{"title":"El Records","description":null,"products":[{"product_id":"jazz-raga-spiritual-explorations-of-the-two-greatest-melodic-creators-on-the-planet","title":"Jazz Raga Spiritual Explorations of the Two Greatest Melodic Creators on the Planet","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane\u003c\/strong\u003e played tenor on \u003cem\u003eMiles Davis'\u003c\/em\u003e monumental \u003cem\u003eKind of Blue\u003c\/em\u003e, an album that was a template for the style of modal improvisation to which he would devote himself in the fertile early 60s. A period which would culminate in his career masterpiece \u003cem\u003eA Love Supreme\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThe modal approach freed Coltrane to improvise with limitless invention on a sensual carpet of sound and bore immediate (if highly controversial) fruit with \"\u003cem\u003eMy Favorite Things\u003c\/em\u003e\", his expansive meditation on the popular song from 'The Sound of Music'.\u003c\/p\u003e\n\n\u003cp\u003eBut success in itself did not satisfy Coltrane. He had encountered the music of \u003cstrong\u003eRavi Shankar\u003c\/strong\u003e and became entranced by its serenity; a quality he longed to find in his own work. Eventually the two men met and liked each other enormously. Ravi saw much of himself in Coltrane; he admired that the saxophonist had overcome heroin addiction, become a vegetarian, taken to reading Ramakrishna, and had committed himself to a rigorous regime of practice and study.\u003c\/p\u003e\n\n\u003cp\u003eThey discussed Indian classical music and the possibility of recording an album together but their plans came to nothing as Coltrane tragically succumbed to liver cancer shortly before they were due to meet again. Coltrane named his son Ravi, after the sitar legend.\u003c\/p\u003e\n\n\u003cp\u003eThe Coltrane works in this set really grew out of the '\u003cem\u003eKind of Blue\u003c\/em\u003e' experience and are simply captivating. The \u003cstrong\u003eRavi Shankar\u003c\/strong\u003e ragas featured here are the magical recordings upon which his reputation was built and include selections from both of the historic Abbey Road sessions in 1956 and 1961.\u003c\/p\u003e","brand":"El Records","offers":[{"title":"3CD","offer_id":51794019254603,"sku":"R4111-1437","price":21.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Screenshot2025-05-09at13.27.56_5dcf7100-7fab-4e62-8755-bf38d291e739.png?v=1752235487"},{"product_id":"brazil-on-guitar","title":"Brazil On Guitar","description":"\u003cp\u003eStan Getz once asked Brazilian conductor Júlio Medaglia, \"Why doesn't Baden Powell move to Europe or the United States, where he would become the world's greatest guitarist?\" To which Medaglia replied, \"Because, maybe, he's already the world's greatest guitarist.\"\u003c\/p\u003e\n\u003cp\u003eThe guitar in popular Brazilian music came to prominence during the late 1950s with the advent of Bossa Nova. Bossa evolved from the samba tradition; the style encapsulated in João Gilberto's ingenious distillation of the almighty roar of the samba drums down to the beat of a single guitar.\u003c\/p\u003e\n\u003cp\u003eEach of the leading Brazilian guitarists of the era articulated bossa in a personal way; João Gilberto's first recordings were the blueprint, intense, concentrated performances of the early masterpieces; Baden Powell combined sensitivity and fire, easily one of the top ten guitarists of all time, a classically trained child prodigy who, with his eclectic interest in the African spiritual and Gregorian plainchant may be seen as the link between bossa nova and Tropicalia. Another marvellous guitarist who united refinement with passion, the tragically ill-fated virtuoso, Rosinha de Valença; Laurindo Almeida, an eloquent player who anticipated bossa, with an equal facility for the guitar music of Villa-Lobos; and Luiz Bonfá; who, along with two of the leading architects of bossa, Antônio Carlos Jobim and Vinicius de Moraes, created memorable tunes for Black Orpheus, a film which despite its questionable authenticity, sparked international enthusiasm in Brazilian music.