Born in 1946 in Latvia, composer Peteris Vasks counts as kindred spirits such Eastern contemporaries as Arvo PÄrt, Giya Kancheli, and Henryk GorÉcki, as well as forebears Schnittke, Lutoslawski, and Shostakovich.
Regardless of one's politics, few could doubt the sincerity and passion of Darryl Worley's now-signature hit and title cut—and the magnitude of the single's connection with country listeners speaks for itself.
In 1980, when Fame literally tapped into pop culture, the marriage of film and music was at its peak, with Grease, Saturday Night Fever, and Urban Cowboy paving the way, and Flashdance and Footloose waiting in the wings. Some 23 years later, the compositions that gave the flick its flair stand up as more than rhythmic reminders of bygone innocence.
Despite on-air support from local NPR station KCRW, Canadian singer/ songwriter Kathleen Edwards faced a sparse house at the House of Blues for her Los Angeles debut. Maybe it was attrition because of the Easter/ Passover weekend or the lateness of the midnight gig (the second show of the evening at the Sunset Strip showplace), but many chairs on the floor of the 1,000-capacity venue were empty.
Swedish death-metal outfit Opeth walloped fans with a blistering attack with last year's set, Deliverance, but the quartet took a 180-degree turn with Damnation, the sister project that was recorded along with it.
Bone Crusher grabs hip-hop by the throat with his So So Def/Arista debut, AttenCHUN! The aggressive Atlanta native is one of many new Southern MCs who are making a name for themselves in the hip-hop game by any means necessary.