| 1. Chow Down |
| 2. Long Cool And Bubbly |
| 3. The Girl Who Was Death |
| 4. How To Steal The World |
| 5. Electric Soup |
| 6. Pony Tail |
| 7. Harry Palmer |
| 8. E-type |
| 9. Skirt Alert |
| 10. Six Plus One |
| 11. Money Is |
| 12. Ten Twenty Eight From Shibuya |
| 13. High Havoc |
| 14. London England |
| 15. The Corduroy Orgasm Club |
| 16. The Frighteners |
| 17. Youre A Great Way To Fly |
| 18. Something In My Eye(Featuring Sherine) |
| 19. Lovely Lonely And Loaded |
| 20. One Born Every Minute |
Editorial Reviews
Product Description
For the first time the acid jazz icon's entire career is anthologised. 40 tracks on two CDs, including all three albums recorded for Acid Jazz, 'Dad Man Cat', 'High Havoc' and 'Out Of Here' along with their two albums for V2/Big Cat, 'The New You!' and 'Klik'. Slimline double jewel case. 2001 release.
It starts brilliantly with the title track but then it's downhill fast, with lack-luster forays into r+b and reggae, rockabilly and jazz. Drifting and meandering all over the place in a vain attempt to find some badly needed cohesion, some sort of direction in among the painfully forced `diversity'.
It's a well known rock truism that Strummer and Jones weren't getting on at the time this was recorded, and you can tell, it sounds like they were in different rooms! It's sad to watch this once-great song-writing team align against each other in such an obvious (and childish!) way. Strummer with his slurry `rocka' pose, and Jones with his toe-curling `Americanisms`.
Strummer didn't recover `til `Combat Rock', and before you start scoffing, compare `Straight to Hell' with ANYTHING on here, and it'll be the stronger song by streets.
Anything with the inexplicably awful `Guns of Brixton' on it, just HAS to suck a big one,(now THERE'S a song worth a giggle or two) along with `This Is Radio Clash', their poorest song in a frustratingly inconsistent canon. (if ever a group's output was justifiably labeled `peaks and troughs' it's the Clash`s.)
If only `London Calling' the album was as good as `London Calling' the song, we would indeed have something special on our hands. As it is, we've got something tired, a bit derivative, and really rather tatty.
`London Calling' was voted the best album of all time in a poll. It's not even the best Clash album.
If you want to call their first go around "Power Trio", "Supergroup", or both you would be correct. Jack Bruce had a voice that could mesmerize a nation and their ability to improvise was nothing short of spectacular. The London subway walls were filled with admiration (Alright it was graffiti) for Eric's solos, Ginger's unique style, and Jack's thunderous bass-lines.
Cream could take the 5 minute tune and even when it reached 18 minutes you still would hang on every note.
The brief reunion tour was a bit different in their approach. You didn't have 20 minute jams and they played the songs closer to what a Derek & The Dominos show would be but to be able to experience the three of them on stage again is well worth the shorter improvisation and less intense solos.
Don't get me wrong. Jack Bruce can be proud of his voice to this day and when you watched him play the bass, men and women half is age feel far inferior. Ginger may have held back a bit on the drums but in no way did he detract from the pure joy of the reunion.
The songs for the most part were what you thought. A fanatic like myself would have liked something out of the blue such as "Those Were The Days" or "What A Bring Down" but I was too busy sitting on top of the world during the festivities.
For the younger fan see why they were "The Cream." For us old folks, we can feel a bit more youthful.
Be well always,
Craig Fenton
Author of the Jefferson Airplane book "Take Me To A Circus Tent"
Still they are head an shoulders above most of the rest and the DVD is a joy and a must have for fans of the band and younger rock aficionados as well.
Eric, with original members Jack Bruce and Ginger Baker performing like the superstars of old, rock the Albert Hall to the delight of thousands who were fortunate enough to be there. For us, the unlucky, this great 2 DVD Set can be ordered, and when played on a surround sound/ big screen system, this show comes alive. With outstanding editing, a high quality soundtrack, excellant near HD quality picture, this concert is at the top of my top ten list. This DVD sets the standard for outstanding music DVD videos.
These really are songs to learn and sing!
Deep vocals of Ian McCullough are strong and the lyrics are catchy such as Do It Clean which is still playing in my mind.