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBrazil On Guitar \u003c\/em\u003eincludes Baden's 1961 album \u003cem\u003eUm violão na madrugada (A Guitar at Dawn)\u003c\/em\u003e, two further complete LPs which he distinguished; ‘A Noite do meu bem’ by the ever-popular Lúcio Alves and ‘Jóia Moderna’ by Alaíde Costa (a favourite of João Gilberto). Here also are Baden's sublime contributions to albums by Carlos Lyra, Elizete Cardoso, and the American flautist Herbie Mann. Rosinha de Valença's live performance of Baden's ‘Consolação’ is miraculous.\u003c\/p\u003e\n\u003cp\u003eTo showcase the revolutionary guitar of João Gilberto, there are 14 numbers, including unforgettable songs from the pen of Jobim that quite simply changed the world.\u003c\/p\u003e","brand":"El Records","offers":[{"title":"3CD","offer_id":51874255831371,"sku":"R9008-6624","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Screenshot2025-05-23at20.51.14.png?v=1748037263"},{"product_id":"sound-and-silence-four-pioneering-modernist-italian-composers","title":"Sound and Silence - Four Pioneering Modernist Italian Composers","description":"\u003cp\u003e3CD collection featuring four pioneering modernist Italian composers.\u003c\/p\u003e\n\u003cp\u003eAlthough he was a superb melodist, it was in his deployment of a whole landscape of non-musical sounds, dissonant harmonies and silence, that Ennio Morricone revolutionised film music. His audacity, and his diverse musical palette (manifest in the spaghetti westerns he scored for Sergio Leone) came less from cinema than from the pioneering post-war generation of 'New Music' composers.\u003c\/p\u003e\n\u003cp\u003eIn 1958 Morricone attended a summer courses in New Music in Darmstadt, Germany; where he immersed himself in the works of the leading figures of contemporary music; Stockhausen, Varèse, Berio, Ligeti, Cage, Messiaen, Boulez, Maderna, Nono. The mood was one of excitement and adventure where the outer limits of music's artistic and conceptual universe were questioned and fearlessly explored.\u003c\/p\u003e\n\u003cp\u003eMorricone described Darmstadt as a turning point in his life. He felt compelled to react to what he learned there, feeling that the experience helped define his personal voice, his musical identity. Certainly Morricone's signature styles are are easily detected in the three delightful early soundtracks featured in this edition; including among the selections from il Federale, the maestro's very first film as primary composer.\u003c\/p\u003e\n\u003cp\u003eMorricone respected his Italian contemporaries, Luciano Berio, Bruno Maderna and Luigi Nono. He was deeply impressed by two of Nono's works; Il canto sospeso for solo soprano, alto and tenor, mixed chorus and orchestra, and Cori di Didone for mixed chorus end orchestra, which he claimed, \"hit me down in my core\". Both compositions are included here along with Berio's Sinfonia, for orchestra and eight amplified voices, a rich collage of words and voices and sounds which has been compared to a live 1960s Happening. One of the principal modernist works of the era.\u003c\/p\u003e\n\u003cp\u003eIn 1954, Berio and Maderna founded Italy's first studio of electronic music, in Milan. The first work to emerge, the radio study, Ritratto di Città (Portrait of a City) is presented here in its entirety along with other significant works by Berio and Maderna including the first Sequenza for flute, and Gesti for recorder, virtuoso pieces that the player to the limits of his or her technical ability. 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Conductor: Bruno Maderna\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e5  Sequenza No. 1, for flute solo Severino Gazzelloni: flute\u003c\/p\u003e\n\u003cp\u003e6  Différences, for flute, clarinet, viola, cello, harp and magnetic tape\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eConductor: Luciano Berio 7 Gesti, for recorder solo Frans Brüggen: recorder\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLUCIANO BERIO AND BRUNO MADERNA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e8 Ritratto di Città (Portrait of the City: Study for a Radio Play) (1954)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProduced at the Studio di Fonologia Musicale in Milan of RAI, Italian Radio and Television. Text: Roberto Leydi Voices: Nando Gazzolo and Ottavio Fanfani.