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FreeFall - LiveJournal.com

older | 1 | .... | 39 | 40 | (Page 41) | 42 | 43 | .... | 57 | newer

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    1. Tres 1:23
    2. Timorato 3:07
    3. Lugar de casas nuevas 4:44
    4. Sin retorno 7:05
    5. Grillos 5:12
    6. El fin de la infancia 24:28
    7. Escape para el hombre común 4:22
    8. En la vía 6:24

    Pedro Castillo - guitars, vocals
    Giuglio Cesare Della Noce - keyboards
    Miguel Angel Echevarreneta - bass, classical guitar
    Gerardo Ubierda - drums, percussion

    AMG:
    "Childhood's End (El Fin de la Infancia in its original Spanish title) is Venezuelan prog rockers Tempano's first international release and marked the end of a hiatus that lasted over a decade. It is a thing of strengths and weaknesses, but in the long run it makes a very good serving of symphonic progressive rock, more satisfying than the follow-up The Agony and the Ecstasy. The core quartet of the group is augmented by After Crying cellist Peter Pejtsik on many cuts. His input is crucial in the short opener 'Tres,' an exciting track. Actually the first four pieces stand out. 'Timorato' and 'Lugar de Casas Nuevas' are two strong instrumental jazz-rock numbers with lush keyboards, reminiscent of PFM's music in the late '70s. 'Sin Retorno' introduces Pedro Castillo's singing and works out very well, stretching out to seven minutes without loosing its momentum. Elegant in short settings, the group's music becomes pompous and self-indulgent in the 24-minute title track. The piece fails to convey the impression that it needed to be that long. It sounds like a sequence of 11 shorter tunes hastily stitched together. Some of them are good (like 'UNO,' the only other piece with vocals), but this house of cards refuses to stand. In comparison, 'Escape Para el Hombre Común' accomplishes more in four minutes, articulating two well-written themes. 'En la Via' introduces classical guitar and a whiff of South American jazz (think Nana Vasconcelos) that would have been more than welcomed earlier. Childhood's End is more than decent, but its best moments happen when Tempano doesn't try to update its music for the new generation; then, they only manage to sound like a generic Musea band."



    El Fin de la Infancia

    or

    El Fin de la Infancia


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    1. X-Ray Eyes 5:10
    2. E.S.P. 6:06
    3. Stranger 3:24
    4. Go Off! 3:46
    5. Black Cat 7:45
    6. Sword of the Warrior 5:09
    7. Floating World 5:10
    8. Images 3:43

    Peter Marrino - Vocals
    Marty Friedman - Guitar
    Jason Becker - Guitar
    Jimmy O'Shea - Bass
    Kenny Stavropoulos - Drums

    AMG:
    "Cacophony's second (and last) effort improves on the formula established on their Speed Metal Symphony album. The brainchild of guitarists Marty Friedman and Jason Becker, Cacophony is basically an arena in which the two shredders can indulge their most decadent instrumental ideas. Their songs are as influenced by speed metal as they are by neo-classical prog rock, which makes them even more intense than many of their Shrapnel brethren. On Go Off!, the duo clean up the sound a bit and pare back the guitar excesses just a tad, allowing for a slightly more song-oriented approach (similar to what Racer X does). 'Stranger' even has a decent pop hook in its chorus. Lead singer Peter Marrino adds some rather overwrought heavy metal braying and some truly ridiculous lyrics (sample: 'Don't mess with a black cat/if you believe in superstition/never mess with a black cat!') which may turn off some listeners. But Friedman's and Becker's guitars are still the stars of the show here. Their preference for dissonance, odd time signatures, and unpredictably complex arrangements make Go Off! a very interesting listen at times. There are even some beautiful moments, like the outro of the title track, where the noise gives way to breathy keyboards and a lyrical solo. For a better sampling of these guitarists' talents, without the annoying vocals, check out their individual solo albums: Marty Friedman's Dragon's Kiss and Jason Becker's Perpetual Burn."



    Go Off!

    or

    Go Off!


