There have been many good records, but most did not change the world of music. There have been some that did and here is my top 10. (Please feel free to argue and let me know your top 10. It is all subjective after all.) These either changed the direction of music or were the pinnacle of their genre. each record comes with a brief explanation which I will expand on later posts.

1. Tutti Frutti (Little Richard)

There are many early rock and roll records that could claim to have laid the fundamentals for what was to follow. However Tutti Frutti is my choice for its sheer power and energy. Coupled with with the fact that this was a major hit for a black artist at a time when that was almost unheard of means that Tutti Frutti just has to be on my list.

2. Move It. (Cliff Richard)

Sir Cliff. This is widely acknowledged as one of the first rock and roll records made outside of the USA. No matter that S.C.R. was a pale shadow of Elvis, this record told the youth in Britain that we could play real rock and roll and make it ours. there are those that would argue for Rock Island Line by Lonnie Donegan but for my money this record deserves its place in history.

3. Revolver (The Beatles)

Revolver is perhaps the most contentious inclusion in this list. There is no Sgt Pepper, no White Album, in this list, this is The Beatles at their best. This is the pinnacle of good, catchy pop songs, never equalled and often copied. It is also the only Beatles album I own...

4. Trout Mask Replica (Captain Beefheart)

Suddenly it was alright to meld Blues and Jazz and shake them both up to produce something not of this world. It was also alright to use free form lyrics, stream of consciousness writing. It was alright to be an artist and to work in rock. With this album rock came of age.

5. Velvet Underground and Nico (VU &; N)

The cliche is that not many people bought this album but everyone who did started a band. Well, I bought this album when it was released and did not start a band. The list of those that now claim this as a major influence makes the inclusion of this, flawed, magical album inevitable, and deserved.

6. Horses (Patti Smith)

1975 and music is boring. Born of a passion for Hendrix, The Who, and other rock acts from the 60's Patti Smith launched herself on the album buying public with this stunning debut. the breadth of her vision and the execution of that vision is a sensation. Punk attitude with an artist's honesty. Simply a must have album.

7. Thriller (Michael Jackson)

before Thriller most albums spawned one or two singles. After Thriller albums would be packed with possible singles. For better or worse this album changed the music industry for ever. (Personally, I think it was for the worse, and I hate this album).

8. King of the Delta Blues (Robert Johnson)

RJ was not the father of the blues as some claimed in the 60s, but he was a very close relative. The reason that this album has to be included in this list is not that it was unique when the tracks were recorded in 1937. The reason is that this album changed white music forever when it was released as a double album on CBS in 1967. It was the first time that most of us white kids had heard real, traditional blues. That so many of us still listen to it and that the music still speaks to the following generations proves how influential this record was, and is. It led directly to the revival of the fortunes of John Lee Hooker, Muddy waters and the rest. If ever a record changed the world of music it is this one.

9. Apache (The Shadows)

Love it or hate it (guess which camp I am in!) This record changed the face of music in the UK. Hank Marvin was voted the best guitar player in the NME for years. Strat rock in the UK was born and countless budding guitarists bought Bert Weedon's 'Play in a Day'...

10. My Favourite Things (John Coltrane)

I had not heard this record for years. About 18 months ago I walked into the studio to prepare for my radio show. The proceeding programme was on and this was on. I was stunned at how good this still sounded. There is genius at work here. JC takes a small insignificant and mundane song and turns it into something sublime. This made improvisation not only acceptable it made it fundamental for any musician. If only more musicians were as good at it as JC.

Well, that is my list. What is yours?

I am passionate about real music which is why I started http://www.realrockandblues.com so that I have an excuse to talk about music, and bore people with my views! I also have a blog http://philstutt.blogspot.com/ and I use that to talk about things going on in my life, and bore even people about music...

I am in my 50s (it hurts to say that, my mind feels 36 but my body....). I live in the UK. I have all the usual bad habits, alcohol smoking etc. I am in a great relationship with a very understanding lady (she has to be).

I love Blues, Captain Beefheart, Wreckless Eric, Tim Fite. I hate Celine Dion, boy bands. 'Nuff said.

Article Source: http://EzineArticles.com/?expert=Phil_Stutt
http://EzineArticles.com/?10-Records-That-Changed-the-World&id=1449369

Listed below is both the original and the Dave Ball (of Soft Cell and The Grid fame) remix — more on Dave Ball tomorrow.

From George Demure’s site:

Scottish electro crooner George Demure is back with the latest single from his successful debut album “Boomtown Medallion”. This one is a cover of the Bowie classic “Sorrow”.