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDISC THREE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBRUNO MADERNA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1  Serenata No. 2, for eleven instruments\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe English Chamber Orchestra Conductor: Bruno Maderna\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMAURICE RAVEL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eValses Nobles Et Sentimentales\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e2  Modéré\u003c\/p\u003e\n\u003cp\u003e3 Assez Lent\u003c\/p\u003e\n\u003cp\u003e4  Modéré\u003c\/p\u003e\n\u003cp\u003e5 Assez Animé\u003c\/p\u003e\n\u003cp\u003e6  Presque Lent\u003c\/p\u003e\n\u003cp\u003e7 Assez Vif\u003c\/p\u003e\n\u003cp\u003e8  Moins Vif\u003c\/p\u003e\n\u003cp\u003e9  Epilogue: Lent\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRAI Rome Symphony Orchestra Conductor: Bruno Maderna\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBRUNO MADERNA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e10  Notturno, for magnetic tape\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLUIGI NONO\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e11  Omaggio a Emilio Vedova, for Magnetic tape\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIL CANTO SOSPESO (The Suspended Chant), for soprano, alto, tenor, mixed chorus and orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e12  Orchestra\u003c\/p\u003e\n\u003cp\u003e13  Coro a cappella\u003c\/p\u003e\n\u003cp\u003e14  Soprano, Contralto, Tenore e Orchestra\u003c\/p\u003e\n\u003cp\u003e15  Orchestra\u003c\/p\u003e\n\u003cp\u003e16 Tenore e Orchestra\u003c\/p\u003e\n\u003cp\u003e17  Coro e Orchestra\u003c\/p\u003e\n\u003cp\u003e18  Soprano, Coro Femminile e Orchestra\u003c\/p\u003e\n\u003cp\u003e19  Orchestra\u003c\/p\u003e\n\u003cp\u003e20  Coro e timpani\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWest German Radio Choir and Orchestra of Cologne Ilse Hollweg: soprano; Eva Bornemann: alto; Friedrich Lenz: tenor. Conductor: Bruno Maderna; Chorus master: Bernhard Zimmermann\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e21  Cori di Didone, for mixed chorus and percussion\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWest German Radio Choir of Cologne. 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They recorded a single for Polydor Records before a support slot for King Crimson in 1969 led to them purchasing a mellotron and changing style.\u003c\/p\u003e\n\u003cp\u003eIn 1970 their debut self-titled album appeared on the Vertigo label and the band were greeted with critical praise. This in turn led to Gracious! performing a set at the 1970 Isle of Wight Festival (joining a bill that featured Jimi Hendrix, The Doors, The Who, Family, ELP, The Moody Blues and many more). Their set was recorded and filmed but was to remain unreleased.\u003c\/p\u003e\n\u003cp\u003eIn early 1971 the band recorded their second album at Olympic Studios. Originally entitled \u003cem\u003eSupernova\u003c\/em\u003e and perhaps their finest work, the band was dropped by Vertigo prior to its release. The recordings eventually received a belated release on Philips Records under the title \u003cem\u003eThis is... Gracious!\u003c\/em\u003e later in 1971.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Recordings 1970-1971\u003c\/em\u003e gathers together both albums and also includes a CD of the band's 1970 Isle of Wight Festival set and a multi-region DVD featuring the film of their Isle of Wight performance. The set also includes a lavishly illustrated booklet with many unseen photographs and a new essay with band interviews by Mike Barnes.\u003c\/p\u003e","brand":"El Records","offers":[{"title":"3CD and 1DVD","offer_id":53022228283723,"sku":"R5952-9736","price":33.