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    1. Tears Transforming 5:38
    2. Being There 4:13
    3. Twins 5:01
    4. Curtains Aside 5:13
    5. Colours of Mercy 6:09
    6. Sentiment 5:34
    7. Kneeling Down 5:47
    8. Reach Out and Touch It 5:48
    9. Edges of Happiness 3:09
    10. Interlude 2:07
    11. Token of Tango 4:07
    12. The Ground 7:21

    Tord Gustavsen - Piano
    Harald Johnsen - Double Bass
    Jarle Vespestad - Drums

    AMG:
    "In the proto-typical Scandinavian ECM style of modern jazz oriented music, pianist Tord Gustavsen follows the path of previous progenitors influenced by Bill Evans, forged by Keith Jarrett, and extended by the likes of Mike Nock. This is certainly late-night, nocturnal music, completely reserved and relaxing, ultra-melodic, calm, peaceful, and non-threatening. Rarely does a tempo move beyond medium, a dynamic merge above mezzo piano, and any mood goes farther than moderately cool. Well within this consistent timbre, Gustavsen and his trio show a modicum of diversity and influences. Fellow ECM labelmate Bobo Stenson's style and technique is most extant during the lilting 'Edges of Happiness,''Twins' is spiritual, calm, and light but not somber, while 'Token of Tango' is perfectly representative of its title. 'Curtains Aside' mixes march rhythm in 6/8 with a regal light funk, the delicate waltz 'Being There' is reminiscent of 'The Shadow of Your Smile,' while darker ballads 'Colours of Mercy' and 'Sentiment' sport undoubtedly religious overtones. Gustavsen, while playing laid-back, pristine, pretty, and serene music, is far from challenging convention or pushing the envelope. Conversely, his personal voice is fully realized. Time will tell whether this style finds a worldwide audience, moves away from this type of contemporary texture music, or takes the approach he has established to any more extreme measures, even softer or more forceful."



    The Ground

    or

    The Ground


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    1. I Was Looking at the Ceiling and Then I Saw the Sky 8:05
    2. Sermon on Romance 3:11
    3. Consuelo's Dream 4:55
    4. Mike's Song About Arresting a Particular Individual 3:22
    5. Tiffany's Solo 4:52
    6. Song About the on-Site Altercation 2:51
    7. Song About the Bad Boys and the News 6:20
    8. Your Honor My Client He's a Young Black Man 5:40
    9. Leila's Song: Alone (Again or at Last) 4:17
    10. Three Weeks and Still I'm Outta My Mind 5:12
    11. Crushed by the Rock I Been Standing On 4:37
    12. Dewain's Song of Liberation and Surprise 5:29
    13. Este Pais! /This Country 4:27
    14. One Last Look at the Angel in Your Eyes 2:00
    15. Finale 4:36

    Marin Mazzie - Vocals
    Audra McDonald - Vocals
    Michael McElroy - Vocals
    Richard Muenz - Vocals
    Welly Yang - Vocals
    Angela Teek - Vocals
    Janne Murto - Saxophone
    Kari Tenkanen - Clarinet, Clarinet (Bass)
    Jari Nieminen - Guitar
    Marja Mutru - Keyboards
    Markku Tabell - Keyboards
    Seppo Kantonen - Keyboards, Piano
    Hannu Rantanen - Bass
    Jari-Pekka Karvonen - Percussion
    John Adams - Conductor

    AMG:
    "Composer John Adams and lyricist/librettist June Jordan took as inspiration for their musical I Was Looking at the Ceiling and Then I Saw the Sky the Northridge earthquake of 1994; the title is based on a quotation from a survivor that Jordan culled from the Los Angeles Times. The more general inspiration was L.A. itself, however, as Jordan weaved an ensemble drama examining the lives of seven contemporary Los Angelenos: a young black man; his girlfriend, an illegal Hispanic immigrant; a young black minister with a wandering eye; one of his female parishioners; a white rookie cop not quite ready to confront his homosexuality; a white TV news anchorwoman wondering why the cop isn't paying enough attention to her; and a first-generation son of Vietnamese boat people who has become a public defender. Their lives intersect in a period leading up to an earthquake that changes those lives drastically. The show was first produced in 1995; this studio cast recording, made in 1996 and 1997, retains only two members of the original cast, Darius de Haas as David, the minister, and Welly Yang as Rick, the public defender. Otherwise, the cast has undergone some upgrading, at least in terms of name recognition, with Broadway stars Audra McDonald and Marin Mazzie stepping into the roles of Consuelo, the illegal immigrant, and Tiffany, the anchorwoman. The episodic nature of the plot and the differing ethnicities allow Adams to try many different musical styles. After beginning with the title song, which is in the familiar repetitive style of Philip Glass, Adams incorporates elements of rock, pop, blues, and gospel in appropriate ways in the successive tracks, albeit without actually using the styles to create satisfying popular music. He comes closest in the lusty trio number for the three women, 'Song About the Bad Boys and the News,' and in the duet for David and his potential new girlfriend Leila (Angela Teek), 'Three Weeks and Still I'm Outta My Mind,' which has something of the flavor of a Marvin Gaye & Tammi Terrell performance. He is constrained, however, by the demands of the plot, which is trying to pack a lot of social commentary into a single musical. As a show and as a record, the work is ambitious, but somewhat overstuffed."



