I well remember reviewing one of the first recordings, possibly the first in the West, of Górecki's hypnotising 3rd Symphony (Stefania Woytowicz with the Berlin Radio Symphony orchestra, conducted by Wlodzimierz Kamirski (Schwann CD 11615 (Koch-Schwann SCH 361-302)). I can remember my excitement at such a simple, yet moving, work. These folksong arrangements are in the same mould as the Symphony – slow and quiet, simple and direct. They are very beautiful. They’re neither as complex, nor as demanding, as either Szeroka Woda (Broad Waters), op.39 (1979) or Wislo moja, Wislo szara (My Vistula, Grey Vistula), op.46 (1981), but in their own way they are affecting ………This is a most interesting and satisfying disk and it’s good to hear such fine choral singing.

Bob Briggs@musicweb-international

Heidevolk's fourth album travels back to the time when Germanic tribes fought against the Roman Empire along the banks of the Rhine for domination of Northwest Europe. Caught in the middle were the Batavians, the protagnists and namesakes of this album. More aggressive than before, 'Batavi' is still clearly Heidevolk, with its heavy guitars, thundering drums and sweeping folk melodies.

Compilation album released in Spain including 15 popular themes in the 50's, which won the fashion of chachacha. Perform the CD three of the big bands of the genre in those years, the one of the Cuban director Enrique Jorrin, considered the father of chachacha, and the orchestras 'America' and 'Aragón', all in 'charanga' format groups (up to 15 members usually with sections of strings, percussion, piano, bass and flute).

Desert life is not as monotonous as it may seem to be at first sight. If you look narrowly at it you can notice a lot of details. The first impression is vast yellow ocean of sand. The wind twists whirls above it and, as a great architect, constantly builds dunes and barkhans. And he does not like when strangers enter his landscapes, and summons sandstorm, hiding their tracks and sweeping away everything from his domains. Salvation can only be in oasis - a small island of life. However, sometimes the desert seems to stand, and only a thin strip of horizon divides the yellow ocean and the azure sky. And when night falls, darkness veils the desert, and only bright light of the stars in the cloudless sky is pulling away from oblivion.

Brave New World's whole oeuvre was the concept of the Aldous Huxley science fiction novel. An unlikely "supergroup" - and remarkably - the music they created was unprecedented and original. Brave New World blended styles, in such an unlikely manner, and notably during the opening of side two's big opus, hinting at the music later created by the likes of Art Zoyd or Univers Zero. Virtually instrumental, blending medieval musics, electronics, jazz and rock in a dazzlingly complex fusion, a big step beyond early Between, with the Krautrock feel of Annexus Quam, Achim Reichel, Tomorrow's Gift, et al. An all-time Krautrock classic.

"Radio K.A.O.S." is a 1987 concept album by former Pink Floyd bassist, singer songwriter Roger Waters. It is his second solo album.
The album is dedicated "to all those who find themselves at the violent end of monetarism."

Another impression, another approach, another vision, another reality. Everything mentioned has nothing to do with this album. Its meaning - the following, one more. Composer decided to continue the ideas of his previous album, to fill them with more depth and to show once again to find several interpretations of similar sounds and movements. Once again he builds and destroys colorful epic images in the blink of an eye, reaching the highest point of the art in the frame of his own minimalistic conception.

Although he's delivered two promising albums, country singer Blake Shelton has had a bit of problem finding his own voice. On his first record, he was a hardcore country singer and on his second, 2003's The Dreamer, he tempered his country with anthemic heartland rock and contemporary Nashville songcraft. His third album, 2004's Blake Shelton's Barn & Grill, finds a happy medium between the two extremes…..

Chicago based blues man Maurice John Vaughn is an established guitar & saxophone player who performs upbeat urban blues with horns. He's put out two albums on Alligator Records & has produced for Appaloosa Records for the artists BJ Emery, Maxine Carr & Shirley Johnson. Maurice has also worked with Detroit Junior as an arranger.