The Hooters' first album of new material since 1993, TIME STAND STILL sounds as if the intervening 14 years had never happened. Featuring a full reunion of all five original members, as opposed to singer-songwriters Rob Hyman and Eric Bazilian simply resurrecting the name, the Philadelphia quintet's familiar blend of traditional folk instruments and glossy rock remains. This includes Hyman's trademark melodica solos that gave the band their name. Along with 10 new songs, the album also includes a faithful cover of Don Henley's "The Boys of Summer".
Often overlooked, the Hooters' Nervous Night was a defining record not only for the band, but for 1985 itself. Filled to the brim with fun, danceable new wave-ish rock, the album is a wonderful representation of a lighthearted era. The peppy vocals of keyboardist Rob Hyman and guitarist Eric Bazilian give the band an assured, happy energy, while the sporadic use of the mandolin and melodica (a combination harmonica/keyboard) gives the group its distinctive sound. "And We Danced" and "Day by Day" became instant pop hits, but the remainder of Nervous Night is almost as strong. "All You Zombies," which refers to stories in the Bible, is the band's most powerful moment; along with "Where Do the Children Go," the track showed that the Hooters could be serious and dramatic as well as upbeat. Although the band wasn't able to maintain its momentum with subsequent records, Nervous Night remains a noteworthy contribution to mid-'80s rock and doesn't sound quite as dated as the work of some of the band's contemporaries.
The Hooters are an American rock band from Philadelphia. They combined elements of rock, reggae, ska, and folk music to create their sound. The Hooters first gained major commercial success in the United States in the mid-1980s due to heavy radio airplay and MTV rotation of several songs including "All You Zombies", "Day by Day", "And We Danced" and "Where Do the Children Go". During the late 1980s and 1990s, The Hooters found significant commercial success internationally, especially in Europe, where they played at The Wall Concert in Berlin in 1990, before they went on hiatus in 1995. Since reuniting in 2001, The Hooters have staged successful tours in Europe and 2007 saw the release of their first album of new material since 1993, Time Stand Still.
Hooterization is a single-disc collection featuring all seven of the Hooters' charting singles, plus neglected album tracks and other obscurities. Since the bulk of the Hooters' best material – "And We Danced," "Day by Day," "All You Zombies," and "Where Do the Children Go" – is on their Nervous Night debut album, Hooterization is useful only for those collectors and listeners who want a compilation for the sake of having a compilation. Hooterization is too long and filled with too many bland tracks to make a consistently entertaining listen, which is not the case of Nervous Night, since it is shorter and contains all the hits. Certainly, Hooterization does a fine job of selecting the highlights from One Way Home and Zig Zag, but most casual fans will be satisfied with Nervous Night.
Late sixteenth-century Florence was a theatre: first and foremost a political one, in the eyes of the dynasties that wished to use the arts to display their power. A humanist one too, as is shown by these intermedi (interludes) that sought to achieve the perfect blend between music and poetry, the ideal of a certain Renaissance. Inserted into plays imitating the ancient writers, these entertainments were presented with lavish visual and musical resources. After reaching an initial peak in 1589 with the intermedi composed for Bargagli’s La pellegrina, this tradition was prolonged in the burgeoning genre of opera by such composers as Peri, Caccini (Euridice, 1600) and, very soon, Monteverdi (L’Orfeo) and Gagliano (Dafne).
Donizetti's rollicking comic opera The Elixir of Love receives a scintillating performance in this early 1970's London/Decca recording. Featuring an unbeatable cast, headed by Joan Sutherland and Luciano Pavarotti, this wonderful interpretation demonstrates singing of the highest levels of artistic integrity- definitive, passionate, lyrical, committed. The English Chamber Orchestra responds to Richard Bonynge's direction to provide sharp, colorful orchestral support, and the Ambrosian Opera Chorus' performance can only be described as brilliant.