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Screenshot2025-07-25at21.43.57.png?v=1753515130"},{"product_id":"the-velvet-revolution-sound-productions-and-impressionist-influences","title":"The Velvet Revolution - Sound Productions and Impressionist Influences,","description":"\u003cp\u003eGeorge Martin's work with the Beatles defined the sixties and changed music forever.\u003c\/p\u003e\n\u003cp\u003eAs Paul McCartney said, ‘if anyone was the fifth Beatle it was him’.\u003c\/p\u003e\n\u003cp\u003eDuring the 1950's, Martin, a great appreciator of quirkiness, established the Parlophone label with a sequence of ingenious comedy records by The Goons, Peter Ustinov and Flanders and Swann; a precocious formula which caught the mood of the time and yielded hits for Bernard Cribbins and Peter Sellers and Sophia Loren. Then, in 1961, while George was in Cambridge recording Peter Cook, Dudley Moore, Alan Bennett and Jonathan Miller in the groundbreaking satirical revue, Beyond the Fringe, came news of of the label's first Number One hit, 'You're Driving Me Crazy' by the whimsical 1920's-style dance band, The Temperance Seven.\u003c\/p\u003e\n\u003cp\u003eMartin described his productions as \"Sound Pictures\". He would coax a performance from the artist, the result sometimes embellished by sound effects and other imaginative acoustic devices.\u003c\/p\u003e\n\u003cp\u003eThe techniques George mastered while creating comedy records had everything to do with the production triumphs that would follow with The Beatles. When the band retired from touring and determined to concentrate on making albums with a pioneering approach to the whole new art of pop, Martin was well equipped to meet the group's challenging sonic demands and to propose a good many initiatives of his own; whether in the string quartet setting for ‘Yesterday', or when taking an orchestra into uncharted musical waters for 'A Day In the Life'.\u003c\/p\u003e\n\u003cp\u003eGeorge Martin had a very particular affection for the Impressionist composers Claude Debussy and Maurice Ravel. He claimed the former's ‘Prélude à l'après-midi d’un faune' was the piece that decided him on a career in music and saw ‘Strawberry Fields Forever' as a Debusseyesque tone poem. For George, Ravel was “one of the greatest orchestrators of all time\", with the “choreographic symphony”, ‘Daphnis and Chloe’ a particular favourite.\u003c\/p\u003e\n\u003cp\u003eThis 3CD presentation comprises all of George Martin's productions for the Temperance Seven, the sheer surrealist-comic electricity he captured of Beyond the Fringe, (including the original chart album) and a selection of works by Debussy and Ravel, including Igor Markevitch's account of Debussy's 'Faun' made at Abbey Road and 'Daybreak' from Pierre Monteux's ravishing 'Daphnis and Chloe' with the London Symphony Orchestra.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"El Records","offers":[{"title":"3CD","offer_id":53232972202315,"sku":"R0985-2372","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Screenshot2025-08-22at18.19.24.png?v=1755896510"},{"product_id":"changing-my-scene-art-music-and-the-beatles-from-stockhausen-to-the-goons","title":"Changing My Scene - Art Music and The Beatles - from Stockhausen to The Goons","description":"\u003cp\u003e3CD collection, enlarging on the inspiration for The Beatles' post-live experimentation.\u003c\/p\u003e\n\u003cp\u003eProviding examples which will cast light on the genesis of such imperishable pop masterpieces as 'Yesterday', 'Tomorrow Never Knows', 'Strawberry Fields Forever', 'Penny Lane', 'Eleanor Rigby' and 'A Day In The Life'.\u003c\/p\u003e\n\u003cp\u003e\"The Beatles have developed into the single most creative force in pop music. Wherever they go, the pack follows. And where they have gone in recent months, not even their most ardent supporters would ever have dreamed of. They have bridged the heretofore impassable gap between rock and classical, mixing elements of Bach, Oriental and electronic music with vintage twang to achieve the most compellingly original sounds ever heard in pop music.\" Time Magazine 1967\u003c\/p\u003e\n\u003cp\u003e\"What matters to me is whether the music is good, not whether it's classical or jazz or flamenco.\" Paul McCartney\u003c\/p\u003e\n\u003cp\u003e\"Because we knew that the Beatles wouldn't ever have to play the songs live, there were no creative boundaries.\" Geoff Emerick, chief sound engineer at Abbey Road\u003c\/p\u003e\n\u003cp\u003eAt the end of August 1966, The Beatles gave the final formal concert performance of their career at Candlestick Park in San Francisco.\u003c\/p\u003e\n\u003cp\u003eThey were mentally and physically exhausted by the rigours of touring; their weariness compounded by a dissatisfaction at the quality of their concerts, not helped by the relatively primitive sound technology of the time. They therefore decided to retire from public performance in order to devote themselves to working with George Martin at Abbey Road. With their groundbreaking album ‘Revolver’ already in the can, The Beatles were eager to resume their investigations into the new art of pop.\u003c\/p\u003e\n\u003cp\u003eThis they did with unequalled originality, a panache that culminated in ‘Sgt. Pepper'; the most ambitious and most successful record album ever issued.\u003c\/p\u003e\n\u003cp\u003eThe Beatles' pioneering would involve the assimilation of musical and cultural influences from well beyond the realm of mainstream pop; from modernist composers in the fields of electronics, Musique Concrète and Serialism (Stockhausen, Berio, Cage, Stravinsky, Varese, Schaeffer, Henry and the BBC Radiophonic Workshop); from the Late Romantic and Impressionist eras (Debussy, Ravel, Mahler, Sibelius); from the outer limits of Jazz (Ornette Coleman, John Coltrane, Eric Dolphy, Albert Ayler); from the perfumed gardens of Indian Classical Music (Ravi Shankar, Ali Akbar Khan); from such diverse and singular literary figures as Lewis Carroll, Aldous Huxley and Dylan Thomas to the anarchic Surrealist comedy of The Goons.\u003c\/p\u003e\n\u003cp\u003eTRACK LISTING\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003eDISC ONE\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e1  JULIAN BREAM - Two Almaines\u003c\/div\u003e\n\u003cdiv\u003e2  KARLHEINZ STOCKHAUSEN - Gesang der Jünglinge\u003c\/div\u003e\n\u003cdiv\u003e3  JOHN CAGE - Fontana Mix\u003c\/div\u003e\n\u003cdiv\u003e4  IANNIS XENAKIS - Metastasis (excerpt) (SWR Symphony Orchestra-Hans Rosbaud)\u003c\/div\u003e\n\u003cdiv\u003e5  EDGARD VARÈSE - Poème électronique\u003c\/div\u003e\n\u003cdiv\u003e6  LUCIANO BERIO - Thema (Omaggio a Joyce)\u003c\/div\u003e\n\u003cdiv\u003e7  GUSTAV MAHLER - In ruhig fliessender Bewegung: Symphony No. 2 in C minor (Philharmonia Orchestra-Otto Klemperer)\u003c\/div\u003e\n\u003cdiv\u003e8  JOHANN SEBASTIAN BACH - Allegro assai: Brandenburg Concerto No.2 in F major (Philharmonia Orchestra-Otto Klemperer)\u003c\/div\u003e\n\u003cdiv\u003e9  BERNARD HERRMANN - Prelude \/ The Murder (from Psycho)\u003c\/div\u003e\n\u003cdiv\u003e10  DELIA DERBYSHIRE - Time On Our Hands\u003c\/div\u003e\n\u003cdiv\u003e11  DAPHNE ORAM - Ursa Major (Sun Mix)\u003c\/div\u003e\n\u003cdiv\u003e12  PIERRE SCHAEFFER AND PIERRE HENRY - L’Oiseau RAI (R.A.I. Bird)\u003c\/div\u003e\n\u003cdiv\u003e13  JEAN SIBELIUS - Symphony No. 7 in C Major: Part IV. Vivace-Presto-Adagio (Philadelphia Orchestra-Eugene Ormandy)\u003c\/div\u003e\n\u003cdiv\u003e14  FRÉDÉRIC CHOPIN - Nocturnes Op.15 No.3 in G Minor: Lento (Jan Smeterlin)\u003c\/div\u003e\n\u003cdiv\u003e15  LEWIS CARROLL - Looking Glass Insects (excerpt), from Alice Through The Looking Glass (Jane Asher)\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eDISC TWO\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e1  IGOR STRAVINSKY - The Royal March, from L'Histoire du Soldat (Columbia Chamber Ensemble-Igor Stravinsky)\u003c\/div\u003e\n\u003cdiv\u003e2  CLAUDE DEBUSSY - Prélude à l'Après-midi d'un faune (Orchestre de la Suisse Romande-Ernest Ansermet) MAURICE RAVEL Daphnis Et Chloé Suite 2\u003c\/div\u003e\n\u003cdiv\u003e3  Lever du jour (Daybreak)\u003c\/div\u003e\n\u003cdiv\u003e4  Pantomime\u003c\/div\u003e\n\u003cdiv\u003e5  Danse générale (Philharmonia Orchestra \/ Guido Cantelli)\u003c\/div\u003e\n\u003cdiv\u003e6  ERIK SATIE - Sarabande No. 2 (Francis Poulenc) IGOR STRAVINSKY Le Sacre du printemps (The Rite of Spring) (Philharmonia