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FreeFall - LiveJournal.com

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    1. Kuenda 3:14
    2. Would You Believe in Me 2:26
    3. Lady Love 4:59
    4. Luella 3:51
    5. Shana 3:17
    6. Satan 3:38
    7. Rashida 6:09
    8. The War Song 3:18
    9. Esperanza 4:07
    10. Love Everlasting 3:12
    11. Zenzile 5:39
    12. Lady Love [Single Version] 3:15

    Jon Lucien - Bass, Guitar, Vocals
    Noel Pointer - Violin
    Dave Grusin - Piano (Electric)
    Eric Harrigan, Jr. - Drums
    Frank Malabe - Congas, Percussion
    Annette Sanders - Vocals (Background)
    Morty Lewis - Flute, Piccolo, Sax (Tenor)
    Pepper Adams - Sax (Baritone)
    Wayne Andre - Trombone
    + others...

    AMG:
    "Like Lucien's first effort (1970's I Am Now), Rashida didn't set the world on fire commercially speaking, but it solidified Lucien's status as a purveyor of intelligent romantic ballads and poetic if not gushy lyrics. Even to fans of jazz/R&B/pop, Lucien is a love or hate proposition, and Rashida was the effort that all but etched his persona in stone. Produced by Shep Meyers and Larry Rosen, Rashida, displays Lucien's soothing baritone and romantic nature with much aplomb. As the arranger here, he also shows an immense capacity for melodies. Although this album has a few clunky but danceable tracks, at this point Lucien was much better at handling the ballads. 'Kuenda,' a mellow, wordless vocal, sets the stage for the album's ambience; 'Would You Believe in Me' benefits from Lucien's relentless poesy and a strong idiosyncratic horn arrangement. To a listener, Lucien no doubt might seem like an odd bird, (having a track called 'Satan' doesn't help), but often when the arrangements and Lucien's vocals are in sync, he is simply one of the most focused and emotional balladeers to even step in front of a microphone. The title track has Lucien playing the tortured romantic with a cinematic, emotion-filled arrangement. On 'Lady Love,' the finest of his early songs, he sings, 'Darling let me lay beside you, kiss my burning lips about you, for I'm a child of God.' There's no two ways about it, you either like this stuff or you don't. 'Love Everlasting' takes a more lighthearted approach with its breezy arrangement and sentiment. For his fans, Rashida is one of Lucien's best-loved albums and would be essential listening to those who are so inclined."



    Rashida

    or

    Rashida


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    1. There's a Rugged Road 3:44
    2. The Kiss 4:36
    3. The Pearl 1:55
    4. Down Where the Valley's Are Low 3:52
    5. The Vigilante 3:50
    6. Soldier of the Heart 3:34
    7. The Phoenix 2:37
    8. When the Bridegroom Comes 4:14
    9. The Donor 9:12

    Judee Sill - Guitar, Vocals
    Lynn Blessing
    Gene Cipriano
    Vincent DeRosa
    Doug Dillard
    Buddy Emmons
    Chris Ethridge
    Jim Gordon
    Bobbye Hall
    Gloria Jones
    Spooner Oldham
    Bill Plummer
    Emil Richards
    Ralph Schaeffer
    David Schwartz
    Louis Shelton

    + others...

    AMG:
    "The second album Judee Sill made proved to be her last. A notoriously slow songwriter, this brief though enjoyable outing took its toll on Sill during its making, turning her back to her recently kicked heroin addiction and away from the desire to create more music. Instead of using an outside arranger for the strings (as she did on her previous album), Sill did all of the work herself. Her lack of formal training and the immense amount of orchestral overdubs certainly would have made such an outing a hardship for anyone. The album doesn't suffer much from its sometimes syrupy exterior, though -- the songs are almost as strong as any of those from her debut. To wit, Heart Food suffers only in comparison to its predecessor; otherwise, it's a stellar example of the kind of singer/songwriter fare the music industry was mining in the early '70s. The supporting cast of top L.A. studio musicians solidifies Sill's unique brand country-flavored pop, which moves from introspective meanderings to loping rock, often within a single song."



    Heart Food

    or

    Heart Food


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    1. Solitary Man 3:49
    2. Show Me the Night 3:51
    3. My Girl 3:53
    4. Too Hot to Touch 3:28
    5. Diamond Lizzy 3:20
    6. Washed in the Neon Light 4:08
    7. A Love Affair 3:48
    8. Nights in White Satin 4:02
    9. Lady, Lady 4:15
    10. White Hotel 4:32
    11. To Turn the Stone 3:12
    12. Face to Face 3:55
    13. Chase 4:21
    14. Valley of the Dolls 10:35

    Joe Esposito - Vocals
    Giorgio Moroder - Synthesizer
    Dino Solera - Saxophone
    Silvester Levay - Keyboards, Synthesizer
    Richie Zito - Bass, Guitar
    Keith Forsey - Drums, Percussion

    repertoirerecords:
    "1983 release that saw legendary disco producer Moroder collaborate with American singer Joe Esposito.
    Grammy winning Joe Esposito sang with Brooklyn Dreams (No.4 US hit with ‘Heaven Knows’ in 1979 with Donna Summer) and also worked with Ringo Starr, the Planotones and others."