With a helping hand from talented producer Aidan Love (Maps & Goldfrapp) Demure weaves an 80’s inspired tapestry which blends the classic song with a accessible sound. As one half of Soft Cell, Dave Ball was one of those producers who laid down the blueprints for an entire category of synthesizer based music.

Bio:

Introducing George Demure…

…a suave and debonair gentleman hailing from Scotland, now living and working in London.

George Demure spent 10 years at the forefront of Scotland’s electronic music scene before moving to London in 2002. This move prompted a rediscovery of his love for guitars as well as discovering his sensational yet elegant singing voice.

Equally adept behind a bank of drum machines as he is with acoustic guitars and tambourines, George’s songs demonstrate an obsessive love of music, from Charlie Feathers to Lee Perry, Throbbing Gristle to Otis Redding - and his ability to weave a particular lyrical slant in his music owes much to his love of literature.

Since his live debut supporting Colder at London’s Bush Hall in 2005, he attracts growing numbers of devotees with his live performances. A host of gigs include Glastonbury (2005 and 2008’s The Guardian Lounge), performances throughout London, Manchester, Glasgow and Edinburgh, the Tank Magazine party at the ICA in 2006, Koko (Camden Palace), a show stopping performance at Output’s 2006 Sonar Party in Barcelona, not forgetting Batofar and Le Baron in Paris earlier this year.

George Demure was first featured on Output Recordings Channel 4 Compilation with the classic “New Confrontation”. A single, “The Main Attraction” was released in September 2006, one of the last ever releases on Output. Then, with Tirk, he released the New Confrontation EP, a critically acclaimed 5 tracker in December 2006. Now signed to Tirk Records offshoot August Day, his debut LP “Boomtown Medallion”, released in October 2007 to great applause, continues to win admirers. With three tracks produced with Maps producer Aidan Love and two produced with The Strokes producer Gordon Raphael, the seeds of collaboration had firmly taken root. The single “My Baby’s Gone”, was released with as superb and quirky video, this years’ follow up single, a cover of David Bowies ‘Sorrow’ sports a remix from Soft Cell’s Dave Ball. With his growing interest in multimedia performances and collaborations with new musicians, producers and directors alike, his monthly podcasts/videocasts are already the social insiders must see……. the world of George Demure just gets bigger and bigger.

“…borderline genius… possibly the best leftfield pop album of 2007” – iDJ

“..quite brilliant…” - One Week To Live

“…George Demure is ace!” - NME

“…is a delight…by turns darkly threatening and flooded with warm light..” - Time Out

“..moody, cool electro indie..” Mixmag

George Demure - Sorrow

George Demure - Sorrow (Dave Ball (of Soft Cell) Nightwreckers Radio Mix)

On In Tune (Saturday 5:00 p.m., 5:30 NT) Katherine will be talking about a couple of recent instances where classical music has intersected with the fashion industry -- first at Chanel's haute couture show in Paris this summer, where Karl Lagerfeld had tiny organ pipes embroidered onto his new gowns (presumably without embedded audio). This was inspired by an experience he had attending an organ recital -- and at the fashion show the choice of music was inspired by same.

Then, on the fragrance side of the fashion world, Guerlain has based its newest perfume on one of Vivaldi's Four Seasons. It's called "Brume d'automne" -- fall mist.

This second example is from the "expected" category. Perfume, atomizers, mist, fall launch...OK, no big surprises there. But the first example is a twist -- organs and haute couture? Interesting.

Fashion within classical music is a whole other story -- maybe Katherine should tackle that in weeks to come. If she does, she could do worse than taking a look at a blog post called Classical Music Spring Fashion Show, a wee photo essay on contemporary classical music fashions.

But for some analysis about how conductors and soloists dress and why -- take a look at Jessica Duchen's recent piece in The Independent, called Style Notes: Classical Conductors Get A Makeover. As to the why end of things, Duchen is direct:

"...classical musicians are as aware as anyone of society's obsession with image. Attractive sponsorship opportunities sometimes materialise from designer brands keen for the classy endorsement of musical stars: Rolex has enlisted the likes of the handsome young conductor Gustavo Dudamel for its adverts, for example. Besides, the arrival of the 21st century has left many asking themselves why they are still dressing for the 19th."

p.s. Yehudi Menuhin had the right fashion approach, circa 1945, didn't he. You can even hear the slogan... Lounge-wear, by Menuhin.

Les Orientales, fronted by three divas - Mouna Boutchebak, Saléha and Sylvie Aniorte-Paz, revisits Algerian music hall songs of the post-World War II era.

