Filmmaker Frederick Wiseman goes behind the scenes at the National Gallery in a journey to the heart of a museum inhabited by masterpieces of Western art from the Middle Ages to the 19th century. This three-hour epic has no voiceover, no score and no added sound effects. Combining a vivid sense of how vast the gallery's many activities are with an eye for droll observational detail, the film reveals how the gallery works and its relations with its staff, public and paintings.
Will Gompertz celebrates Museums at Night, a three day festival of museums and galleries from St Ives to Orkney that throw open their doors till late, showcase their collections and party! At the National Museum of Scotland Will hears a pop up opera, visits a silent disco and enjoys a gramophone DJ set. Discussing the exciting renaissance of our museums and galleries, historian and presenter Bettany Hughes, head of London's South Bank Centre Jude Kelly, Google's Amit Sood and actor Mat Fraser also enjoy live music, aerial performances and the museum's amazing collection, all under the watchful gaze of Dolly the Sheep, the world's first cloned mammal. There are also short films showcasing Museums at Night events across the country. We go to Nottingham where renowned photographer Rankin shoots, prints and shows an exhibition in just one day. Andrew Graham-Dixon goes behind the scenes at the National Gallery after dark to get a sneak preview of a hidden masterpiece and we take a safari around the Yorkshire Sculpture Park.
The 2000 edition of Pavarotti and Friends comes from a concert given on June 6, 2000 at Pavarotti's home town of Modena. The guest of honor was the Dalai Lama, and the money raised by the concert and this disc will go for relief work in Cambodia and Tibet. The disc follows the usual pattern of popular and semi-classical songs, performed in large scale arrangements. Pavarotti joins several pop artists, much to the delight of the audience. The children's chorus is raucously wonderful. Perhaps only children know how to perform in public and still have a good time making music. Pavarotti is in reasonably good voice, but the choice of songs aims toward the popular audience rather than his opera fans. There is not the pressure he feels in the opera house. All of the other performers are up to their usual standards. The audience is obviously having a wonderful time at this event. The sound is very good for a live, outdoor concert. All in all an enjoyable disc, and it is for a good cause.~ Richard LeSueur, All Music Guide
The career of blue-eyed soul singer Robert Palmer was a study in style versus substance. While the performer's earliest work won praise for its skillful assimilation of rock, R&B, and reggae sounds, his records typically sold poorly, and he achieved his greatest notoriety as an impeccably dressed lounge lizard. By the mid-'80s, however, Palmer became a star, although his popularity owed less to the strength of his material than to his infamous music videos: taking their cue from the singer's suave presence, Palmer's clips established him as a dapper, suit-and-tie lady's man who performed his songs backed by a band comprised of leggy models, much to the delight of viewers who made him one of MTV's biggest success stories.
It can be assumed that this 24 track compilation is unauthorized, as it bears no label name (although it does have the catalog number MR1), but it certainly does exist, popping up circa 2000 at very specialized shops. Even with such an extensive number of tracks, this does not have all of the songs from their seven singles; in fact, it has only nine of those 14 single sides.
The names Albrecht Dürer and Hans Holbein the Younger evoke the dazzling accomplishments of Renaissance panel painting and printmaking, but they may not summon images of stained glass. Nevertheless, Dürer, Holbein, and their southern German and Swiss contemporaries designed some of the most splendid works in the history of the medium. …
While Johnny Cash at Folsom Prison, the 1968 album that made Cash a household word, spent only two weeks at No. 1, this 1969 follow-up topped the charts for 20 weeks. As with Folsom, the San Quentin LP had to be edited due to space limitations. Now, 31 years after the fact, the show can at last be heard in true perspective. All the original performances hold up, including the album's hit single: Shel Silverstein's "A Boy Named Sue," presented unbleeped for the first time. Equally impressive are the eight restored tracks and unexpurgated between-song patter. Cash's opening renditions of "Big River" and "I Still Miss Someone" are bracing. So are four closing songs teaming Cash with his complete performing troupe (the Carter Family, Carl Perkins, and the Statler Brothers). Their gospel performances ("He Turned the Water into Wine," "The Old Account," and an early version of "Daddy Sang Bass") are electrifying, as is a concluding medley featuring everyone. Cash is presented here at his roaring, primal best.
Vee Jay's 1964 album John Lee Hooker on Campus is titled to sound like a live recording but it isn't. As part of the Collectables Vee Jay reissue campaign, these 12 tracks originally tried to capitalize on Hooker's emergence on the coffeehouse/college tours he was involved in at the time. This is an electric album that contains excellent material from Hooker, even though the occasional background singers get in the way, attempting to modernize his gritty blues with a smoother soul sound. All of the Vee Jay reissues of John Lee Hooker material are worth having and are budget priced as a bonus.
When I was asked to record an album of improvised piano music I was hesitant at first. The delicate flow of creativity is impaired by the recording process. Flecting moments of musical truth can evaporate when confronted with the distractions and deadlines of a commercial recording studio. But the opportunity to record in a very relexed atmosphere arose. The Kostabi World art gallery in New York is also home to a Steinway grand piano, which I graciously was allowed to use. The spacious rooms are lined with the most incredible art. Armed with tube microphones, a pair of preamps and a DAT recorder, I spent a few rainy days there. This record is the result.