    Solitary Men

    or

    Solitary Men


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    1. Along Came Betty 6:12
    2. Exile and Discovery 6:25
    3. Isfahan 7:20
    4. Mountain Mama 6:07
    5. Tenderly 8:48
    6. Étude #3 3:03
    7. Speak Low 8:15
    8. A Prayer for Frances 5:23
    9. Bye-Ya 6:18
    10. Étude #4 2:38

    Donny McCaslin - Sax (Tenor)
    Bruce Barth - Piano
    Ugonna Okegwo - Bass
    Billy Drummond - Drums

    AMG:
    "It is difficult not to be impressed by this CD. Donny McCaslin, although occasionally hinting at Sonny Rollins, has a pretty original sound on tenor. Certainly his playing on the opening 'Along Came Betty' sounds like no one else's. In addition to excellent technique, McCaslin is a quick thinker who is not shy of taking chances. Who else would take 'Tenderly' at a brisk pace in 5/4 time or perform a pair of Astor Piazzolla's tango etudes as unaccompanied classical-type saxophone solos? Other than contributing three fine originals (a blues, a funky romp, and an emotional, heartbreaking ballad) and performing the Piazzolla pieces, McCaslin digs into five standards, really ripping through 'Speak Low.' The rhythm section (pianist Bruce Barth, bassist Ugonna Okegwo and drummer Billy Drummond) works very well together as a unit, with Barth taking some fine solos; still, this is very much Donny McCaslin's showcase. Highly recommended."



    Exile And Discovery

    or

    Exile And Discovery


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    1. Overture 0:48
    2. The Cave Of Gods 25:14
    3. Inner Fire 6:09
    4. Voyage To Ixtlan 13:31
    5. The Wizard 6:01
    6. Between The Two Worlds 5:37
    7. The Other Side 10:02
    8. Stone Warriors 6:44

    Amyr Cantúsio Jr. - keyboards
    Paulo Archangelo - guitars
    Lucio Archangelo - bass
    Romano Ferrari - drums
    +
    Eduard Furlan - bass (5)
    Mauricio Lambiasi - drums (5)

    AMG:
    "In truth, Alpha III is the one-man project of Amir Cantúsio Jr. Born in 1957 in Campinas, SP (Brazil), at only five years old he started studying piano and acoustic guitar. As part of his erudite upbringing, he has extensively studied in experimental music, mainly at Universidade do Estado de São Paulo (USP) and Universidade de Campinas (Unicamp).
    Amir Cantúsio Jr. won the Medalha Carlos Gomes (a special prize in Brazil) for representing Campinas through his works on CDs/LPs in more than 15 countries worldwide. He also won several prizes, including first place (Best Arrangement and Composition) at the MPB festival of São Paulo in 1974 (Projeto Guarani). He was also the owner of the first progressive rock and experimental electronic label in Brazil called Faunus Records, founded in 1984. He also started another recorded company called the Alpha III Artistical Productions label in 1985.
    He was considered the best keyboardist of the world three times: In Spain (with the album Ruínas Circulares, 1986), in Japan (1986), and Canada (International Electronic Music Festival) with the album Seven Spheres (1991). In 1993, the Italian label Mellow Records classified him as the Best Keyboardist in the world. The same prize was conquered in 1996 on Green Dolphin's 3rd Annual International Critics and Musicians Poll (Latvia/Scandinavia/Netherlands). He has also worked as producer and keyboardist/vocalist with several bands in Brazil and in other countries."



    Voyage to Ixtlan

    or

    Voyage to Ixtlan


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    1. Big Bad Bill (Is Sweet William Now) 3:34
    2. Face to Face That I Shall Meet Him 3:16
    3. The Pearls/Tia Juana 4:18
    4. The Dream 5:03
    5. Happy Meeting in Glory 3:13
    6. In a Mist 2:05
    7. Flashes 2:17
    8. Davenport Blues 2:01
    9. Shine 3:43
    10. Nobody 5:07
    11. We Shall Be Happy 3:13

    Ry Cooder - Guitar, Mandolin
    Jimmy Adams - Vocals
    Cliff Givens - Vocals
    Bill Johnson - Vocals
    Simon Pico Payne - Vocals
    Willie Schwartz - Clarinet
    David Sherr - Clarinet
    Harvey Pittel - Wind
    Pat Rizzo - Saxophone
    Bill Hood - Saxophone
    George Bohannon - Horn
    Mario Guarneri - Horn
    Randy Allcroft - Trombone
    Red Callender - Bass, Tuba
    David Lindley - Guitar, Mandolin
    Earl Hines - Piano
    John Rodby - Keyboards
    Barbara Starkey - Keyboards
    Chuck Domanico - Bass
    Tom Pedrini - Bass
    Chuck Berghofer - Bass
    Mark Stevens - Drums
    Stuart Brotman - Cymbals
    Tom Collier - Percussion

    AMG:
    "Beginning with his self-titled debut in 1970, Ry Cooder's records seemed to be as much history lesson as they were entertainment. Not because Cooder was trying to club you over the head with this stuff; he simply gravitated to great songs, no matter what the era or genre. Released in 1978, Jazz seems to be his first conscious attempt at a concept album, in the historical sense. Here he pays homage to some of the early tunes and masters of jazz, ranging from the late 1800s through the 'coon songs' of the early part of the next century, to the ragtime and 'Spanish' music of Jelly Roll Morton, and the sophistication of cornetist Bix Beiderbecke. The only living artist (at the time of release) who's represented here is the great Bahamian guitarist Joseph Spence, who recorded from the '50s through the '80s, and whose syncopated style was extremely influential in Cooder's own development as a guitarist. Spence's sacred songs are presented here in string and brass band arrangements that emphasize the Caribbean connection between his music and Morton's habaniera pieces. The complexity of the material on Jazz, as well as the arrangements by Joseph Byrd, dictate that this is Cooder's most polished and orchestrated effort to date. Whereas in the past, even at their most removed, Cooder's records usually kept at least one foot in rock & roll or blues, Jazz can, at times, lack some of that fire and be almost bookish in its approach. Still, there is enough excitement in the music's intricacies and Cooder's beautiful, fluid playing to forgive the politeness of some of the performances. From the informative liner notes by Ry Cooder himself to the brilliant compositions, Jazz is, at the very least, educational. But, a little time spent with this music and you'll see why it was and continues to be relevant, as well as beloved."



