"Der Kommissar" is a song first recorded by Falco in Austria in 1981, covered a year later by After the Fire. Originally written by Robert Ponger and Falco, the Falco version reached the top of the charts in many countries.
After the Fire's version featured English lyrics by the band's Andy Piercy. The song peaked at No. 5 on the Billboard Hot 100 charts.

"Ganz Wien" hat einen provokativen Text, der ganz gut zu Falco gepasst hat. Damals sorgte es für einen Skandal in Österreich. Aus seinem Debüt-Album "Einzelhaft".

Unmittelbar nach dem Erfolg des "Kommissars" veröffentlichte Nachfolge-Single. Fand bei uns 1982 nur wenig Beachtung.

Ein hervorragende Beitrag aus Falcos genialem LP-Debüt "Einzelhaft", auf dem eigentlich jeder einzelne Titel vollends überzeugte. "Auf der Flucht" ist ein gehetzter, schneller Synthi-Funk-Rock, der nicht nur gehetzt klingt, sondern auch von (von der Staatsmacht) gehetzten, aufmüpfigen Jugendlichen, Hausbesetzern und Alternativen 1968 in Berlin bzw. 1981 in Zürich, gekonnt, gewitzt und zutreffend erzählt. Falco hat sich nicht nur als brillanter Yuppie-Darsteller, sondern auch und gerade als Zeitgeist-Chronist und gleichsam -Kritiker einen sehr guten Namen gemacht!!!

One of Cash's earlier pseudo-concept albums, this doesn't exactly follow a specific theme like farming or hymns of the American land the whole way through. Rather, it's a collection of a dozen songs that generally are on the folkier and more Americana-centered side of Cash's repertoire, though of course such songs have always had a prominent place in his material.

Ride This Train was the first explicit Americana concept album that Johnny Cash recorded. As the title implies, the album is about railroads, how they developed, and how they changed the land. Apart from a couple of songs, Ride This Train isn't comprised of traditional folk ballads - they are songs that tell the history of trains and rails, offering an educational lesson. Cash expounds on the songs with brief spoken narratives. Though it is hard to fault Cash's intentions, the songs aren't very good (although "The Shifting Whispering Sands" is a standout) and the history is a bit simplistic and silly. On the whole, Ride This Train sounds as if it were of a piece with the Walt Disney educational features produced at the same time, and like those films, it is more interesting as an historical artifact than a piece of art.

Even if the best and most popular songs on this 1965 album are the ones most likely to show up on greatest-hits compilations ("The Long Black Veil, "Orange Blossom Special," "It Ain't Me Babe"), it certainly rates as one of Cash's finer non-greatest-hits releases. If nothing else, it would have historical importance for the inclusion of three Bob Dylan covers, at a time when Dylan was just starting to get heavily covered by pop musicians (and not often covered by country ones).

Juliette Hurel and Hélène Couvert, who have long enjoyed a close rapport on the concert platform and on disc, here celebrate five French women composers at the turn of the twentieth century. Countess Clémence de Grandval was the composer of some sixty songs, of which Saint-Saëns said: ‘They would certainly be famous if their composer did not have what many people regard as the irremediable defect of being a woman.’

Liberty, enthusiasm and sharing: that might well be the motto of the Kitgut Quartet (named for the ‘kitgut’ or catgut strings it uses), which brings together four outstanding soloists, all of them members of the leading period-instrument European ensembles.

For its eighth volume, Haydn2032 invites us on a musical journey that takes the Balkan route. Of all the ‘Viennese Classical School’, Joseph Haydn is certainly the composer closest to folk music, first because he spent his early years in the countryside and also because, unlike his colleagues who worked in the urban centres of the Habsburg monarchy, Haydn was in contact with Croats, Roma and Hungarians throughout his life. These influences were omnipresent in his music, to the delight of Prince Nikolaus I Esterházy and his guests, but by some accounts were not to the taste of many music theorists in Germany.

The historic meeting of two Smooth jazz icons! Between them, they have scored more than 25 Top Ten Smooth Jazz radio hits, more than 15 Top Ten Billboard Contemporary Jazz albums, toured to packed houses worldwide and shared the stage with everyone from Larry Carlton and George Duke to The Neville Brothers!

For a lot of jazz fans, the interest in this album will lie more with the side players than the leader, and fair enough. Tim Ray is a talented and accomplished pianist, but because much of his career has been spent playing behind pop artists—Lyle Lovett, most notably, but also Aretha Franklin, Bonnie Raitt and Jane Siberry—his name is less likely to ring bells than the names of drummer Teri Lynne Carrington or bassist John Patitucci. And to be honest, listening to Carrington and Patitucci mix it up on tracks like the angular, funky “Messiaen’s Gumbo” is one of this album’s greater pleasures.

Since the nineties, the drummer and bandleader Jim Black has been one of the most influential figures of progressive jazz. On his Intakt Records debut, Jim Black plays with the acclaimed young pianist Elias Stemeseder and highly in-demand New York bass player Thomas Morgan contemporary jazz with distinctive arrangements, complex rhythms and expressive improvisations.

Don't just expect Dixieland from this album recorded in 1963 by Ewing Nunn. When you put this on, close the doors and windows, and post a sign outside: do not disturb until the music stops. -The Management.

The Akademie für Alte Musik Berlin continue their Handel trilogy with this recording of the last six concerti grossi of the composer’s Op. 6. Originally designed as attractive interludes to English oratorio performances, Handel’s concerti grossi soon gained fame as some of the most appealing orchestral music of the baroque era. With these pieces, written in London towards the end of his career, Handel paid tribute to the immensely popular concerti grossi of Corelli while simultaneously proving his mastery, incorporating all musical styles of his times into his work.