    I Was Looking at the Ceiling and Then I Saw the Sky

    or

    I Was Looking at the Ceiling and Then I Saw the Sky


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    1. I See You 7:18
    2. Trash Man 14:27
    3. Tune In 5:00
    4. You'll Never Come Back 12:34
    5. Das Fest Der Völker 5:05

    Willi Pape - woodwinds
    Jürgen Drogies - guitar, percussion
    Michael Kobs - keyboards
    Harald Konietzko - bass, acoustic guitar, vocals
    Norbert Drogies- drums
    Erwin Noack - percussion

    AMG:
    "Thirsty Moon were one of the many German jazz-rock progressive groups in the early '70s that put their own unique spin to their fusion-based music, especially on their first two records, which are rightly considered classics in the Krautrock genre. Thirsty Moon was created in Bremen, in northern Germany, in the summer of 1971 when several groups merged. One of these was the Drogies Rock Project, more commonly known as DRP, fronted by two brothers, drummer Norbert Drogies and guitarist Jurgen Drogies. They brought with them DRP organist Hans Wener Ranwig, and joined up with Harald Konietzko from the group Tomorrow Too, and Michael Kobs, Willi Pape, and Erwin Noack from the jazz-soul band the Shakespeares, to form the seven-piece Thirsty Moon. Inspired by the brass rock of Chicago, the early fusion of Emergency, and early, jazzy Krautrock like Xhol Caravan, Kollektiv, and Organisation, Thirsty Moon threw everything from horns to congas into their blend of jazz, progressive, and psychedelic music. At the time, the Brain label was signing progressive rock bands with a jazzy edge, and in 1972 Brain released Thirsty Moon's self-titled debut, which showcased the band's eccentric song structures and highly original sound. Ranwig left the band sometime after the record came out, and was replaced by Siegfried Pisalla, Konietzko's former bandmate in Tomorrow Too, and in July of 1973 this group went into the studio to record their second LP. You'll Never Come Back, released by Brain later that year, was as creative and dynamic as the first record. By 1975, everyone except the Norbert and Jurgen Drogies had left the group. Their third record, Blitz, released by Brain in 1976, was an all-instrumental album, a bit more lightweight and conventional than the earlier material. Coming out the next year, the LP Real Good Time, quite frankly, was not that much of a good time, as the brothers and a bunch of new recruits churned out conventional pop music. Thirsty Moon broke up at this point, but at the beginning of the '80s, after Brain released the compilation Yellow Sunshine with tracks taken from the first four albums, the brothers re-formed the group with original member Ranwig, as well Junior Weerasingle from the Real Good Time sessions on drums. The album Starchaser, recorded and released by the Sky label in 1981, saw the group falling flat on their faces with a synthy disco record that had both fans and critics shaking their heads with dismay. Thirsty Moon called it quits again, this time for good. It was unfortunate that Thirsty Moon's quality diminished with each release after You'll Never Come Back, and that they never recaptured the energy and sheer over-the-top creativity exhibited on those first two records."



    You`ll Never Come Back

    or

    You`ll Never Come Back


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    1. Sgt. Pepper's Lonely Hearts Club Band
    2. With A Little Help From My Friends
    3. Lucy In The Sky With Diamonds
    4. Getting Better
    5. Fixing A Hole
    6. She's Leaving Home
    7. Being For The Benefit Of Mr. Kite
    8. When I'm Sixty-Four
    9. Lovely Rita
    10. Sgt. Pepper's Lonely Hearts Club Band (Reprise)
    11. A Day In The Life

    Royal Academy Of Music Symphony Orchestra
    David Palmer - Conductor




    Orchestral Sgt.Peppers

    or

    Orchestral Sgt.Peppers


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    1. Windhorse 5:28
    2. Light Years 7:07
    3. Talking Rain 6:54
    4. Sailor and Siren 5:11
    5. October 7:36
    6. Timeless 3:48
    7. East 13th Street 4:26
    8. Call Down the Stars (13 Variations on a Lydian Theme) 12:47
    9. Tango Noir 4:50
    10. Last Dance 5:31

    Karl Berger - Piano
    Larry Chernicoff - Piano, Vibraphone, Melodica, Percussion
    Carol Emanuel - Harp
    Janet Grice - Bassoon
    John Lindberg - Bass
    Tim Moran - Clarinet, Clarinet (Bass), Sax (Soprano)
    Esther Noh - Violin
    Charles Pillow - Clarinet, Clarinet (Bass), Horn (English), Oboe, Sax (Tenor)
    Tomas Ulrich - Cello
    Tony Vacca - Percussion
    Tom Varner - French Horn
    Benjy Wertheimer - Tablas