    Jazz

    or

    Jazz


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    Christopher Rouse: Concert de Gaudí, for guitar & orchestra
    1. Allegro 7:57
    2. Largo sereno 10:53
    3. Svolazzante 8:14

    Tan Dun: Concerto for Guitar and Orchestra: Yi2
    4. Rubato 8:02
    5. Adagio 3:46
    6. Andante agitato 9:05
    7. Cadenza 5:08
    8. Ending 3:00

    Sharon Isbin - Guitar
    Gulbenkian Foundation Orchestra, Lisbon
    Muhai Tang - Conductor

    AMG:
    "Described by the Boston Globe's Michael Manning as a musician who plays 'beyond virtuosity,' guitarist Sharon Isbin has been a consistent challenge for critics, who struggle to find the right superlative that would do justice to her exquisite playing. 'In her hands,' wrote Anne Midgette in The New York Times, 'the guitar takes on the precision of a diamond, each note a clear, shining facet that catches, prism-like, a glimpse of the spectrum.' In essence, a performance by Isbin is like a painting by Vermeer: a formally impeccable and inexhaustible work of art. A Renaissance woman of the guitar, Isbin performs worldwide at famous venues and commissions new work from distinguished American composers (more than any other guitarist) for her instruments, collaborates with a wide variety of musicians, and indefatigably searches for new music to play. As a child, Isbin wanted to be a scientist like her father. However, she started guitar lessons at the age of nine (the family was living in Italy at the time) and found her vocation. Her teachers included Andrés Segovia and harpsichordist Rosalyn Tureck. With Tureck, Isbin worked on the first performance edition, for guitar, of J.S. Bach's Lute Suites. This project eventually resulted in a critically acclaimed disc. In 1989, Isbin founded the guitar department at the Juilliard School of Music and became that institution's first professor of guitar. Isbin's recordings have consistently been assessed as groundbreaking musical events. In 1995, her disc was the first ever American guitar concert presented to a Russian cosmonaut during a rendezvous between the space shuttle Atlantis and the Russian spaceship Mir. Journey to the Amazon, performed with Brazilian percussionist Thiago de Mello and saxophonist Paul Winter, earned Isbin a Grammy nomination in 1999. She received a Grammy in 2001 for her Dreams of a World: Folk-Inspired Music for Guitar. Significantly, this was the first classical guitar Grammy in 28 years. In 2002, Isbin got another Grammy for her extraordinary performance of concerti by Christopher Rouse and Tan Dun. The concerti featured on this world-premiere disc were dedicated to Isbin. Spanning various styles, genres, and periods, Isbin's other recordings include Aaron Jay Kernis' Double Concerto (with violinist Cho-Liang Lin), Rodrigo: Concierto de Aranjues, and Sharon Isbin Plays Baroque Favorites for Guitar. The last-named album features a truly astounding performance of a transcription of Bach's Violin Concerto in A minor."



    Concerts for guitar & orchestra

    or

    Concerts for guitar & orchestra


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    1. Tone Float 20:46
    2. Milk Rock 5:24
    3. Silver Forest 3:19
    4. Rhythm Salad 4:04
    5. Noitasinagro 7:46

    Florian Schneider - flute, violin, percussion
    Ralf Hütter - organ
    Butch Hauf - bass, percussion, bells
    Basil Hammoudi - percussion, bongos, conga, gong, vocals
    Fred Monicks - percussion, bongos, drums, marimba, tambourine, bells

    AMG:
    "Though only a footnote in the history of pop music, Organisation was the actual germ of Kraftwerk. In 1968, students Ralf Hütter and Florian Schneider met at Art Academy Remscheid and decided to take new musical ways. Both classically trained on piano and flute, they had already played in blues and jazz bands. Together with three other musicians, who played bass and various percussion instruments, Organisation managed to release an album on RCA/U.K. It was quite unusual for a British company to sign a German band at this time, especially with that experimental sound. Sometime later the decision was questioned for sure, since the sales of Tone Float fell short of expectations. This was not very amazing, as Organisation mixed some half way conventional passages with wild percussion and alienated sounds. With this album, the band was far ahead of the time and created a new sound. They got to know that this was not everybody's cup of tea indeed, as there were vegetables thrown at the band at a concert in Berlin. Also a TV appearance at the Beatclub, German equivalent to British Ready Steady Go, produced discrepant reactions. One part of the studio audience seemed somewhat consternated, the other enthusiastic. A recording of this gig later was included on a bootleg reissue. In 1970, Ralf Hütter and Florian Schneider had already released Kraftwerk 1 without the rest of the band. The once normal band relation got cooler with time and broke down gradually, 'The Robots' created their 'Man Machine'-image. Organisation disbanded in 1971 because of the well-known musical differences. Kraftwerk drove the 'Autobahn' to international success when time was right, while none of the other musicians ever appeared as recording artists again."