Highlights include:
"The Killing Moon"
the rest are good or decent.
ian mcculloch proved to be the perfect frontman -- the trademark haircut, the trenchcoat, the voice that threated to crack at any second, the enigmatic persona. while not a truly gifted vocalist, he never had to be. his raspy voice is ideally suited to the music. much of the bunnymen's charm lay in their working class roots, settling for less than perfect, slightly gritty production and focusing instead on quality beats and melodies. will sargeant single-handedly ushered in a new guitar movement. his playing was sometimes intrusive in the beginning, but always interesting melodically and sonically as he matured. (and coldplay oughta be paying him royalties for the riffs they've nicked from him.) add to that a more than capable rhythm section (r.i.p., pete), and the bunnymen became one of the most influential rock bands of the last 25 years.
some of the finest bunnymen songs are found here: the oft mentioned 'the killing moon,' 'never stop,' 'the cutter,' 'the rescue,' etc. even now (2005), they sound fresh. every time i play this cd in my car or at home, i'm blown away by how utterly *fantastic* a band they really are--inventive, unique, and ridiculously original; excellent arrangements, flawless melodies, superb musicianship. of course, it always helps to have ian broudie doing the knob-twiddling.
this collection is something of 'greatest hits' that chronicles one of the most important 'post-punk' bands to ever come out of the UK. a must have for any music afficionado.
It is tragic that Anderson and Butler couldn't have remained collegial longer. As a team they perfectly complimented one another. Anderson sold the songs with such passion and sensuality that could perhaps be matched only by Jarvis Cocker during the same period. Though they recorded in the wake of punk, Anderson sounded as if he could have fronted any of the great glam bands of the seventies. As for Butler, did Great Britain produce a greater guitarist in the entire decade? Or even in the decade that followed? Stylistically he always reminded me of someone who listened to a lot of Dave Gilmour before discovering Johnny Marr. The heart of his playing owes a lot to Marr, but the edges are softer and darker, like Gilmour. Though SUEDE and DOG STAR MAN are not often thought of as great guitar albums, they in fact contain some of the most brilliant playing of the last twenty years.
Though the Anderson-Butler version of Suede stayed together only a while, they left us with a string of utterly stunning singles. "So Young," "Animal Nitrate," "The Drowners" (which was a massive hit), "Sleeping Pills," and "Metal Mickey" are all songs that are simply perfect. Though not the most celebrated cut on the album, my favorite Suede song might be "Pantomime Horse," which combines some of Anderson's most passionate singing with some of Butler's most astonishing playing to produce an epic masterpiece.
Anyone who loves music needs this album. I recently was talking to a huge Radiohead fan who incredibly had never heard this album. It is hard to realize if you have been following music for more than a couple of decades how quickly albums move from being "contemporary" to being "classics." But regardless of the label, this is an album anyone not knowing it really needs to own. It is one of the essentials.
assuming that most people reading this are american, you can count yourselves lucky that unless you pored over the nme and the now defunct (yay!) melody maker that you missed said wave of hype. said that, i'm sure you see it happening with other bands even now.
so what of it now. well, like so many others in this demon slaying, it turns out thati was right and suede...weren't very good at all. to whit, a lead singer who sounds like he's got a raw onion shoved up his rectum and a sub-glam sound. and that is that. oh there are one or two interesting moments - 'drowners' starts off with a drum riff similar to simple minds 'boys from brazil' (i'll wait for the suede fans here to check their history, i'll be here a while - it's kinda like a tortoise and hare/ evolutionary curve thing) before descending into a morass of mediocrity. 'moving' is perhaps the only track worth saving - so that's one out of eleven? well done!
if people had seen this album on its release for what it was maybe they'd bugger off and leave us alone. instead the music press (bless their rotten little hearts) conspired to fool the general public into believing something special was going on. meanwhile, yours truly sat here saying "...erm, actually people...these guys suck". oh well.
once more: nothing to see here folks, don't believe the hype.
Next time you pop Suede in your cd player,just try to distance yourself of all the background, all the casual crap that you've been fed to by the press and the media.Try to feel it and forget those retarded pop dinosaurs.This is the delight of the chemical smile...
That is until song six. Just as you are settling down for a good listen - no, a great listen - the band ease off the unpredictable breaks and you get a murky, sodden wall of noise with few highlights.
Buy it for the opening set of five. They've got more punch than most albums collectively. But forget the rest.
much is made of brett anderson's voice. before a decade of cigs and booze reduced it to a shell of its former self, brett's voice was a marvel--undeniably sexy, grand, lush, grandiose, operatic, cinematic and yeah, a pinch nasally. add that to his undeniable good looks and he was the first hero of an about-to-be-revitalized britpop invasion (no, it didn't start with blur or oasis or radiohead--suede were the harbingers). he was, perhaps, the first vocalist in a long while to get the girls AND boys whipped up in a frenzy. brett tackled tough themes and exposed the dark side of the pysche.