    AMG:
    "Larry Chernicoff's ten originals on October form a unified suite. The music is often classical-oriented both in its use of chamber music instruments and in its emphasis on written-out arrangements. There are improvised solos along the way and these tend to be logical extensions of the written music. Chernicoff was wise to gather together some of the most versatile musicians around, including harpist Carol Emanuel, bassoonist Janet Grice, bassist John Lindberg, and Tom Varner on French horn. Since all of the musicians are well versed in both classical music and jazz, they were able to read the charts flawlessly yet give them a jazz feel and occasional short solos. With pianist Karl Berger conducting, Chernicoff (who is heard on vibes and occasionally piano) has created a memorable set of music that crosses the lines between jazz, classical, and instrumental folk music."



    October

    or

    October


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    1. Blues in the Night 3:35
    2. Wrap Your Troubles in Dreams (And Dream Your Troubles Away) 2:43
    3. Dreamy 3:14
    4. Looking for a Boy 2:11
    5. Supper Time 3:18
    6. On the Sunny Side of the Street 2:35
    7. I Got It Bad (And That Ain't Good) 3:52
    8. Ten Cents a Dance 2:54
    9. Somebody Loves Me 2:55
    10. September Song 2:43
    11. I'm Old Fashioned 2:31
    12. Solitaire (The Game of Love) 3:17
    13. To Be in Love 3:22
    14. My Funny Valentine 5:01
    15. Ev'ry Time 2:42
    16. A Foggy Day 3:11
    17. The Second Time Around 3:27
    18. Taking a Chance on Love 3:08
    19. Glad to Be Unhappy 2:28
    20. He Was Too Good to Me 2:32
    21. Old Devil Moon 3:03
    22. Fly Me to the Moon 2:58
    23. The Man I Love 3:42
    24. I Gotta Right to Sing the Blues 2:57

    Eileen Farrell - Vocals
    Luther Henderson & His Orchestra

    AMG:
    "While opera singers who dabble in popular music are common, those who do so successfully are rare, and those with large dramatic voices who do so are rarer still. Eileen Farrell was as authentic and natural a blues and jazz singer as she was an operatic soprano. She was in fact much more comfortable on the concert stage, on radio, and in the recording studio than in the opera house. She sang relatively few fully-staged performances and was ambivalent about opera and particularly opera house management throughout her entire career (when she taught at Indiana University, she hung a sign outside her office that read, 'Help stamp out opera.') Her voice was huge, but capable of great nuances in volume and expressiveness as well as rapid and accurate coloratura, letting her sing bel canto roles such as Cherubini's Medea, the spinto-coloratura Leonora in Verdi's Il trovatore, the verismo Santuzza in Cavalleria Rusticana, and the great Wagner parts of Isolde and Brünnhilde (in concert).
    Her parents were both singers, The Singing O'Farrells, and recognizing her potential, sent her to study voice in New York. She auditioned for various radio shows and was hired by CBS for chorus and ensemble work. In 1941, she got her own program, Eileen Farrell Sings, where she performed songs and lighter classical music. She remained with them until 1947, when she began to explore other venues, including the Bach Aria Group. She also began studying with Eleanor McLellan, who helped her hone her vocal technique, particularly helping her develop a pianissimo. In 1955, she sang for the film dramatization of singer Marjorie Lawrence's life, Interrupted Melody (Eleanor Parker acted the role), and the music, ranging from folk to Brünnhilde's immolation scene, showed off her power, rich voice, and versatility. In 1957, she appeared for the first time on the opera stage, as Santuzza in Mascagni's Cavalleria Rusticana in Tampa, FL, and two years later, sang for the first time in London, in a recital. She made her Metropolitan Opera debut in 1960 in the title role of Gluck's Alceste, and in 1962, won a Grammy for her recording of Wagner's Wesendonck Lieder and the 'Immolation Scene' from Götterdämmerung, conducted by Leonard Bernstein. Her relationship with Met management was an uncomfortable one, partly due to differences of personalities and her finding the repertoire they offered unchallenging, and her contract was allowed to drop in 1965. Towards the end of the decade, her voice was beginning to show signs of wear at the very top, and Farrell moved back into jazz and blues recordings, and taught music at Indiana University. She made her last record in 1993, at the age of 72. Farrell died on March 23, 2002."