    Tone Float

    or

    Tone Float


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    1. Name Everything 5:37
    2. Another Year 3:38
    3. A Clear Day And No Memories 5:21
    4. Your Cat 4:32
    5. Forget 2:02
    6. Drawing Down The Moon 4:57
    7. The X Festival 2:28
    8. Metal Summer 4:04
    9. Assembly Field 5:31

    Steve Tibbetts - guitar, kalimba, tapes
    Bob Hughes - bass
    Marc Anderson - congas, steel drum, percussion, berimbau
    Marcus Wise - tabla
    Claudia Schmidt - vocals
    Bruce Henry - vocals
    Jan Reimer - vocals

    AMG:
    "Opening with a bang that builds to a thunderstorm, Exploded View is the definitive Steve Tibbets album. His electric guitar howls defiantly without a lot of power chords or convention, and his musicianship is top-notch, perhaps an Adrian Belew without the pop, plus a nod toward world music in production value. Tibbets scrapes and tears through the sky ('Name Everything,''Your Cat') with jaw-dropping intensity, but it would all be too much if there weren't such rich texture and softness folded into the disc as well. 'Drawing Down the Moon' is a comparatively restrained piece with acoustic guitars, shakers, kalimba, congas, and a mixed bag of other percussives. A sort of unsettling warmth pulses throughout the track to pull the listener in and carry them along for a midnight desert drive. Another thing that sets this piece apart is its consistency in dynamics. On other tracks, the musicians run up and down the spectrum, but this one seems to be much more linear. Depending on your tastes, this could either be the best track on the album, or it may be the tame contradiction to the earthquake of music happening all around it. Either way, it's a welcome breather. The album is also a great showcase for Marc Anderson, a fantastic percussionist who shines here. He really understands the musical dialogue going on between himself and Tibbets' guitar. It's rare for one of them to lead or accompany the other - the symbiosis is such that you couldn't pry them apart with a crowbar, and any sheet music would still show their separate parts blurred together. The final minute of 'A Clear Day and No Memories' is the only time Anderson leaves the room (probably to mop the sweat from his brow), and the tenderness of the acoustic guitar blooms like a single flower in a minefield. Songs like 'The X Festival' give Anderson the almost impossible task of keeping up with himself, switching tempos, dynamics, and instruments repeatedly in a mere two-and-a-half minutes. The sweet harmonics of the tabla and the pounding waves of the bigger drums swell with urgency until the whole thing breaks apart with curious and unsettling abandon. Somewhere on the perimeter, Bob Hughes lays down the bass, but his contributions may be felt more than heard as he participates in the mix rather than adding anything new to it. Several moments have the feel of a tribal circle, accentuated by Claudia Schmidt, Bruce Henry, and Jan Reimer - talented vocalists providing wordless chants and passionate upswells. Schmidt is an especially good match in aesthetics; she shows up again in 1994's The Fall of Us All, which really came the closest to recapturing the spirit of this album. Look for it."



    Exploded View

    or

    Exploded View


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    CHIRPY CHIRPY CHEEP CHEEP
    1. Chirpy Chirpy Cheep Cheep
    2. Lingering Sounds
    3. Fate Strange Fate
    4. I Can’t Tell The Bottom From The Top
    5. To Remind Me
    6. The Sun In Your Skin
    7. Tweedle Dee Tweedle Dum
    8. Give It Time
    9. Rainin N Painin
    10. Yellow River
    11. The Way Of Life
    12. We Are The Founders Of All That’s Around Us

    ITALIAN LP
    13. El Condor Pasa
    14. Do Not Cry
    15. Happier Than I
    16. Ain’t No Mountain High Enough
    17. Places
    18. Superstar


    ACCELERATION
    1. Sacremento
    2. On This Land
    3. Queen Bee
    4. Love Sweet Love
    5. Then You’ll Know What Love Is
    6. Soley, Soley
    7. The Talk Of All The U.S.A.
    8. Louise (My Little Ship)
    9. Samson And Delilah
    10. Try A Little Understanding
    11. Medicine Woman

    DRIVE ON
    12. Yellow Boomerang
    13. Universal Man
    14. See The Sky
    15. Wheel Of The Season
    16. Blind Detonation
    17. Union Silver
    18. Honey No
    19. Eve
    20. On A Westbound Train
    21. Bottoms Up
    22. Nothing Can Go Wrong
    23. Kailakee Kailako

    Sally Carr - Vocals
    Ian McCredie - Guitar
    Eric McCredie - Bass
    Ken Andrew - Drums

    AMG:
    "Middle of the Road’s discography is complicated, the end effect of being a Scottish band whose popularity was built on European hits. Their first album was an Italian release, they had records released only on the continent then later repackaged for the U.K. as a premature Hits collection, they barely had anything in the U.S. Cherry Red/7T’s 2010 set The RCA Years performs a useful function of rounding up the released master takes - in other words, the three LPs Chirpy Chirpy Cheep Cheep, Acceleration, and Drive On, plus six cuts only on that Italian debut - presenting the complete recorded works and far too much Middle of the Road for anyone outside of Euro-pop obsessives. Which isn’t to say that Middle of the Road was merely a one-hit wonder: outside of the bubblegum singalong “Chirpy Chirpy Cheep Cheep,” they did have a clutch of terrific pop singles, including “Tweedle Dee, Tweedle Dum” and the rolling “Sacramento.” That latter cut is the best evidence of how MOR was a proto-ABBA, capturing the same sweetly scrubbed, purposely inoffensive pop, an impression that grows stronger the longer The RCA Years is explored (and, as Phil Hendricks points out in his liner notes, Agnetha Fältskog covered “Union Single” in 1973 with lyrics written by Stig Andersson). Historically, this a relatively interesting precedent, but just because “Sacramento” uncannily predicts ABBA does not make the rest of this 41-track collection absorbing. It’s a curiosity for Europhiles - the rest of us will find Middle of the Road more entertaining in a more concise collection."



