The Dirty Dozen is the fourteenth studio album from blues rock artist George Thorogood and the Destroyers. The album was released on July 28, 2009. The Dirty Dozen reached #1 on the Billboard Top Blues Albums and was on the chart for 11 weeks. The album includes six new songs (1-6) and six classic favorites (7-12), including three tracks that were previously out-of-print in the U.S.
Half a Boy/Half a Man is the eleventh studio album by George Thorogood and the Destroyers. It was released on April 13, 1999 on the CMC International label. The album peaked at #24 on the Billboard Mainstream Rock chart. George Thorogood is an American musician, singer and songwriter from Wilmington, Delaware. His "high-energy boogie-blues" sound became a staple of 1980s rock radio, with hits like his original songs "Bad to the Bone" and "I Drink Alone". He has also helped popularize older songs by American icons, such as "Move It on Over", "Who Do You Love?", and "House Rent Boogie/One Bourbon, One Scotch, One Beer", which continue to get heavy airplay on classic rock radio…
Ever the recycler, Handel cobbled together Oreste from parts of pre-existing scores for his 1734 season at Covent Garden. The work promptly disappeared from the repertory for the next 250 years – a fact that is both understandable, given that it's a less convincing result than his fully original operas, and a shame, since Handel's table scraps are still amongst the most entertaining morsels from the period. The present recording, by George Petrou, the Camerata Stuttgart, and a cast of mostly Greek singers, is its first complete performance on CD and an admirably realized production, characterized by polished, stylish singing and vivid orchestral playing. In style, sound, and dramatic pacing, Petrou's effort distinguishes itself as a fine entry in the Handelian opera catalog, and makes a compelling argument for the musical value of the piece itself.
In the winter of 1733-1734, the opera houses of London were abounding in Ariannas. In late December, Porpora's Arianna in Nasso was staged by the Opera of the Nobility. In late January, Handel's Arianna in Creta was staged by the composer's own opera company. Comparison, apparently, proved odious – and fatal: Porpora's Naxos Arianna has fallen from the repertoire while Handel's Cretan Arianna has barely hung on by her finger tips. This 2005 Greek performance with George Petrou leading the Orchestra of Patras is the work's first recording in decades – and, thankfully, it's quite fine. Most of the women soloists – and whether their characters are male or female, most of the parts here are sung by woman because most of the parts then were written for castratos – are terrific. Mata Katsuli is sweet but strong in the title role and Theodora Baka is especially effective and affecting as Alceste. The period instrument Orchestra of Patras is stylish, colorful, and lively, particularly the winds and brass playing in the finale. As captured in Musikproduktion Dabringhaus und Grimm characteristically crisp, deep, and detailed sound, this Arianna is well worth hearing by anyone who reveres the operas of the German-English composer.(James Leonard)