Face the Music is the fifth studio album by Electric Light Orchestra (ELO). It was released in September 1975 by United Artists Records and on 14 November 1975 in the United Kingdom by Jet Records. The album moves away from the large-scale classical orchestrated sound from the previous album, Eldorado, in favor of more "radio-friendly" rock/pop songs, though the string sections are still very prominent. The new sound proved successful for the group as Face the Music was the first ELO album to go platinum.
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Electric Light Orchestra's more modest follow-up to Eldorado is a very solid album, if not as bold or unified. It was also their first recorded at Musicland in Munich, which became Jeff Lynne's preferred venue for cutting records. The sound is stripped down a bit on Face the Music, Louis Clark's orchestral contributions generally more subdued than on Eldorado, even when they compete with.
Release Music Orchestra biography Out of the ashes of Tomorrow's Gift, came Release Music Orchestra (RMO for short), who consisted of TG's remaining nucleus plus wind instrument player Jacobsen.
Sheet music for full and string orchestra. Method books, warm-ups, and performance. Original Works for String OrchestraShop All. Sweet New Moon Yukiko Nishimura. Canzone Todd Parrish. La Cascara Jeremy Woolstenhulme. A Little Suite of Dreams Stephen Chin. Classical Arrangements for String OrchestraShop All.
Shop All Orchestra Performance Music. Browse String Orchestra by Grade Full Orchestra Conductor Score & Parts. Full Orchestra Conductor Score & Parts.
Royalty Free Orchestra Music and Public Domain Free song downloads for your film and movie scores, Youtube videos, commercial and personal us. Royalty Free Orchestra Music Orchestral Music Public Domain. Want the full band? Horns, strings, percussion as well? Here ya go! Royalty free orchestra music. Escape on a Flatbed (4:16) the Lemming Shepherds. Fast paced, with the feel of movement.
As brilliant as this music sounds on paper and CD, nothing compares to experiencing it live. I saw it taking shape ("but I was there!") at the beginning of this summer in Chicago: The Rapture unleashing their primal digifunk on Chicago's stuffy Metro. As the band took the stage, two kids behind me absolutely lost their shit. The album's title track is one of the better examples of what I'm talking about: Misleadingly opening like something off The Strokes' first record, it quickly bursts into one of Echoes' hottest tracks, with a sloppy, tumbling bassline, those dirty conga breakdowns, tinny guitar hits (an updated relative to the outmoded orchestra hit), and the deafening, careening carwreck ending
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