    I Gotta Right to Sing the Blues

    or

    I Gotta Right to Sing the Blues


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    1. Funderingar på vinden 5:33
    2. Tid och rum 1:40
    3. Väntan... 7:34
    4. Vals för mellanväsen 3:26
    5. Dags för stordåd 3:11
    6. Hybrillerna 1:24
    7. Kaninmusik 6:30
    8. Dag och natt 4:33
    9. Lyckat upptåg 3:16
    10. Kristallsviten 6:21

    Gunnar Bergsten - Saxofon
    Mats Glenngård - Violin
    Rolf Scherrer - Acoustic Guitar
    Bo Hansson - Orgel, Synthersizer, Mellotron, Bass, Guitars, Effects
    Kenny Håkansson - Electric Guitar
    Göran Lagerberg - Bass, Acoustic Guitar
    Thomas Netzler - Bass
    Rune Carlsson - Drums

    AMG:
    "Some of this third Bo Hansson album was done at home, while most of it was a formal studio creation. Violin and acoustic guitars are added to the mix of sounds on this proto-new age collection of instrumental music. The organs and synthesizers still swell in impressive solos - especially on the title track - and some of the tunes are fairly memorable, although some of the 'tracks,' such as 'Time and Space,' are nothing but short instrumental interlude..."



    Mellanväsen

    or

    Mellanväsen


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    1. Model of Kindness 4:15
    2. Not Weak Enough 4:04
    3. Card to Bernard 2:43
    4. White 2:47
    5. Strong, Simple Silences 4:41
    6. When the World Was New 3:52
    7. Animated Doll 3:36
    8. I Don't Believe You've Met My Baby 1:48
    9. Bared Bard 2:57
    10. Lying Again 4:48
    11. Crumb de la Crumb 3:39
    12. Actual Frenzy 2:47
    13. The Green Boy 2:44
    14. Say No Now 4:31

    Peter Blegvad - Bass, Guitar, Harmonica, Jew's-Harp, Vocals
    Kristoffer Blegvad - Bottleneck Guitar, Vocals
    Phil Shaw - Guitar, Harmonica, Vocals
    Jakko M. Jakszyk - Guitar, Vocals
    Anthony Moore - Synthesizer
    John Greaves - Bass, Keyboards, Piano
    Mick Hobbs - Bass
    Tony Maimone - Bass
    Chris Cutler - Drums
    Andy Ward - Bells

    AMG:
    "A simple singer/songwriter album with romantic (as in art) and surreal (again, as in art) leanings from the part-time Golden Palomino wordsmith and vocalist and former Slapp Happy wordsmith and guitarist. If it weren't for Blegvad's skewed sense of humor and predilection for slipping existential contemplation accompanied by noisy electronics between the acoustic numbers, this album could be huge with the James Taylor crowd. As it is, the near-perfect songs 'Say No Now,''Strong, Simple Silences,' and the fierce 'When the Work Was New,' which is mistitled on the disc's back cover, will likely go all but unheard by potential Blegvad fans, especially listeners of Loudon Wainwright III. In other words, for its occasional challenges, this is an album worth searching out. Finally released in the U.S. by East Side Digital in 1996, with two additional tracks."



    Downtime

    or

    Downtime


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    1. The Big Gundown 7:26
    2. Peur Sur la Ville 4:16
    3. Poverty 3:49
    4. Milano Odeo 3:02
    5. Erotico (The Burglars) 4:27
    6. Battle of Algiers 3:50
    7. Giu la Testa 6:06
    8. Metamorfosi 4:37
    9. Tre Nel 5000 4:37
    10. Once Upon a Time in the West 8:44
    11. The Sicilian Clan 3:20
    12. Macchie Solari 3:29
    13. The Ballad of Hank McCain 5:27
    14. Svegliatti and Uccidi 3:03
    15. Chi Mai 3:06
    16. The Ballad of Hank McCain 5:28

    John Zorn - alto, saw, vocals, harpsichord, game calls, piano
    Bill Frisell - guitar
    Arto Lindsay guitar, vocals
    Tim Berne (2) - alto
    Wayne Horvitz - piano, organ, celeste, electronic keyboards
    Toots Thielmans - whistling, harmonica
    Fred Frith - guitar, acoustic guitar
    Big John Patton - organ
    Diamanda Galas - vocals

    and others...

    AMG:
    "On this intriguing concept album, altoist John Zorn (who also 'sings' and plays harpsichord, game calls, piano, and musical saw) utilizes an odd assortment of open-minded avant-garde players (with a couple of ringers) on nine themes originally written for Italian films by Ennio Morricone, plus his own 'Tre Nel 5000.' These often-radical interpretations (which Morricone endorsed) keep the melodies in mind while getting very adventurous. Among the musicians heard on the colorful and very eccentric set (which utilizes different personnel and instrumentation on each track) are guitarists Bill Frisell and Vernon Reid, percussionist Bobby Previte, keyboardist Anthony Coleman, altoist Tim Berne, pianist Wayne Horvitz, organist Big John Patton, and even Toots Thielemans on harmonica and whistling among many others. There are certainly no dull moments on this often-riotous program."