For more than 20 years, musicians from all over the world have met in the RAS, a magical oasis in the Sinai desert by the Red Sea. Sudanese singer Jamal Porto’s “Gamar Badawi” was written and recorded at the RAS oasis. Zein Al-Jundi was born and raised in Damascus, Syria and moved to Austin, Texas where she performs, teaches belly-dance and owns a store selling Middle Eastern arts and crafts. She not only provided a song, “Wijjak Ma’ii,” but also wrote the album’s liner notes.

A portion of Putumayo’s proceeds from the sale of this CD will be donated to the Saïd Foundation in support of its efforts to bring positive and lasting change to the lives of children and young people in the Middle East.

1 Jamal Porto - Gamar Badawi
2 Les Orientales - Alger, Alger
3 Rasha - Azara Alhai
4 Charbel Rouhana and Hani Siblini - Mada
5 Tiris - Tiris Nibreeha
6 Souad Massi - Ghir Enta
7 Zaman - Batalti Eli
8 Mousta Largo - Les Larmes de Boabdil
9 Maurice El Medioni - Tu n'aurais jamais dû
10 Zein Al-Jundi - Wijjak Ma'ii

Buy the CD:

• In North America: Acoustic Arabia
• In Europe: Acoustic Arabia

And here's the plot in ten sentences or less. (Actually am not counting, but best guesstimate of how long it will take):

It's all about the power of pure love, in this case for a condemned political prisoner. Deep within the dungeons of a state prison, Florestan is slowly nearing death, the innocent victim of his political enemy, Governor Pizarro. Meanwhile his loyal wife, Leonore, maintaining her belief that he is still alive, clothes herself in men's garments. (People frequently do this sort of thing in opera and Shakespeare, and yet it so rarely happens in real life. Maybe it's a "back in the day" kind of thing.)

Anyway, she becomes 'Fidelio.' She goes to work for Rocco, the jailer. With courage, compassion, love and other noble qualities Leonore navigates the infatuation of Rocco's daughter (that's what'll happen when you dress up in men's clothing) and gains access to Florestan's cell. Risking her life, Leonore stands up to Pizarro, frees her husband, and liberates the entire prison.

For the complete cast and character and the plot synopsis, please continue reading.

More on the opera...courtesy of the lovely folks at SATO.

Fidelio - Opera in Two Acts
Music by Ludwig van Beethoven
Text in German by Josef Sonnleithner, after Jean Nicolas Bouilly's French play "Léonore, ou L'Amour Conjugal"
World Premiere: Vienna, Theater an der Wien, November 20, 1805
U.S. Premiere: New York, Park Theatre, September 9, 1839 (in English)

Cast and Characters

Carol Wilson, soprano.....Leonore, wife of Florestan, disguised in male attire as Fidelio
Richard Margison, tenor.....Florestan, a Spanish nobleman and political prisoner
John Cheek, bass-baritone.....Rocco, Chief jailer
Robyn Driedger-Klassen, soprano.....Marzelline, daughter of Rocco
Colin Ainsworth, tenor.....Jacquino, the gate keeper and assistant to Rocco
Tom Fox, baritone.....Don Pizzaro, Governor of the Prison
Alain Coulumbe, bass.....Don Fernando, the King's minister

Vancouver Opera Orchestra
Vancouver Opera Chorus
Leslie Dala, Chorus Director
Jonathan Darlington, conductor
Dejan Miladinovic, stage director
rec. Mar 27/29, 2008

Synopsis
The setting is a clandestine prison in eastern Europe at the height of the Cold War. For more than two years, a young nobleman, Florestan, has been confined to the darkest dungeon on the order of the governor, Pizarro, whose crimes Florestan has exposed. Florestan's wife, Leonore, alone in believing her husband to be alive, has disguised herself as a young man, Fidelio, and has taken a job as assistant to Rocco, the chief jailer.

ACT I
Rocco's daughter, Marzelline, is interrupted in her chores by the unwanted attentions of Jaquino, the young prison employee who hopes to marry her. Bluntly rebuffing Jaquino, Marzelline is left alone to dream of married life with the hard-working new assistant, with whom she is thoroughly smitten. Fidelio arrives with provisions and prisoners' chains and is distressed by Marzelline's interest in him and by Rocco's enthusiastic approval. For their parts, Marzelline is thrilled and Jaquino is dismayed. Rocco expounds on the importance of money to a marriage; Leonore disagrees, saying that the fidelity of two hearts, beating as one, is the true source of conjugal happiness. When Rocco refers to the mysterious 'state prisoner' languishing underground on starvation rations, Leonore, fearing it is Florestan, asks Rocco to take her on his rounds. Observing her steely courage, and feeling the need of help in his advancing years, he agrees, despite Pizarro's order that only Rocco be allowed in the deepest dungeon.

