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Mays was born and grew up in Wausaukee, WI in a musical family father-guitarist, mother-pianistlistening to classical music and starting to play the piano at age 9.

By age 14, he discovered Jazz, which changed his life. After a couple years at UW-Eau Claire, he transferred to the College of Music at the University of North Texas and became part of the award-winning One O'Clock Lab Band while attending there, becoming the primary composer Erics Theme - Various - Sensational Synthesizer (Cassette arranger Album) the group by the time he graduated in and received his first Gammy nomination for the band's recording that year.

After graduation, he toured with Woody Herman's Big Band, and in he started working with guitarist Pat Metheny on Metheny's second album, Watercolors Album) inMays and Metheny co-founded The Pat Metheny Groupwhich became a collaboration that lasted for more than 30 years.

The Pat Metheny Group became a breakout success with their second album, American Garagewith their melodic, improvisational jazz fusion sound and style crossing barriers into pop and rock categories, and bringing a flowing accessible jazz sound to new audiences, which revolutionized the way Jazz was perceived by many and opened the doors for new and exciting musical experiences.

Their success continued through the eighties and nineties, bringing in additional influences and styles. I first became aware of The Pat Metheny Group at their start, and was immediately drawn into them, and it was an exciting new kind of music for me.

And although the band bore Metheny's name, Lyle Mays was a crucial part of the band and their success. Much more than just the keyboard player, Mays co-wrote nearly all the music with Metheny and was the primary arranger for band. For me personally, Mays was the primary attraction of the band, and after following Metheny's many recordings other collaborations separate from The Pat Metheny GroupI soon came to realize that if Mays Erics Theme - Various - Sensational Synthesizer (Cassette not a part of the band or recording, I was just not interested in Metheny's other musical adventures, as they just did not have the same magic as the Mays collaborations.

The Dead Man? The guy who goes on and on about harvesting souls and rising from the dead and all that stuff? Yep, here The Man in Black tries to be as frightening as he can be, even going so far as to threaten us with embalming, but the music is just so darn lively and upbeat that it's hard to take this one seriously.

It's like the intro to the Addams Family if said intro had been recorded on LSD by a bunch of happy hippies. I might not recommend Wrestlemania - The Album for much, but I do recommend you get this song just for the comedy value. Side two Don't look at me, Randy Savage Macho Man is exactly how his name is written in all the liner notes for the album.

Get down! All the while the music comes across like something left over from The Bart Man remember that? I'm not even sure what to make of this song. I don't get why it's called Speaking From The Heart, especially when you've got Bret Hart right there to make the obvious pun, but hey, we'll let that go Album) leave with this: This is actually fun in a typically earlys cheesy fashion.

Quite why it wasn't just called Tatanka - Buffalo! This one, long, repetitive, boring song. This one, long It's as if the producers already begun to lose the will to live here and were just trying to hurry up, get it done, and go home.

Perfect - I'm Perfect "Mr. Perfect, Mr. Perfect, I'm perfect! Just that, over and over again with Perfect occasionally bragging about being perfect. Perfect did everything perfectly Which is why it's obvious he had nothing to do with this horrible version of his theme from Wrestlemania The Album pic. This time, the soundbites had Crush telling us that the competition was getting tougher in the World Wrestling Federation, but that he was loving every minute of it.

To put it bluntly, it was stupid and instantly forgettable. Of course, we got some Bossman soundbites, with the big man telling us about the importance of respecting law and order and such. One other interesting touch that develops is an additional identity for the Shadow Company. Gongs, chimes, water bowls, and various drums paint a picture of Mr. However, for me the most interesting part of the score is the action music, as it is the genesis of the action sound Kamen developed throughout much of his career.

The cue is filled with rolling, tempestuous brass lines, surging strings, nervous tapped cymbals, and an insect-like buzzing electronic loop. Here, the Shadow Company theme re-emerges as a fanfare for imposing brass, while the regular interjection from the clattering percussion is a direct reference to the presence of Mr. The sequence that begins at and continues through to the end of the cue is superb, chaotic, frenzied. Horns, drums, and strings perform a relentless rhythmic ostinato, while xylophones and harps add surprisingly effective contrapuntal textures.

Regular statements of the Shadow Company theme litter the piece, keeping the focus on the subjects of the pursuit. Lethal Weapon has a complicated release history. Music composed and conducted by Michael Kamen. Additional music and featured musical solos by Eric Clapton and David Sanborn. Report this review Posted Thursday, November 3, Review Permalink coasterzombie What a diamond in the rough this is.

The only document of Sensitiva Immagine is a cassette produced sometime in the late seventies that was issued on CD in and again in E Tutto Comincio Cosi has sadly been out of print since. Like Il Giro Strano and Buon Vecchio Charlie, Sensitiva Immagine never had the opportunity to release a proper LP during their lifespan, and now in the 21st century risk fading into obscurity again. E Tutto Comincio Cosi is a symphonic fan's dream, echoing the best work of early Genesis combined with the competent vocal and musical skill of Locanda Delle Fate.

Listeners of either group will take to the album immediately Album) revel in its artistry. The mediocre album cover does nothing to reveal the craftmanship inside Sensitiva Immagine weave a complex yet conventional progressive rock sequence on their only production.

The song segues seamlessly to "Overture" which is a good representation of the album as a whole; dynamic drumming, imaginative guitar playing, and a wealth of keyboard sounds are in abundance on E Tutto Comincio Cosi.

After an initial blitz of instrumental achievement, the song breaks with a softly strummed acoustic guitar. Vocals finally enter and are rendered in a very tasteful and pleasant way. A long fade-in opens "Harlem," which continues the symphonic execution and ups the ante with some skillful organ work. Another "Intro inedito " piece acts as an interlude before "Storia Di The song is not really commercial, but much more succinct and jovial than its predecessors.

The more original "E Tutto Comincio Cosi" closes the original album running order; the sensational instrumental may well be my favorite on the disc. Though the Kaliphonia CD offers some bonus tracks, do not hesitate to snatch up the Melos CD instead, should one become available on the second-hand market. Though this now-collectible fetches high prices on the auction circuit, it is worth every penny for hardcore RPI collectors and even general Symphonic Prog completists; E Tutto Comincio Cosi is that good.

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Another Italian gem.

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