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Here I Come

from: Matthew Duffy

October 21, 2003

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Sunset Boulevard

from: Universal UK

July 23, 2007
`Sunset Boulevard' is certainly one of the best scores Andrew Lloyd Webber has ever written. The composer admitted that it was his wish for a long time to make a musical based on the 1950 classic movie directed by Billy Wilder. After the successful 1991 revival of Joseph and the amazing Technicolor dreamcoat, Webber began working on Sunset together with Don Black, his long-time lyricist on "Tell me on a Sunday" and "Aspects of love" and Trevor Nunn as a director.

The plot concerns Norma Desmond, once a big silent movie star, who, after 20 years of being out of the picture business, still believes to be "the greatest star of all". She accidentally meets a 20 years younger unemployed writer Joe Gillis, who grabs the opportunity ... Read More:

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Spirit Voices

from: RCA

October 28, 1997
This album doesn't seem that typical of The King's Singers, but I found it charming and listenable. If you take your analytical hat off, release your prejudices and just let their interpretations carry your thoughts and feelings, you'll find it a very pleasant journey.

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Just Say Blue

by: Duffy Power

May 09, 2000
Duffy Power is unquestionably one of the very best of the British R & B artists, but he enjoyed no commercial success. Because of this very few of his recordings are available. This package combines a handful of his excellent recordings from the 1966-67 period with a shelved LP recorded with Rod Argent in the early 1970s. Power wrote a good deal of his own material and played guitar and harmonica; he was good on both instruments. His smokey voice employs phrasing suggestive of Ella Fitzgerald, an unusual influence for Power's generation of British singers. The best material here is the early stuff, featuring backing from the likes of Jack Bruce, Danny Thompson and John McLaughlin. The work with Argent contains some excellent Power originals, ... Read More:

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Keep Going

by: Stephen Duffy & The Lilac Time

September 09, 2003
As a fan of Stephen Duffy's work since his "Tin Tin" days, I've noticed a steady progression in his work that, contrary to some reviewers, does indicate both risk-taking and experimentation. In his latest outing with the Lilac Time, Duffy has produced a true masterpiece. Don't be fooled by the faux 70s cover art; this album may have borrowed from the Nick Drake/Fairport Convention folk standards of that era, but it is just as firmly rooted in contemporary music as well. Incorporating a soulful, poetic and sometimes melancholic tone, Duffy evokes moods and images that reflect an ever-growing sense of maturity and poignancy. Take the worldliness of "So Far Away", or the sheer beauty of "I Wasn't Scared of Flying" as examples of how he evades the predictably ... Read More:

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AiméE Duffy

by: AiméE Duffy

June 05, 2007
As a fan of Stephen Duffy's work since his "Tin Tin" days, I've noticed a steady progression in his work that, contrary to some reviewers, does indicate both risk-taking and experimentation. In his latest outing with the Lilac Time, Duffy has produced a true masterpiece. Don't be fooled by the faux 70s cover art; this album may have borrowed from the Nick Drake/Fairport Convention folk standards of that era, but it is just as firmly rooted in contemporary music as well. Incorporating a soulful, poetic and sometimes melancholic tone, Duffy evokes moods and images that reflect an ever-growing sense of maturity and poignancy. Take the worldliness of "So Far Away", or the sheer beauty of "I Wasn't Scared of Flying" as examples of how he evades the predictably ... Read More:

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Mercy

August 26, 2008
As a fan of Stephen Duffy's work since his "Tin Tin" days, I've noticed a steady progression in his work that, contrary to some reviewers, does indicate both risk-taking and experimentation. In his latest outing with the Lilac Time, Duffy has produced a true masterpiece. Don't be fooled by the faux 70s cover art; this album may have borrowed from the Nick Drake/Fairport Convention folk standards of that era, but it is just as firmly rooted in contemporary music as well. Incorporating a soulful, poetic and sometimes melancholic tone, Duffy evokes moods and images that reflect an ever-growing sense of maturity and poignancy. Take the worldliness of "So Far Away", or the sheer beauty of "I Wasn't Scared of Flying" as examples of how he evades the predictably ... Read More:

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Music in Colors

by: Stephen Duffy

October 04, 2004
A collaborative effort with virtuoso violinist Dr. Nigel Kennedy, this album finds Mr. Duffy's romantic songcraft polished to an epic sheen. The violin stylings add a Steve Reich-like edge to the songs, broadening the sonic impact of Mr. Duffy's pop observations. Big, melodic, electric, and lyrical, the title track is one of his best tunes ever. This is a fantastic album to get lost in. The interplay between impeccable pop and the edgy, modern string arrangements give this album an edge and a depth that, while immediately appealing, also reward close attention and repeat listenings. If you like atmospheric, melodic songwriting, you will find much to savor on this disc.

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Duffy

by: Stephen Tintin Duffy

1995
A collaborative effort with virtuoso violinist Dr. Nigel Kennedy, this album finds Mr. Duffy's romantic songcraft polished to an epic sheen. The violin stylings add a Steve Reich-like edge to the songs, broadening the sonic impact of Mr. Duffy's pop observations. Big, melodic, electric, and lyrical, the title track is one of his best tunes ever. This is a fantastic album to get lost in. The interplay between impeccable pop and the edgy, modern string arrangements give this album an edge and a depth that, while immediately appealing, also reward close attention and repeat listenings. If you like atmospheric, melodic songwriting, you will find much to savor on this disc.

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Leapers & Sleepers

by: Duffy Power

April 05, 2004
This excellent set starts at the beginning of Duffy Power's "freedom" from the Larry Parnes pop merry-go-round (in 1962). Included are a string of great performances with the early Graham Bond band circa 1963. That means with Jack Bruce, Ginger Baker and John McLaughlin, folks. You should hear what he and the band do with "I Saw Her Standing There." His vocal style was still relatively callow at that point but by the end of the first disc (1964), the full Duffy Power vocal sound had evolved. The second disc reprises a good deal of material found on "Just Say Blue" but includes worthwhile additions and ends with a singularly inappropriate single from 1967--Duffy's desperate bid to get a hit.

This set is a fine companion-piece to the deleted Edsel anthology ... Read More: