Settlement, extraction and the argument still being had about both.
A studio recording of Verdi’s Aida, made in 1989. Contains all vocal and orchestral numbers across four acts. Omits Verdi’s rejected overture. No source material describes performers, conductor, recording venue, or engineering choices.
Refavela is not a fusion record. It is a declaration of continuity — Afro-Brazilian culture as unbroken line, not borrowed motif.
A Rainbow in Curved Air is a solo studio construction: keyboard and percussion overdubs on the A-side, saxophone drone and tape manipulation on the B-side. Made in 1968 on one of CBS’s first eight-track recorders. It established repetition, delay, and modal layering as core tools for electronic composition — not as texture, but as architecture.
A low, dark opera built by deleting violins — and a Western fantasy dressed as ancient ritual.
A technically assured, narratively precise soundtrack built for mass appeal and cinematic utility. It delivers exactly what it promises: songs that advance plot, underscore emotion, and vanish from memory once the credits roll.
A live gospel album recorded over two nights in a Los Angeles Baptist church in January 1972, featuring Aretha Franklin, Rev. James Cleveland, and the Southern California Community Choir. Piano, choir, claps, stomps, and Franklin’s voice — unvarnished, unrehearsed, unseparated from the room. No studio polish. No overdubs except one track moved for vinyl length. Reinterprets gospel standards — including Mahalia Jackson’s 'How I Got Over' — as living tradition, not museum piece. Filmed for a concert film released 46 years later.