Orchestra-Igor Markevitch) \u003c\/div\u003e\n\u003cdiv\u003ePart One: Adoration of The Earth\u003c\/div\u003e\n\u003cdiv\u003e7  Introduction\u003c\/div\u003e\n\u003cdiv\u003e8  The Augurs of Spring, Dances Of The Young Girls\u003c\/div\u003e\n\u003cdiv\u003e9  Dance of Abduction\u003c\/div\u003e\n\u003cdiv\u003e10  Spring Rounds\u003c\/div\u003e\n\u003cdiv\u003e11  Ritual Of The Rival Tribes\u003c\/div\u003e\n\u003cdiv\u003e12  Procession Of The Sage\u003c\/div\u003e\n\u003cdiv\u003e13  The Sage\u003c\/div\u003e\n\u003cdiv\u003e14  Dance To The Earth Part Two: The Sacrifice\u003c\/div\u003e\n\u003cdiv\u003e15  Introduction\u003c\/div\u003e\n\u003cdiv\u003e16  Mystic Circles of the Young Girls\u003c\/div\u003e\n\u003cdiv\u003e17  Glorification of the Chosen One\u003c\/div\u003e\n\u003cdiv\u003e18  Evocation of The Ancestors\u003c\/div\u003e\n\u003cdiv\u003e19  Ritual Action of The Ancestors Sacrificial Dance\u003c\/div\u003e\n\u003cdiv\u003e20  Sacrificial Dance\u003c\/div\u003e\n\u003cdiv\u003e21  CLAUDE DEBUSSY - Gardens in the Rain (Walter Gieseking)\u003c\/div\u003e\n\u003cdiv\u003e22  FREDERICK DELIUS - On Hearing the First Cuckoo In Spring (Royal Philharmonic Orchestra-Sir Thomas Beecham)\u003c\/div\u003e\n\u003cdiv\u003e23  GUSTAV HOLST - Venus, TheBringer of Peace, from The Planets (Philharmonic Promenade Orchestra-Sir Adrian Boult)\u003c\/div\u003e\n\u003cdiv\u003e24  IGOR STRAVINSKY - Galliarde, from Agon, ballet for twelve dancers (SWR Symphony Orchestra-Hans Rosbaud)\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eDISC THREE\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e1  NAT KING COLE - Nature Boy\u003c\/div\u003e\n\u003cdiv\u003e2  ORNETTE COLEMAN QUARTET - Embraceable You\u003c\/div\u003e\n\u003cdiv\u003e3  JOHN COLTRANE QUINTET WITH ERIC DOLPHY - My Favorite Things (Birdland, New York)\u003c\/div\u003e\n\u003cdiv\u003e4  HUMPHREY LYTTELTON - Bad Penny Blues\u003c\/div\u003e\n\u003cdiv\u003e5  RAVI SHANKAR - Kafi-Holi (Spring Festival Of Colors)\u003c\/div\u003e\n\u003cdiv\u003e6 ALI AKBAR KHAN - Raga Pilu Baroowa (excerpt)\u003c\/div\u003e\n\u003cdiv\u003e7  RAVI SHANKAR - Raga Marwa (1948 78rpm version)\u003c\/div\u003e\n\u003cdiv\u003e8  THE GOONS - Unchained Melody\u003c\/div\u003e\n\u003cdiv\u003e9  DJANGO REINHARDT \u0026amp; STÉPHANE GRAPPELLI - Tears\u003c\/div\u003e\n\u003cdiv\u003e10 ALDOUS HUXLEY - The Ultimate Revolution (excerpt)\u003c\/div\u003e\n\u003cdiv\u003e11 ALBERT AYLER - Tune Up\u003c\/div\u003e\n\u003cdiv\u003e12  DYLAN THOMAS - Do Not Go Gentle Into That Good Night\u003c\/div\u003e\n\u003cdiv\u003e13  PYOTR ILYICH TCHAIKOVSKY - Romeo and Juliet: Fantasy Overture (excerpt) (Philharmonia)\u003c\/div\u003e","brand":"El Records","offers":[{"title":"3CD","offer_id":56157500866891,"sku":"R0418-8385","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Screenshot_2025-12-20_at_09.32.06.png?v=1766333138"},{"product_id":"ken-russell-the-music-lover-music-and-images-the-art-of-britains-greatest-filmmaker","title":"Ken Russell The Music Lover - Music And Images: The Art Of Britain's Greatest Filmmaker","description":"\u003cdiv\u003eAnthology of music from the films of director Ken Russell; the enfant terrible of British cinema. \u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eDrawn from his groundbreaking films of the 60s and 70s including the enormously popular Elgar - Portrait Of A Composer. \u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eRussell's work is uncompromising and controversial. He directed Tommy for The Who in characteristic bravura style, while the much-banned Devils upset the establishment - 50 years on, the director's cut is still considered too blasphemous for public consumption. \u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eInspired by Orson Welles, admired by Michael Powell, Ken Russell set British cinema aflame in the 1960s and 70s with his superbly crafted, often highly controversial dramatised documentaries on the lives of classical music composers. \u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eGravitating to film via the excellent British Monitor and Omnibus art television programmes, his subjects