Небесная канцелярия стала бы основным претендентом на звание "дебют года", кабы не являлась старейшим рок-коллективом города Новороссийска, готовящимся отметить свое 20-летие.

The music on From Genesis To Revelation sounds very little like what Genesis would produce even two years later. It is important to note that when this album was recorded in 1968, the ages of the band members ranged from 16 to 18, and none of them considered themselves proficient musicians as they had hardly any studio experience. Still, the band feels that there were some very good tracks and that they already had a knack for melody, even in these embryonic times. Tony Banks has often hailed "In The Wilderness" as the album's standout track, despite the intrusive strings.

Jean-Louis Bergheaud voit le jour à la Bourboule, station thermale Auvergnate. Ballotté entre sa mère et son père divorcés, il passe une bonne partie de son enfance chez ses grands parents dans leur ferme de Murat-le-Quaire, petit village dont il reprendra le nom une fois sur scène. Alors qu’il était destiné à travailler à la ferme, Jean-Louis se passionne très vite pour la musique et l’apprend dès 7 ans au sein de l’Harmonie municipale. Son talent pour la musique et l’écriture le poussent à aller au-delà du baccalauréat – il est le premier de sa famille à l’obtenir – et à poursuivre des études supérieures. Après un mariage à 17 ans qui ne dura pas, Jean Louis bourlingue et enchaîne les petits boulots dans toute la France. Le jeune homme se cherche, son seul repère, sa seule certitude, c’est la musique.

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Wikipedia: Peter Brian Gabriel is an English musician. He first came to fame as the lead vocalist and flautist of the progressive rock group Genesis. After leaving Genesis, Gabriel went on to a successful solo career. More recently he has focused on producing and promoting world music and pioneering digital distribution methods for music. He has also been involved in various humanitarian efforts.

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J. Shinn @ Amazon.com wrote: Yes, there are a few different versions of "Living in the Past" floating around, and I still have the original LP from which I can compare them all. I own the Mobile Fidelity Sound Lab, 2-disc, Original Master Recording UltraDiscII GOLD CD and it is the ONLY COMPLETE VERSION CURRENTLY AVAILABLE! With a grand total of 23 tracks, not to mention a faithful reproduction of the 35 page booklet included in the original album, this version has sonic quality far superior to any "CD" version you will ever hear. This is as close as you'll get to listening to the orginal "LP" on the finest turntable system. It's obvious that great care was taken when this package was put together, from the remastering to the detail that went into the booklet and packaging. In fact, it is probably the best sounding MFSL CD that I own, and I have quite a few. So, from one "Tull Fan" to another, this is the definitive version. I realize that it's likely to set you back few bucks (I've seen some of the prices!), but if you can find it, BUY IT! It's a worthy investment.

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On connaît mal la musique de chambre de Liszt. On ignore même souvent qu’elle existe, pour la seule raison qu’elle est constituée en majeure partie de transcriptions, et que le principe de la transcription ne suscite pas d’emblée la confiance des musiciens d’aujourd’hui. Cependant, en dehors des quelques « originaux » proposés dans cet enregistrement, les transcriptions qui y figurent furent bien souvent réalisées par Liszt lui-même, chez qui les concepts de transcription, réduction, adaptation ou paraphrase font partie intégrante de la création musicale. Les œuvres choisies pour cet enregistrement ont été composées pour la plupart entre 1880 et 1886, c’est-à-dire la période qui couvre les dernières années de Wagner et de Liszt… Liszt’s chamber music is not well known—to the extent that some music lovers often do not even know it exists—for the sole reason that, in large part, it consists of transcriptions, and the principle of transcription does not automatically inspire confidence in today’s musicians. Yet, aside from the few ‘originals’ proposed in this programme, the transcriptions were quite often realised by Liszt himself, for whom the concepts of transcription, reduction, adaptation or paraphrase were an integral part of musical creation. The works chosen for this recording meet two criteria: they all include a more-or-less solo cello part, and a good number of them come from the 1880-86 period, i.e., Wagner’s and Liszt’s last years. Alexis Descharmes

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