    The Big Gundown

    or

    The Big Gundown


    0 0


    0 0


    1.(Clip Out) Meddley Earthrise-First Light-Rhayader-Uneven Song
    2.(Your Satisfaction) Song Within A Song
    3.(Let Us Know) Sleeper
    4.(We Know That) Nimrodel
    5.(Help You) Nimrodel-The Procession-The White Rider
    6.(With The Gear) Tell Me
    7.(The Way Everyone) Extract From "The Snow Goose"-Rhayader Goes To Town

    1.(Display Purposes) La Princesse Perdue
    2.(For Sale) Rainbow's End
    3.(Don't Hesitate) Echoes
    4.(Second Edition) Never Let Go
    5.(Special Bonus) One Of These Days I'll Get An Early Night
    6.(We're Doing) Lady Fantasy-Encounter-Smile For You- Lady Fantasy

    Mel Collins - Flute, Saxes
    Andrew Latimer - Guitar, Vocals
    Dave Sinclair - Keyboards
    Jan Schelhaas - Keyboards
    Richard Sinclair - Bass, Vocals
    Andy Ward - Drums, Percussion




    Live In San Jose Cente

    or

    Live In San Jose Cente


    0 0


    1. Introspect 12:35
    2. Gong 7:00
    3. The Crossing 5:55
    4. Days & Changes 8:35
    5. The Search 11:20

    Paul Seal - vocals, percussion, bass pedals
    Rudy Perrone - guitar, vocals
    Tom Doncourt - keyboards, percussion
    Fred Callan - bass, bass pedals
    Mercury Caronia IV - drums, percussion

    AMG:
    "A glimpse into one of the few genuine stateside attempts at Anglo-inflected progressive rock. There is something endearing about the band's earnestness at pursuing these compositions, and yet it never quite pulls together. The Mellotron is played suprisingly clumsily - it sounds like they didn't have a volume pedal on hand, because the notes jump out with minimal attack, and if you listen close you can hear the contact noise on the keys. Other instruments fare better, though, and reviving this album was clearly a labor of love for Synphonic Music."



    Stained Glass Stories

    or

    Stained Glass Stories


    0 0
  • 05/07/13--08:27: Vacation

  • 0 0


    1. Death Wish (Main Title) 6:14
    2. Joanna's Theme 4:46
    3. Do a Thing 2:13
    4. Paint Her Mouth 2:17
    5. Rich Country 3:46
    6. Suite Revenge: Striking Back/Riverside Park/The Alley 9:25
    7. Ochoa Knose 2:08
    8. Party People 3:33
    9. Fill Your Hand 6:16

    Herbie Hancock - Keyboards
    Jerry Peters - Conductor

    AMG:
    "Herbie Hancock extends the reach of his Head Hunters-vintage electric music into the soundtrack field, with some switchbacks to earlier styles and old-fashioned movie suspense music thrown into the eclectic mix. Jerry Peters provides the requisite orchestral backgrounds, and the wah-wah guitar licks give some indication as to where Herbie's funk music would be going in the future. The main title music is the best track - tense, streaked with Hancock's echo-delayed electric piano and understated orchestrations. A good deal of the record, alas, is filled by listless film cues that are meaningless without the action in front of you. Still, the results are, in general, more intriguing than usual for the film genre."



    Death Wish

    or

    Death Wish


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    1. Boom Boom 3:20
    2. Talkin''Bout You 7:06
    3. Blue Feeling 2:33
    4. Dimples 2:53
    5. Baby Let Me Take You Home 2:23
    6. Gonna Send You Back to Walker 2:30
    7. Baby What's Wrong 2:51
    8. The House of the Rising Sun 4:32
    9. F-E-E-L 2:44
    10. I'm Mad Again 4:18
    11. Night Time Is the Right Time 3:47
    12. Around and Around 2:47
    13. I'm in Love Again 3:03
    14. Bury My Body 2:52
    15. She Said Yeah 2:21
    16. I'm Crying 2:49
    17. Take It Easy 2:55
    18. The Story of Bo Diddley 5:45
    19. The Girl Can't Help It 2:23
    20. I've Been Around 1:36

