obsessed by the belief that there is hidden treasure in his cellar. Two couples arrive at his house: by invitation, a socially conscious Roman count and countess; and Dorina and Giannino, a pair of young lovers whose relationship is foundering for lack of money, sent by Falco, a wily Neapolitan innkeeper, who has told Poppone that the young couple will help him “recover” his treasure. Needless to say, Poppone confuses the identity of the two couples when they arrive, and only after the plan to relieve him of his money is revealed are the ensuing twists and turns of the plot ultimately resolved to the satisfaction of all.
This songs is retro modern with all things this record is made up of, blues-rock-soul! Also appreciate all the local Nashville musicians that played on this record.
Much has been said and written about Handel and Metastasio, and the composer’s supposed lack of interest in the librettos of the famous Roman poet. The fact is that Handel generally used adaptations of much older librettos which perhaps represented a bigger space of liberty for its work and conception of drama. Though Handel set to music only three librettos by Metastasio (Siroe, Poro and Ezio), we can hardly doubt he knew and recognised the qualities of their dramaturgy. Two of the three were successful and all of them gave him opportunity to write beautiful music.