    The RCA Years

    or

    The RCA Years


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    1. Flautofonie Ed Altro (A) 1:20
    2. Flautofonie Ed Altro (B) 1:40
    3. Flautofonie Ed Altro (C) 2:20
    4. Flautofonie Ed Altro (D) 1:34
    5. Passaggi 2:05
    6. Cometa Rossa 9:19
    7. Le Sirene 5:02
    8. Flautofonie Ed Altro 8:10
    9. Investigazioni (Diplofonie Triplofonie) 7:05
    10. Mirologhi 1 5:30
    11. Investigazioni 1:35

    Demetrio Stratos – Voice
    Lucio Fabbri – Violin

    AMG:
    "Of all of Demetrio Stratos' recordings, this 1978 live date with violinist Lucio Fabbri is easily the most accessible and least adventurous. That said, Recitarcantando is also perhaps the most songlike and beautiful of Stratos' albums and deserves recognition for showcasing the vocalist as a singer of uncommon power and originality. This album does showcase various aspects of the investigations undertaken on his previous studio recordings, including the 'Investigazioni (Diplophonie & Triplophonie)' from 1974, and the 'Mirolonghi,' from 1973. And while these pieces in their studio incarnations, unaccompanied, resembled something otherworldly for their deep resonance as they integrated tonalities, here they represent something else: the ability of the human voice to integrate beyond its naturalistic speaking or singing limits into a purely instrumental acumen as a polytonal instrument producing microphonics in the context of something resembling song. It is haunting, at times disturbing, and always beautiful. This is a seamless integration of two disparate instruments exploring the limits of one another's sonic architecture and rendering them both essentially limitless in the process."



    Recitarcantando

    or

    Recitarcantando


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    1. Catania 7:45
    2. Nasbuwa 9:38
    3. An Evening with Jerry 7:03
    4. When the Lights Go Out 7:13
    5. Story Teller 8:52
    6. Ornette Never Sleeps 4:03
    7. Nadim 8:33
    8. Wishing Well 5:24

    Rabih Abou-Khalil - Oud
    Sonny Fortune - Sax (Alto)
    Glen Moore - Bass
    Nabil Khaiat - Drums, Percussion
    Ramesh Shotham - Percussion, South Indian Drums

    AMG:
    "Rabih Abou-Khalil, among the rare Arabic musicians who have recorded and played extensively with jazz musicians, successfully navigates the middle ground between traditional North African sounds and hard bop. Besides the leader's oud and flute, alto saxophonist Sonny Fortune provides the blues bite; bassist Glen Moore, the rhythmic connection, and percussionists Ramesh Shotham and Nabil Khaiat, provide the African seasoning."



    Al-Jadida

    or

    Al-Jadida


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    1. Night Of Fear 2:14
    2. Disturbance 2:45
    3. I Can Hear The Grass Grow 3:00
    4. Wave The Flag And Stop The Train 2:56
    5. Yellow Rainbow 2:36
    6. Kilroy Was Here 2:45
    7. The Lemon Tree 3:10
    8. Weekend 1:47
    9. Walk Upon The Water 3:18
    10. Flowers In The Rain 2:22
    11. Useless Information 2:57
    12. Zing Went The Strings Of My Heart 2:49
    13. The Girl Outside 2:55
    14. Fire Brigade 2:24
    15. Mist On A Monday Morning 2:33
    16. Cherry Blossom Clinic 2:31
    17. Hey Grandma 3:13
    18. Disturbance Undubbed alternate version 2:01
    19. Wild Tiger Woman 2:38
    20. Omnibus 3:52

    21. Blackberry Way 3:35
    22. Something 3:31
    23. Curly 2:45
    24. This Time Tomorrow 3:41
    25. Hello Suzie 4:56
    26. Beautiful Daughter 3:03
    27. Cherry Blossom Clinic revisited 7:42
    28. Fields of people 10:55
    29. Don't make my baby blue 6:06
    30. The last thing on my mind 7:38
    31. Here we go round The Lemon Tree Stereo single mix 2:59
    32. Cherry Blossom Clinic Stereo mix 2:56
    33. Fire Brigade Early undubbed mix 2:19
    34. Second Class Backing track 2:14
    35. Wild Tiger Woman Blues Early undubbed mix 2:29
    36. Curly Where's Your Girly Early alternate mix 2:49
    37. Something Italian language mix 2:56
    38. Vote For Me 2:48

    39. Looking On 7:49
    40. Turkish Tram Conductor Blues 4:49
    41. What 6:43
    42. When Alice Comes Back To The Farm 3:44
    43. Open Up Said The World At The Door 7:11
    44. Brontosaurus 4:26
    45. Feel too good 9:34
    46. Lightning Never Strikes Twice 3:10
    47. So You Want To Be A Rock And Roll Star 2:51
    48. Stephanie Knows Who 2:59
    49. Something Else 2:21
    50. It'll Be Me 2:36
    51. Piece Of My Heart 4:04
    52. Too Much In Love 2:41
    53. Higher And Higher 3:36
    54. Sunshine Help Me Unedited version 6:33

    Carl Wayne - vocals
    Roy Wood - guitars, horns, strings, vocals
    Jeff Lynne - guitars, keyboards, vocals
    Rick Price - bass, vocals
    Trevor Burton - guitars, bass, vocals
    Chris Ace Kefford - bass, vocals
    Bev Bevan - drums, vocals

    AMG:
    "This may be more Move than the casual fan wants, but it's not just another rehashed collection. From the remastered sound to the presence of various outtakes (including lost live tracks), the 30th anniversary triple-disc Movements is as definitive a set as we'll ever have on this band, containing everything except for the Message From the Country album. Disc one consists of the group's early singles plus The Move album and one outtake ('Disturbance'), all sounding really clear and tough, the loudest psychedelic pop music you'll ever hear out of England. Disc two contains the complete Shazam album, as well as alternate stereo or undubbed mixes of such songs as 'Cherry Blossom Clinic,''(Here We Go Round) The Lemon Tree,''Fire Brigade,' and an Italian-sung version of 'Something.' The sound is OK, with brilliant delineation on the guitars and basses, but not quite the revelation that one would hope (20-bit remastering would have been a real treat on Shazam). 'Wild Tiger Woman Blues' is worth the price of this disc by itself, and the early version of 'Curly' is lots of fun, while the undubbed 'Fire Brigade' is raw and punkish. Disc three starts off with the complete Looking On album, which still lacks some presence, but is the best version yet heard. The real deal here, however, is the first-ever CD version of the live Something Else EP remastered from the original live tapes. The notes by John Platt are pretty cool, too, and coupled with the remastered Message From the Country, this set pretty well closes the books on the Move, as far as reissues of fully authorized stuff goes."