    1. Memphis Tennessee 3:08
    2. Don't Let Me Be Misunderstood 2:30
    3. Club A Go-Go 2:22
    4. Roadrunner 2:50
    5. Hallelujah, I Love Her So 2:48
    6. Don't Want Much 3:25
    7. I Believe to My Soul 3:26
    8. Let the Good Times Roll 1:57
    9. Mess Around 2:22
    10. How You've Changed 3:14
    11. I Ain't Got You 2:31
    12. Roberta 2:07
    13. Bright Lights, Big City 2:57
    14. Worried Life Blues 4:13
    15. Bring It on Home to Me 2:45
    16. For Miss Caulker 3:59
    17. I Can't Believe It 3:33
    18. We Gotta Get Out of This Place 3:15
    19. It's My Life 3:09
    20. I'm Gonna Change the World 3:34

    Eric Burdon - Vocals
    Hilton Valentine - Guitar
    Alan Price - Organ, Piano
    Chas Chandler - Bass
    John Steel - Drums

    AMG:
    "The title is a bit of a misnomer; this double CD only includes the complete sessions that the Animals recorded with producer Mickie Most in 1964 and 1965. The 40 songs capture the band at their peak, including most of their best and biggest hits: 'House of the Rising Sun,''Don't Let Me Be Misunderstood,''Bring It on Home to Me,''We Gotta Get Out of This Place,''I'm Crying,''It's My Life,' and 'Boom Boom.' Most of the rest of the tunes don't match the excellence of these smashes, though they're solid. The great majority of them are covers of vintage R&B/rock tunes by Chuck Berry, Fats Domino, and the like, which aren't quite as durable as reinterpretations from the same era by the Stones and Yardbirds. When they hit the mark, though, the Animals produced some great album tracks that have been mostly forgotten by time, such as 'I'm Mad Again' (originally by John Lee Hooker), 'Worried Life Blues,' and 'Bury My Body.' After leaving Most, the group would maintain their peak for another year or so (this period is represented on the fine import collection Inside Looking Out) despite the departure of one of rock's all-time finest organists, Alan Price. This compilation has everything that Price recorded with the group, including four previously unreleased cuts and the non-LP Eric Burdon original on the B-side of 'It's My Life,''I'm Gonna Change the World'."



    The Complete Animals 1+Scans : The Complete Animals 2

    or

    The Complete Animals 1+Scans : The Complete Animals 2


    0 0


    1. El Danzon de Moises 5:52
    2. A Turkish Chasseneh 2:38
    3. El Polaco 5:29
    4. Miami Beach Rhumba 3:05
    5. Dice el Sabio Solomon 5:41
    6. Elephant Tap Dance 3:34
    7. Paseo del Prado 3:55
    8. Managua Nicaragua 3:27
    9. Piruli 5:16
    10. Pago Pago (Pango Pango) 2:59
    11. Wolfie's Corner 6:39
    12. Song of Manila 2:28

    Natalie Michan - Vocals
    Gilad Harell - Clarinet
    Meg Okura - Violin
    Uri Sharlin - Accordion, Organ
    Irving Fields - Piano
    Jennifer Vincent - Bass
    Roberto Rodriguez - Percussion

    AMG:
    "On this playful 2006 outing, percussionist Roberto Rodriguez and pianist Irving Fields fuse traditional Jewish and Latin sounds together in a jazz-rooted format to wonderful effect. Although Fields was in his nineties at the time of this recording, his spry piano lines deftly mesh with Rodriguez's rhythms, making for engaging tunes such as the slinky 'Miami Beach Rhumba' and the whimsical 'Elephant Tap Dance.' For fans of the Buena Vista Social Club and the more accessible Tzadik releases, OY VEY!!!...OLE!!! is sure to please."



    Oy Vey.....Ole!!!

    or

    Oy Vey.....Ole!!!


    0 0


    Little Requiem for a Certain Polka, Op. 66
    1. 1) Tranquillo 10:26
    2. 2) Allegro impetuoso - Marcatissimo 6:17
    3. 3) Allegro - Deciso assai 2:42
    4. 4) Adagio cantabile 6:39

    Concerto-Cantata, Op. 65
    5. 1) Recitativo: Lento (quasi molto lento) 5:25
    6. 2) Arioso: Lento assai tranquillissimo - Cantabile - Dolce 4:35
    7. 3) Concertino: Allegro 5:04
    8. 4) Arioso e corale: Lento - Tranquillo cantabile - Dolce 6:18

    Harpsichord Concerto, Op. 40 (version for piano & orchestra)
    9. 1) Allegro molto 3:34
    10. 2) Vivace marcatissimo 4:11

    Three Dances, Op. 34
    11. 1) Presto, marcatissimo 3:01
    12. 2) Andante cantabile - Tranquillo 5:15
    13. 3) Presto 5:57

    Carol Wincenc - Flute
    Anna Górecka - Piano
    Antoni Wit - Conductor
    Warsaw Philharmonic Orchestra

