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What Are You Listening To Right Now?


Guest Black Lotus

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My copy of the Private Music Sampler, 1988.  Private music was a New Age music label, and while I listened to a bunch of New Age back in the late 1980s, in retrospect the five sampler disks they put out contain some of the best of the genre (outside of Enya's work, but she's a phenomenon unto herself).  The tracks are

  1. Reunion (Patrick O'Hearn)
  2. Marakesh [sic] (Tangerine Dream)
  3. Swept Away (Yanni)
  4. Plymouth Waltz (James Newton Howard)
  5. Neverland (Suzanne Ciani)
  6. Keys to Imagination (Yanni)
  7. Shadow of Urbino (Michael Colina)
  8. Homeward Bound (Patrick O'Hearn)
  9. Jazzis (John Tesh)
  10. Joy Dancing (Michael Colina)
  11. Forever the Optimist (Patrick O'Hearn)
  12. Within Attraction (Yanni)
  13. Optical Race (Tangerine Dream)
  14. High Trapeze (Bill Gable)
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2 hours ago, Cancer said:

My copy of the Private Music Sampler, 1988.  Private music was a New Age music label, and while I listened to a bunch of New Age back in the late 1980s, in retrospect the five sampler disks they put out contain some of the best of the genre (outside of Enya's work, but she's a phenomenon unto herself).  The tracks are

  1. Reunion (Patrick O'Hearn)
  2. Marakesh [sic] (Tangerine Dream)
  3. Swept Away (Yanni)
  4. Plymouth Waltz (James Newton Howard)
  5. Neverland (Suzanne Ciani)
  6. Keys to Imagination (Yanni)
  7. Shadow of Urbino (Michael Colina)
  8. Homeward Bound (Patrick O'Hearn)
  9. Jazzis (John Tesh)
  10. Joy Dancing (Michael Colina)
  11. Forever the Optimist (Patrick O'Hearn)
  12. Within Attraction (Yanni)
  13. Optical Race (Tangerine Dream)
  14. High Trapeze (Bill Gable)

 

I still have a copy of this on cassette somewhere. It's a great collection.

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Ronnie Montrose's Open Fire disk, which includes his legendary, signature cover of "Town Without Pity".  Original release 1978, it's all instrumental and was produced by Edgar Winter.  AFAICT Montrose doesn't have any part in the first cut, "Openers".

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I remember my mother telling me a little of the context of Maurice Ravel's La Valse when I was too young to truly comprehend it.  Knowing when it was written -- 1920 -- gives an idea of what the French composer was trying to say. And since we seem to be waltzing off the same cliff a century later, it made sense to share this performance with you.

 

 

I wonder if there was any top-flight orchestra in Europe that did not have Leonard Bernstein as a guest conductor at least once? (By top-flight, I mean national-scale ensembles like the Vienna and Berlin Philharmonics, the Concertgebow in the Netherlands, and the like.)

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