    Movements 1-2 : Movements 3

    or

    Movements 1-2 : Movements 3


    0 0


    1. Voodoo Love Dance 8:05
    2. Toward Brazil 2:41
    3. Behind Kungsträdgården 7:02
    4. Happiness Is... 7:09
    5. Five O'Clock Traffic 3:51
    6. Last Train 5:47

    Melvyn Price - Congas, Trombone
    Ed Epstein - Sax (Tenor)
    Guy Roellinger - Bass (Electric)
    Bjorn Alke - Double Bass
    Fredrik Norén - Drums
    Luis Agudo - Percussion

    AMG:
    "Michigan expatriate musician Melvyn Price recorded three records in the early 1970s in his adopted home of Sweden that have become classics in their own right. Price, a trombonist and conguero, recorded two rhythm albums for ballet dancers called Jazzbalettrytmer (Jazz Ballet Rhythm) in 1970 and Rhytmer II in 1971. They were quite popular in Sweden - despite being orchestrated by primarily rhythm instruments. Encouraged, he attended Stockholm's University College for music education where he studied composition. In 1974, he dropped his classic album: Rhythm and Blues, on his own Mel-Dor imprint (named for himself and partnership with producer Doris Aronsson); that set made a minor splash at the time but has become the stuff of legend since. Price employed an international tentet for this set that included both electric and acoustic bass (Guy Roellinger and Bjorn Alke) saxophone (Ed Epstein), trombone (Price), piano and Rhodes (Bjorn Wolff), two trap drummers (Gunnar Nyberg and Frederik Noren), two congueros (Price and Jon Dill), various percussion (Luis Agudo), and trombone (Price). The album was never released Stateside until now. It has finally been issued on both LP and CD by Wax Poetics on their label imprint - a side venture to their excellent magazine. These six tracks total under 35 minutes, but their impact is like grooved-out blunt force trauma, snaky, seductive bubbling rhythms ride herd over the entire proceeding, as tenor sax, piano, and basslines work their own magic that is equal parts jazz-funk, soul-jazz, Latin groove, and soul. While beatheads would probably single out the Afro-beat tinged 'Behind Kungstradgarden,' or the Afro-Cuban groove in 'Happiness Is...' for their pronounced breaks, the entire recording is a seamless celebration of rhythmic invention, economic harmonics, and melodic sophistication - the saxophones and piano solo with pulsing phrases on every cut. Check the side one opener 'Voodoo Love Dance' for proof. Price's congas and some shakers open the tune, establishing a continually syncopated but hypnotic rhythm, before a second conga enters the mix to play alternate countermeasures as ballast. Then inexplicably the stereo effect drops out momentarily and the bassline begins to whisper in, and the piano offers some spooky, augmented minor seventh chords (à la McCoy Tyner) as a theme. When the saxophone begins its winding, funky entrance, the keyboardist has plenty to play off of and does in his solo. The effect is narcotic, but electric. The bluesy bridge in this number is to die for. The entire album is both propulsive and seductive; it sounds like nothing else before or since, and the new life it's been given by Wax Poetics is not only welcome, it's a gift; it is easily one of the great reissues of 2008."



    Rythm & Blues

    or

    Rythm & Blues


    0 0


    Antonio Vivaldi:
    1. Concerto In D, Allegro giusto 3:50
    2. Concerto In D, Largo 3:49
    3. Concerto In D, Allegro 2:10

    Francis Cutting:
    4. Packington's Pound 2:33
    5. Greensleeves 3:51

    John Dowland:
    6. Fantasia "A Fancy" 2:37

    Gaspar Sanz:
    7. Canarios 1:07

    Mateo Albéniz:
    8. Sonata In D 3:59

    9. Leyenda (Asturias) from Suite española Op. 47 5:58

    Manuel de Falla:
    10. The Miller's Dance (from El Sombrero de tres picos) 2:19

    Francisco Tárrega:
    11. Recuerdos de la Alhambra 3:55

    Heitor Villa-Lobos:
    12. Chôros No. 1 4:53
    13. Prelúde No. 1 4:08
    14. Prelúde No. 2 2:39

    Joaquín Rodrigo:
    15. En los trigales 3:35
    16. Concierto de Aranjuez, Allegro con spirito 5:56
    17. Concierto de Aranjuez, Adagio 10:25
    18. Concierto de Aranjuez, Allegro con brio 5:02

    Isaac Albéniz:
    1. Mallorca 7:22
    2. Suite española, Cataluña 2:59
    3. Suite española, Granada 5:39
    4. Suite española, Sevilla 4:48
    5. Suite española, Cádiz 4:23
    6. Cantos de España, Op. 232, No 04, Cordoba 7:19

    Enriqué Granados:
    7. Dedicatoria (from Cuentos de la juventud) 1:45
    8. La Maja de Goya (Tonadillas) 4:49
    9. Dansa Española No. 4 (Villanesca) 6:35
    10. Valses poéticos 12:31
    11. Dansa Española No. 5 (Andaluza) 4:15

    Joaquín Rodrigo:
    12. Tres Piezas españolas, Fandango 4:16
    13. Tres Piezas españolas, Passacaglia 7:25
    14. Tres Piezas españolas, Zapateado 3:02