Soldiers assemble in the courtyard, followed by Pizarro, who learns from a dispatch that Fernando, minister of state, suspects him of illegally holding political prisoners and is to arrive soon for an inspection. Pizarro sees this as an opportunity: he can avoid prosecution and rid himself of his enemy by killing Florestan. Pizarro orders Rocco to carry out the murder, but when Rocco pleads with him, trembling, Pizarro instead directs him to dig a grave in the dungeon and await his arrival. Disguised, and bearing a knife, Pizzaro will carry out the murder himself. Leonore, observing the conversation from a distance, denounces Pizarro's monstrous nature, prays for strength, and resolves to save her husband. She implores Rocco to allow the prisoners a few moments of air in the courtyard. While Rocco rushes off after Pizarro, the prisoners bask in a brief, anxious release into the open air. Rocco returns to report that Pizarro has agreed to the marriage of Fidelio and Marzelline, and that he will allow Fidelio into the secret cell. Leonore is horrified when she hears the details of their mission, but insists on helping Rocco. Marzelline and Jaquino rush in, ahead of Pizarro, who fumes at Rocco's presumption in freeing the prisoners. Rocco manages to deflect Pizarro's anger but is ordered to hurry below to dig the grave without delay. As the prisoners return to their cells, Leonore follows Rocco into the dungeon.

ACT 2
In his dark, airless cell, Florestan, chained to the wall, summons courage and submits to the justness of God's will. He sees a vision of an angel resembling Leonore, who has arrived to lead him to Heaven. But presently, in despair, he sinks down exhausted. Rocco and Leonore arrive. In the darkness, Leonore cannot discern the prisoner's features. Trembling, Leonore joins Rocco in digging the grave, keeping an eye on the sleeping prisoner. Florestan awakens. Losing her self-control, Leonore starts at the familiar sound of his voice and then briefly collapses in the darkness when she sees his face. Florestan pleads for water but Rocco offers him the dregs of his wine jug. He does not recognize Leonore even when she gives him a bit of bread, urging him to be calm and have faith in Providence. Rocco whistles to signal Pizarro that all is ready. Pizarro, disguised, enters the cell. With dagger drawn, he moves to stab Florestan, but Leonore springs forward brandishing a pistol. Revealing her identity, she swears destruction for Pizarro. At this moment a distant trumpet announces the arrival of the Minister of State. Rocco, Jaquino and two officers lead Pizarro out to face Fernando as Leonore and Florestan rejoice in each other's arms.

In the prison courtyard, Fernando decrees justice for all. He is stunned when Rocco presents his friend Florestan and relates the details of Leonore's heroism. Pizarro is arrested. Fernando gives Leonore the honour of removing Florestan's chains. The other prisoners, now free, hail Leonore and praise God.

Opera Background

Elements of Fidelio
It took Beethoven ten long years to complete Fidelio. He faced many challenges, including censorship, but perhaps his greatest obstacle was his own obsessive perfectionism. For Beethoven, ideas and music were intimately connected—and as his ideas about the meaning of Fidelio’s story changed, the sound of the opera changed, too.

Only The Lonely
Most operas focus on the excitement of courtship, or the frustrations of star-crossed lovers. Fidelio is one of the only operas in the repertory to celebrate married love. Beethoven idealized marriage, and fell in love with many women from afar, but never married. After his death, his friends found a letter addressed to an unidentified woman known only as “Immortal Beloved,” whose identity has never been discovered. Many feel that in the character of Leonore, Beethoven created the virtuous, heroic, loyal wife he always longed for, but never found.

The Politics of Fidelio
Beethoven was greatly influenced by the 18th century Enlightenment. Enlightenment thinkers and artists believed that science and reason could reveal the secrets of the universe, perfect human society, and improve life for people of all nations and classes. Beethoven was deeply excited by the ideals of Liberty, Equality, and Brotherhood among all men set forth by the French Revolution. He deeply admired Napoleon, the French general who rose from humble origins to conquer Europe, spreading Revolutionary ideas in his wake. To Beethoven, Napoleon proved that a single hero could change the course of history—in fact, the great composer even originally dedicated his Eroica symphony to Napoleon.

Beethoven wasn’t a radical democrat—he spent much of his life insisting on his right to use the aristocratic title von before his last name. But he did believe passionately in liberty, justice, and the triumph of reason over tyranny and despotism. In Fidelio, Beethoven presents Leonore as a heroine whose conviction and courage allow her to overcome corrupt authority. The fact that Leonore is a woman may have a special significance. Beethoven seems to be saying that even the weakest members of society can change the word, if they have right on their side. The triumphant final chorus, sung by the prisoners as they celebrate Florestan’s liberation, suggests that Beethoven may have had a still deeper message in mind: that the act of freeing one man is equivalent to freeing all mankind.