    AMG:
    "Polish composer Henryk Mikolaj Górecki was not hugely prolific, but he was something of a hero to listeners who welcomed the mysticism and transparent emotional expressiveness of his works after he turned from the avant-garde to a more accessible post-Modern tonal language in the mid-1970s. A 1993 recording of his Third Symphony ('Symphony of Sorrowful Songs,' 1976), in fact, became an international best-seller. This recording with Antoni Wit leading the Warsaw Philharmonic Orchestra includes four works typical of his later style. Little Requiem for a Certain Polka, for piano and orchestra (1993) is in four movements whose dramatically contrasting juxtapositions are typical of the Eastern European minimalist and polystylistic trends of the era: a largely tonal language; a predominantly quiet mood punctuated by startling, rambunctious outbursts (which can sound like Shostakovich on an ironically cheerful day); and a cryptic sense of structure and musical development that owes little to earlier models from the classical (or any other) tradition. Concerto-Cantata for flute and orchestra (1992), which is recorded here for the first time, follows the form of the Requiem surprisingly closely, but is overall less successful due to its tendency to overdo repetition, and the relative blandness of its musical ideas. The brief Harpsichord Concerto (1980), performed in its version for piano, is of an entirely different cast, made up of two very fast movements, marked Allegro molto and Vivace marcatissimo, and its manic energy is completely engaging. In this piece pianist Anna Górecka, the composer's daughter, is given ample opportunity to display her virtuosic gifts. The outer movements of Three Dances (1973) have the direct appeal of Bartók's folk-influenced works, and a middle movement that's a more typically Góreckian elegy.
    Wit, who has done much to bring contemporary Eastern European, and especially Polish, music to the attention of broader audiences, delivers compelling performances of the pieces. Some inconsistencies in the playing of Górecki's exposed and not-always-idiomatic orchestral writing, however, are reminders that the Warsaw Philharmonic, although a very fine ensemble, is not among the very top tier of the world's orchestras, particularly in its string section. Naxos' sound is clean and balanced, but not especially lively or present."



    Concerto-Cantata

    or

    Concerto-Cantata


    0 0


    1. North in the Country 4:12
    2. Mild Grey Fog 3:24
    3. Tomorrow May Be Vanished 4:23
    4. What Man Has Made of Man 2:01
    5. 14 Pages 4:21
    6. Going Through This Life 3:58
    7. Oh Grandpa 3:36
    8. Lost in the Forest 2:13
    9. Kerre Volin 4:36
    10. Daida 4:02

    11. Elsie Olivia 4:22
    12. Sitting Bull 3:51
    13. Stones 4:58
    14. Poor Annabelle 2:35
    15. Drunk and Happy 3:12
    16. Sawmill 3:19
    17. Undeveloped Country Rag 2:12
    18. Bandwagon 3:53
    19. Days Before 3:24
    20. I Hope We Never Get Too Serious About the Music 5:49
    21. Drunk and Happy (Live 1975) 3:22

    Terje Tysland - vocals, guitar
    Åge Aleksandersen - guitar
    Per Erik Wallum - flute
    Johan Tangen - mandolin
    Kjell Ove Riseth - bass
    Kaare Skevik, Jr. - drums

    AMG:
    "An influential Norwegian rock band from the early to mid-'70s, Prudence released four studio albums before splintering in 1975. Two bandmembers, Terje Tysland and Åge Aleksandersen, subsequently embarked on lengthy and successful solo careers as singer/songwriters while the band itself came to define the Norwegian rock style coined trønderrock. Founded in 1969 in Namsos, Norway, Prudence is comprised of Terje Tysland (vocals, guitar), Åge Aleksandersen (guitar), Per Erik Wallum (flute), Johan Tangen (mandolin), Kjell Ove Riseth (bass), and Kaare Skevik, Jr. (drums). They made their commercial recording debut in 1970 with 'Into the Fire'/'Kom Bli Med Til København,' the first of three singles released on Experience Records. The band then made its full-length album debut with Tomorrow May Be Vanished (1972). Subsequent full-length studio efforts include Drunk and Happy (1973), No. 3 (1974), and Takk Te Dokk (1975), the latter of which was awarded a Spellemannprisen for Pop Album of the Year. Prudence broke up in 1975, releasing the double-length live album 11-12-75 Live (1976) as a swan song, and both Tysland and Aleksandersen embarked on successful solo careers as singer/songwriters afterward. The retrospective best-of collection Det Det Va was released in 2005."



    Tomorrow May Be Vanished/Drunk And Happy

    or

    Tomorrow May Be Vanished/Drunk And Happy


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