    Julian Bream - Guitar
    Monteverdi Conservatory Giovanni Orchestra
    John Eliot Gardiner - Conductor

    AMG:
    "Originally taught by his father, Julian Bream (b. 1933) made his debut with the Cheltham Guitar Circle at the age of 14. By the age of 16, already a seasoned recitalist, he entered the Royal College of Music. He made his London debut in 1950, but it was his appearance in November of 1951 at Wigmore Hall that propelled his career to international success. This led him first to Switzerland in 1954, followed by a European tour, and in 1958, the United States.
    In 1950, Bream took up the Renaissance lute, and began a life-long fascination with Elizabethan music. His work with the tenor Peter Pears, and especially his formation of the Julian Bream Consort began a revival of early consort music that has continued to the present day. In addition, his work with such contemporary composers Villa-Lobos, Britten, Bennet, Rawsthorne, Walton, Henze, Takemitsu, Tippett, and Arnold led to a revival of interest in guitar music.
    Bream has recorded extensively, receiving numerous awards along the way including six from the National Academy of Recording Arts and Sciences, and a platinum disk from RCA. He has also produced a number of televised programs, including master classes, an eight-part retrospective on Spanish music, and a biography entitled A Life in the Country, first broadcast in 1976 by the BBC.
    Among his many other awards are honorary doctorates from the Universities of Surrey and Leeds, an honorary membership in the Royal Academy of Music, an honorary fellowship in the Royal College of Music, and an honorary membership in the Royal Philharmonic Society. Julian Bream was the first musician of the post-war era to popularize classical guitar. His wide ranging interests in repertory, his impeccable technique and style, his instrumental role in the revival of Renaissance music, and his extensive recorded legacy place him as one of the giants of twentieth century guitar music."



    The Ultimate Guitar Collection

    or

    The Ultimate Guitar Collection


    0 0


    1. Ci wybrani 4:42
    2. Stary noe 4:24
    3. Zloty promien slonca 5:15
    4. Widok Z góry najwyzszej 5:45
    5. Ten najpiekniejszy dzien 19:20
    6. Ponury Pejzaz 6:08
    7. Uspokojenie 6:12
    8. W Kalendarzu mojego Zycia 6:08

    Pawel Birula - vocals, acoustic guitar
    Wladyslaw Komendarek - keyboards, synthesizers, vocals
    Andrzej Puczynski - guitars, bass, synthesizer, vocals
    Wojciech Puczynski - bass, electric guitar
    Zbigniew Fyk - drums, percussion, vocals
    +
    Andrzej Kropiewnicki - f-x, vocals

    Wiki:
    "Exodus is a Polish symphonic rock band, active 1976-1985. Exodus was one of the leading progressive (sometimes described as "art-rock") rock bands in Polish rock in late 70s and early 80s."



    Ten Najpiekniejszy Dzien

    or

    Ten Najpiekniejszy Dzien


    0 0


    1. Unicorn 6:48
    2. Fire Dance 4:25
    3. Incantation 6:40
    4. Wrong Number 4:36
    5. Free Ride 5:22
    6. Ozone Madness 6:34
    7. Love Poem for Donna 4:33
    8. The Last Stroke of Midnight 4:29

    Dizzy Gillespie - Trumpet
    Lalo Schifrin - Conductor, Keyboards
    Oscar Brashear - Trumpet
    Jack Laubach - Trumpet
    Lew McCreary - Trombone
    James R. Horn - Flute, Saxophone
    Ernie Watts - Saxophone
    Jerome Richardson - Flute
    Ray Parker Jr. - Guitar (Electric)
    Lee Ritenour - Guitar (Electric)
    Wah-Wah Watson - Guitar (Electric)
    Sonny Burke - Keyboards
    Wilton Felder - Bass
    Ed Greene - Drums
    Paulinho Da Costa - Percussion

    AMG:
    "Although Lalo Schifrin is justifiably praised for his soundtrack work, many jazz purists turn up their noses at his jazz dates, such as his '60s work with Jimmy Smith and Wes Montgomery. The things that make Schifrin an anathema to the diehards - the huge orchestras, the pop and soul riffs, the general air of over the top theatricality - are all over 1977's Free Ride, his reunion date with Dizzy Gillespie. (Schifrin had been Gillespie's arranger in the late '50s.) In fact, Free Ride is so painfully dated that it's transformed into cockeyed cool, just the sort of record ironic hipsters should listen to while they're reading the novelizations of '70s cop shows that they bought for a bundle off of eBay. Gillespie plays with his usual wit and panache, but most of the time, he sounds like a sideman on his own album; the real focus of Schifrin's arrangements is the funky wah-wah guitars and ARP synthesizer solos that take center stage on tracks like 'Fire Dance' (which sounds exactly like it should be the theme for a Charlie's Angels spinoff) and the mellow disco of the closing 'Last Stroke of Midnight.' Occasionally, Gillespie gets to break out on his own album, with the lovely solo on 'Love Poem for Donna' his particular standout. For what it is, Free Ride is really quite good (guests include Lee Ritenour and future star Ray Parker, Jr.), but it's very much a record of and for its time."




