Apple Pie (1969) pulled double duty for the Boston-based Apple Pie Motherhood Band. It was both the follow-up to their 1968 self-titled debut as well as their swan song. By decades' end the combo consisted of founders Richard Barnaby (bass) – now known as Dick Barnaby and also credited on bamboo flute, Jackie Bruno (drums), Ted Demos (guitar,) and Jeff Labes (organ/piano)…
The Apple Pie Motherhood Band were a Boston-based aggregate combining a formative heavy blues base with equally earthy elements of psychedelia. With Atlantic Records staff producer Felix Pappalardi behind the console, the results were a reflection of the ever-changing pop/rock soundscape…
There's something tasty, often sweet, fruity and all-American about a really good piece of pie. In this delicious documentary, travel across the country to visit shops, restaurants, cafes, and even a few homes in search of some excellent crusts, crimping, fillings and flavors. PBS producer Rick Sebak (A Hot Dog Program and A Ride Along The Lincoln Highway) and his crew travel from Portland, Maine for blueberry pie to Seattle, Washington for an original Blue Hawaii pie. They find coconut cream pies outside of Pittsburgh, some truly impressive domed apple pies in northern California, and in Vermont, the women at Poorhouse Pies who keep a pie-shed well stocked so pie lovers can get baked goods at all hours. From central Virginia to western New York, people are making and selling pies that impress, and in Indiana, everyone knows and loves the official state pie, the sugar cream, even though the rest of the country hardly knows it exists. Discover these delicious treats and more in A Few Good Pie Places.
While at Cambridge, MA, Maria Muldaur joined the Jim Kweskin Jug Band and began an affair with singer Geoff Muldaur; the couple eventually married and had a daughter, Jenni, who would later become a singer in her own right. When the Kweskin band broke up in 1968, the couple stayed with their label (Reprise) and began recording together as Geoff & Maria Muldaur. They moved to Woodstock, NY, to take advantage of the burgeoning music scene there and issued two albums – 1970's Pottery Pie and 1971's Sweet Potatoes – before Geoff departed in 1972 to form Better Days with Paul Butterfield, a move that signaled not only the end of the couple's musical partnership, but their marriage as well.
A true Callas cornucopia, this 70-CD set gathers together everything Maria Callas ever recorded in the studio. That's 26 complete operas (four of which are studio repeats), plus the complete studio recitals made during the legendary soprano's recording career, which lasted from 1949-69. The bonus CD-ROM contains libretti and translations in English, French and German, plus a Callas photo library, while remastered treats include Callas's first recital recording, originally made for the Fonit-Cetra label and featuring arias by Wagner and Bellini. –Barnes & Noble
There are a number of arguments to be made for and against Maria Muldaur's 2008 antiwar statement Yes We Can! on Telarc (before actually listening to it; remember, we live in a cynical culture). The "perceived" negatives all relate to the intent of the recording and who it's supposed to reach (no doubt an expression of the same set of beliefs rooted in Muldaur's 1960s music), and the fact that it's loaded with guests (in all fairness, these star-studded affairs seldom work). On Yes We Can!, her guests include Muldaur's old friends (Joan Baez, Bonnie Raitt, Phoebe Snow, Jane Fonda, and Holly Near) and influences (Odetta) and new pals (writers/spiritual gurus Anne Lamott and Marianne Williamson, and Indian spiritual teacher Amma). Does it read as if it is yet another exercise in self-referential backslapping? Yep. But don't believe everything you read on the back of a CD jacket. The positives are all musical.
Passion rather than insouciance is Pires’s keynote. Here is no soft, moonlit option but an intensity and drama that scorn all complacent salon or drawing-room expectations. How she relishes Chopin’s central storms, creating a vivid and spectacular yet unhistrionic contrast with all surrounding serenity or ‘embalmed darkness’. The con fuoco of Op. 15 No. 1 erupts in a fine fury and in the first Nocturne, Op. 9 No. 1, Pires’s sharp observance of Chopin’s appassionato marking comes like a prophecy of the coda’s sudden blaze. Such resolution and psychological awareness make you realize that Chopin, like D. H. Lawrence, may well have thought that “there must be a bit of fear, and a bit of horror in your life”. Chopin, Pires informs us in no uncertain terms, was no sentimentalist.