included Elgar, Debussy and Delius, Strauss, Tchaikovsky, Mahler and Liszt. Russell pulled no punches in putting their indulgences and personal demons up on the screen beside their genius. Until then, the immortals had been sacrosanct. Ken's filmmaking was uncompromising, passionate and instinctive, revealing a gift for pairing music with images; resulting in such indelible scenes as the nude male wrestlers in Women In Love. Ken Russell's audacity was much admired. For some, he was regarded as nothing less than the saviour of British cinema, while others saw him as an outlandish \"reckless eclectic\", out to  shock. His incendiary tour-de-force, The Devils, sharply divided audiences but is regarded by his disciples to be one of the top ten films of all time. \u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eThis edition comprises music from Elgar - Portrait of A Composer (voted by readers of The Sunday Times as the 'Most Memorable Television Programme Ever Made'), The Debussy Film, Delius: Song of Summer, The Music Lovers (Tchaikovsky) and Mahler, alongside Dante's Inferno (Dante Gabriel Rossetti and the Pre-Raphaelite Brotherhood), Savage Messiah (Scott Antony's effervescent debut as the sculptor Henri Gaudier-Brzeska) and Russell's breakthrough film, D.H. Lawrence's Women In Love (for which Glenda Jackson won an Oscar for Best Actress).\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eTRACKLISTING\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eDISC ONE:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eELGAR - Portrait Of A Composer (1962) \u003c\/strong\u003e\u003cbr\u003e1. Sinfonia of London with the Allegri String Quartet \/ Conductor: John Barbirolli - Introduction and Allegro (excerpt) \u003cbr\u003e2. Sinfonia of London \/ Conductor: John Barbirolli - Serenade For Strings: Larghetto \u003cbr\u003e3. W. H. Reed: violin \/ New Symphony Orchestra \/ Conductor: Edward Elgar - Salut D'Amour \u003cbr\u003e4. The London Philharmonic Orchestra \/ Conductor: Adrian Boult - Symphony 2: Larghetto (excerpt) \u003cbr\u003e5. Richard Lewis: tenor \/ Royal Liverpool Philharmonic Orchestra \/ Conductor: Malcolm Sargent - Dream Of Gerontius: Sanctus Fortis \u003cbr\u003e6. Philharmonia Orchestra \/ Conductor: John Barbirolli - Enigma Variations: Nimrod \u003cbr\u003e7. Paul Tortelier: cello \/ BBC Symphony Orchestra \/ Conductor: Malcolm Sargent - Cello Concerto: Lento - Allegro Molto \u003cbr\u003e\u003cstrong\u003eTHE DEBUSSY FILM - Impressions Of The French Composer (1965) \u003c\/strong\u003e\u003cbr\u003e8. Philharmonia Orchestra \/ Conductor: Guido Cantelli - Prélude à l'Après-midi d'un faune \u003cbr\u003e9. Philharmonia Orchestra \/ Conductor: Guido Cantelli - Nocturnes: Fetes \u003cbr\u003e10. Philharmonia Orchestra \/ Conductor: Guido Cantelli - Le Martyre de saint Sébastien : La Cour Des Lys \u003cbr\u003e11. Walter Gieseking: piano - Jardins Sous Le Pluie (Gardens In the Rain) \u003cbr\u003e12. Paris Conservatoire Orchestra \/ Conductor: Constantin Silvestri - La Mer: De L'aube à Midi Sur La Mer (From Dawn to Noon on the Sea) \u003cbr\u003e13. Suzanne Cotelle: harp \/ Orchestre Lamoureux \/ Conductor: Igor Markevitch - Danse Profane \u003cbr\u003e14. Orchestre National de la Radiodiffusion française \/ Conductor: André Cluytens - La Boîte à Joujoux (The Toybox): Le Magasin De Jouets (excerpt) \u003cbr\u003e15. Royal Concertgebouw Orchestra \/ Conductor: Eduard van Beinum - Berceuse Héroïque \u003cbr\u003e16. Severino Gazzelloni: flute - Syrinx for flute sol\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eDISC TWO:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eDANTE'S INFERNO - The Private Life Of Dante Gabriel Rossetti, Poet and Painter (1967) \u003c\/strong\u003e\u003cbr\u003e1. USSR State Symphony Orchestra \/ Conductor: Gennady Rozhdestvensky - Sergei Prokofiev: Symphony No. 3: Allegro Agitato \u003cbr\u003e2. Hallé Orchestra \/ Conductor: John Barbirolli - John Ireland: The Forgotten Rite \u003cbr\u003e3. Philharmonia Orchestra \/ Conductor: William Walton - William Walton: Henry V Suite: Touch Her Soft Lips And Part\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eDELIUS - Song of Summer (1968)\u003c\/strong\u003e \u003cbr\u003e4. Royal Philharmonic Orchestra \/ Conductor: Thomas Beecham - On Hearing The First Cuckoo In Spring \u003cbr\u003e5. Royal Philharmonic Orchestra \/ Conductor: Thomas Beecham - Song of the High Hills - with easy movement - tranquillo \u003cbr\u003e6. Luton Choral Society and Royal Philharmonic Orchestra \/ Conductor: Thomas Beecham - Song Of The High Hills - The Wide, Far Distance \u003cbr\u003e7. Hallé Orchestra \/ Conductor: John Barbirolli - Walk To The Paradise Garden \u003cbr\u003e8. Hallé Orchestra \/ Conductor: John Barbirolli - A Song of Summer \u003cbr\u003e\u003cstrong\u003eSAVAGE MESSIAH (1972) \u003c\/strong\u003e\u003cbr\u003e9. Orchestra Sinfonica Nazionale della RAI di Roma \/ Conductor: Artur Rodzinski - Alexander Scriabin: Symphony No. 3: 'The Divine Poem': Voluptés (excerpt) \u003cbr\u003e10. Orchestre De L'Opéra National de Paris \/ Conductor: Manuel Rosenthal - Claude Debussy: Nocturnes: Nuages \u003cbr\u003e11 Orchestre de l'Opéra National de Paris - Choeurs de Radio France \/ Manuel Rosenthal - Claude Debussy: Nocturnes: Sirenes \u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eDISC THREE:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eWOMEN IN LOVE (1969) \u003c\/strong\u003e\u003cbr\u003e1. Albert Campbell And Henry Burr - I’m Forever Blowing Bubbles (1919)\u003cbr\u003e2. The National Radio Orchestra Romania \/ Conductor: Constantin Silvestri - Theodor Rogalski: Three Romanian Dances: Gaida\u003cbr\u003e3. Philharmonia Orchestra \/ Conductor: Carlo Maria Giulini - Pyotr Ilyich Tchaikovsky: Symphony 6: Allegro Molto Vivace\u003cbr\u003e\u003cstrong\u003eTHE MUSIC LOVERS (1971) \u003c\/strong\u003e\u003cbr\u003e4. Philharmonia Orchestra \/ Conductor: Carlo Maria Giulini - Pyotr Ilyich Tchaikovsky: Romeo \u0026amp; Juliet: Fantasy Overture (excerpt)\u003c\/div\u003e\n\u003cdiv\u003e5. Sviatoslav Richter: piano \/ Czech Philharmonic Orchestra \/ Conductor: Karel Ancerl - Pyotr Ilyich Tchaikovsky: Piano Concerto No. 1: Andantino Semplice\u003cbr\u003e\u003cstrong\u003eMAHLER (1974) \u003c\/strong\u003e\u003cbr\u003e6. Vienna Symphony Orchestra \/ Conductor: Charle Adler - Symphony No. 10: Adagio (excerpt)\u003cbr\u003e7. New York Philharmonic \/ Conductor: Leonard Bernstein - Symphony No. 3: Kräftig Entschieden (\"Pan Awakes, Summer Marches In\")\u003cbr\u003e8. New York Philharmonic \/ Conductor: Leonard Bernstein - Symphony No. 3: Lustig im Tempo und keck im Ausdruck (\"What The Angels Tell Me\")\u003cbr\u003e9.  Philharmonie Orchestra \/ Conductor: Paul Kletzki - Symphony No. 4: Bedächtig, nicht eilen (excerpt)\u003cbr\u003e10. London Philharmonic Orchestra \/ Conductor: Adrian Boult - Symphony No. 1: Kräftig Bewegt, Doch Nicht Zu Schnell (excerpt)\u003cbr\u003e11. London Philharmonic Orchestra \/ Conductor: Adrian Boult - Symphony No. 1: Feierlich Und Gemessen, Ohne Zu Schleppen (excerpt)\u003cbr\u003e12. London Symphony Orchestra \/ Conductor: Rudolf Schwarz - Symphony No. 5: Scherzo (excerpt)\u003cbr\u003e13. London Symphony Orchestra \/ Conductor: Rudolf Schwarz - Symphony No. 5: Adagietto\u003cbr\u003e14. Southwest German Radio SO \/ Conductor: Hans Rosbaud - Symphony No. 6: Allegro Energico \u003cbr\u003e15 Southwest German Radio SO \/ Conductor: Hans Rosbaud - Symphony No. 6: Andante Moderato (excerpt)\u003cbr\u003e16. Dietrich Fischer-Dieskau: tenor \/ Berlin Philharmonic \/ Conductor: Rudolf Kempe - Kindertotenlieder: Wenn Dein Mutterlein Tritt Zur Tur Herein\u003cbr\u003e17. Columbia Symphony Orchestra \/ Conductor: Bruno Walter - Symphony No. 9: Andante Comodo (excerpt)\u003cbr\u003e18 Philharmonia Orchestra \/ Conductor: Otto Klemperer - Symphony No. 2 \"Resurrection\": Mit Aufschwung, Aber Nicht Eilen\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e","brand":"El Records","offers":[{"title":"3CD","offer_id":56895613370699,"sku":"R7169-8297","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Screenshot2026-03-27at15.20.28.png?v=1774624896"}],"url":"https:\/\/shop.roughtrade.com\/collections\/el-records-1.oembed","provider":"Rough Trade","version":"1.0","type":"link"}