    Free Ride

    or

    Free Ride


    0 0


    1. Signori del Tempo 14:00
    2. Robin delle stelle 12:52
    3. Lontana Lucia 11:11
    4. Soli sull'Olimpo 18:05
    5. Robin ....Again 9:42

    Maurizio Mercandino - lead vocals
    Massimo Gorlezza - guitars
    Chicco Mercandino - guitars
    Great Maurizio Venegoni - Midi wind controller
    Romolo Bollea - keyboards
    Fabrizio Sellone - keyboards
    Gigi Secco - bass
    Luca Bonardi - drums

    italianprog.com:
    "A strange story for this band from near Novara that never released anything during the 70's and was discovered in the 90's by the small Kaliphonia label. A 1977 recorded live CD was released and the band reunited with four of the five original members for a nice brand new album. After this, other CD's have followed in 1998 and 2003.
    The group was formed in Boffalora Ticino in 1971, and after some early concerts released a 'prog-opera' called Gerbrand, that was represented in local theatres but never recorded. The musical direction was similar to Banco del Mutuo Soccorso or Premiata Forneria Marconi, in typical Italian prog style with twin keyboards and long compositions.
    The original band split in late 70's and some of the members were contacted for a CD release of an old live tape. Hence the reunion of the band around keyboardist Bollea and new recordings in the 90's until now."



    Robin delle Stelle

    or

    Robin delle Stelle


    0 0


    1. I Just Want a Little Bit 3:04
    2. What Have I Done Wrong? 3:11
    3. Easy Baby 3:57
    4. You Belong to Me Magic Sam 4:07
    5. It's All Your Fault 4:55
    6. I Have the Same Old Blues 3:35
    7. You Don't Love Me, Baby 3:32
    8. San-Ho-Zay 3:57
    9. Stop! You're Hurting Me 4:52
    10. Keep Loving Me Baby 3:54

    Magic Sam - Guitar, Vocals
    Eddie Shaw - Sax (Tenor)
    Mighty Joe Young - Guitar
    Lafayette Leake - Piano
    Mack Thompson - Bass
    Odie Jr. Payne - Drums
    Billy Stepney - Drums

    AMG:
    "This album's color cover photo is an action shot, showing Magic Sam in the process of choking and bending his strings, a good hike up the fretboard. It isn't clear exactly what he is playing from the picture, although that certainly didn't stop dozens of pimply hippie guitar players from trying to figure it out. In the meantime, the record goes on and the first soloist out of the gate is Eddie Shaw, playing tenor sax. He is blowing over the top of an R&B riff that, although not out of the syntax of Chicago blues, would also have been quite fitting on a Wilson Pickett record. It is unfortunate that Magic Sam's recording career came to such an abrupt end, as he was one of the best artists working in the musical area between the urban blues tradition and newly developing soul music forms. This fusion was on the minds of many blues artists during the late '60s, and not just because it was aesthetically conceivable. It was also a matter of commerce, as audiences - particularly black audiences - didn't want to hear any blues that sounded too much like something their parents might have listened to. The harmonica player Junior Wells was another one who decided to get a bit of James Brown into his act, not always with great results. What listeners have here, on the other hand, is frankly delicious, the results of the surplus of talent Magic Sam possessed, a triple threat as a guitarist, singer, and songwriter. Yet with all this talent, the label should also get some credit. This period of the Delmark discography set a high standard for blues recordings, the sound quality and tight interplay among the musicians every bit the equal of the classic jazz recordings on labels such as Blue Note and Prestige. There is nothing fancy about the production, and no gimmicks. It is just a great band, allowed to play the music exactly the way it wanted to. The musicians have obviously worked together a great deal and either had these arrangements down cold from live gigs or had plenty of time to get things tight. This doesn't mean that the music doesn't breathe, as there are plenty of little touches such as drum fills and turnarounds that show the presence of musicians thinking on their feet.
    The passage of time also increases the musical value of this music, as the eventual popularity of commercial projects such as the Blues Brothers has only served to dilute the power of urban blues. Labels big and small have forsaken this type of honest and straightforward production, preferring to try concocting a higher level of funkiness through extravagent over-production, boring superstar guest appearances, and insipid studio practices such as prerecorded rhythm tracks and dipstick guitar solos punched in a note at the time. Forget all this jive and check out a track such as 'You Belong to Me,' where the guitarist cuts loose with a restrained solo that sometimes dances ahead of the beat like a country fiddler while the band pumps away on a superb riff. The players here, including the fine guitarist Mighty Joe Young, pianist Lafayette Leake, and a muscular rhythm section, are the best of the best. No information is provided on the songwriting, so the assumption is that these tunes are all originals by Magic Sam. None are too obviously adopted from standards, but the opening 'I Just Want a Little Bit' was much copied by other blues artists. 'I Have the Same Old Blues' has a medium, loping blues tempo that swings so perfectly it should be used as an instruction course for lame blues bar bands."



    Black Magic

    or

    Black Magic


    0 0


    1. Air a Danser 5.17
    2. Yodel 1 4.46
    3. Cutting Branches for a Temporary shelter 2.27
    4. From the Colonies 3.30
    5. Southern Jukebox Music 4.53
    6. Numbers 1 to 4 7.44
    7. Telephone and Rubberband 4.05
    8. Air 4.00
    9. Beanfields 4.28
    0. Paul's Dance 2.19
    1. Oscar Tango 3.20
    2. Music for a Found Harmonium 3:18
    3. Isle of View Music for Helicopter Pilots 4.39
    4. Prelude and Yodel 3.56
    5. Dirt 5.27
    6. Giles Farnaby's Dream 4.13

    Paul Street – Cuatro
    Simon Jeffes – Guitar
    Neil Rennie – Ukulele
    Steve Nye – Electric Piano, Harmonium
    Bob Loveday – Violin
    Geoffrey Richardson – Viola
    Helen Liebmann – Cello
    Ian Maidman – Percussion
    Julio Segovia - Percussion

    Wiki:
    "When in Rome... is a 1988 live album by the Penguin Cafe Orchestra, and was recorded at The Royal Festival Hall, London, on the 9th of July 1987. It was produced by Simon Jeffes and published by EG Records. The cover painting is by Emily Young."



    When in Rome

    or

    When in Rome


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