bernard was, too, either brett's perfect foil or ideal accomplice. always underappreciated when it comes to the decades great axemen, bernard butler is a virtuoso. contrary to many of his comtemporaries and 99% of today's guitarists, bernard never simply strummed. his riffs were melodic and functioned much as a backing vocalist would. it gave the music an unprecedented depth and uniqueness, something that graham coxon would later employ in blur, at least to some extent (i met his once at virgin megastore--his hands are HUGE).
the album does have a 'slapped-together' feeling to it. this, no doubt, comes from the fact that in the beginning suede was very much a singles band, just as franz ferdinand is now. that looseness, however, gives the album its danger and excitement. concept albums be damned--'suede' was about the three-minute, fist-in-the air anthem--a three-minute high that echoed one of the album's dirty druggie undertones.
the album's singles, 'the drowners,' 'metal mickey,' 'animal nitrate,' and 'so young,' are benchmarks of the britpop era. add to the album another dozen or so b-sides (most notably 'to the birds' and 'my insatiable one) that were better than most other bands 'A' material, and you had a band that was everything a great band should be. mat osman and simon gilbert don't often receive their proper credit, but they are both fantastic musicians. any great band needs a great rhythm section to let the more flamboyant guitarists and vocalists do their thing and mat and simon, in this regard, though in the background, were vital ingredients in the suede army.
'suede' was a lift-altering experience for this listener and even when i listen to the album these days (and as i'm doing now), it reminds me of a different time and a different place--a time when a band was truly unpredictable and never failed to surprise me.
Thanks for the reuniting of this great group! It's really a trip to be able to finally see one of my early hero's live, since I never had the chance to see Argent live in concert.
By the way, if you really like Rod Argent, look for "Red House". It's quite a departure of his "fury on the organ", more laid back and introspective, yet shows his talent as a composure.
JLMankin
"Live at Bloomsbury Theatre" celebrates the reunion of Rod Argent with vocalist Colin Blunstone. Technically, they alone cannot represent a reforming of the Zombies, since songwriter/vocalist Chris White has always been an integral part of the band. His absence is felt, but after so much time, it's nice to hear these tunes, even without White's crucial input. The CD is a generous 2-disk set containing 25 songs, while the DVD pairs the song selection down to a less unwieldy 15 tracks. The editing is a good thing, allowing the video to hold the viewer's interest significantly better than the CD collection. All of the major hits are here, including Argent's best-known solo work, such as "Hold Your Head Up" and "God Gave Rock and Roll to You." The performances are admirably executed, often utilizing a string section to augment that standard rock and roll configuration of the actual band. Argent sounds great and Blunstone is in fine voice throughout. In summation, "Live at the Bloomsbury" is a fine but faulted collection, never quite transcending its aura of nostalgia, while glossing over the absence of Chris White. B Tom Ryan
But I wouldn't insult the band by calling them derivative; after all, you can't riff on XTC without having the ability to write a catchy tune. On songs like "Decent Days and Nights" and "Meantime:," the Futureheads show they have a knack for songwriting. There are missteps; "Danger of the Water" and "The City Is Here for You..." are too ambitious by half, but again, you can't fault them for aiming high. So I'll admit that I'm rating this CD a little bit higher based on the band's potential and moxie.
SIDELIGHT: In the true spirit of New Wave pop music, most of the songs here clock in at just over two minutes. The band's magnum opus, "He Knows," is 3:14.
Highlights include:
the entire album!
This is one of those albums that sounds like one long single rather than several separate songs; it's very difficult to distinguish one song from the next (except for "Stupid and Shallow", which is just that). And the fact that they breeze through fifteen tracks in 35 minutes shows a lack of substance. This album from the Futureheads might suit indie rock purists well, but I personally think they need a little more variety in their material.
Anthony Rupert
All nine of Vaughan William's symphonies are included here along with four bonus pieces, the Concerto Accademico for Violin, the Bass Tuba Concerto, "Three Portraits from the England of Elizabeth" and the overture for the stage play "The Wasps".
Conductor Andre Previn definitely brings these works to life in a mighty way. The "Sea Symphony" is a real standout with its beautiful choral arrangements and orchestrations. Other standouts are the "Pastoral" third symphony and the dramatic Stravinsky-esque fourth symphony.
Indeed, all of the music here is something special and I'm very satisfied to have this set as my introduction to the music of Ralph Vaughan Williams.
Like other reviewers have stated here, this is definitely a must-have collection and I can't think of a better way to start a Vaughan Williams library than with this.
A small footnote: After listening to the first movement of "A Sea Symphony", it may be quite possible that John Lennon sampled a small section of it for "Revolution 9" on the Beatles' White Album. The section in question occurs roughly 12 minutes into the first movement. It's very brief but it immediately stuck out once it was heard.
André Previn has chosen some of the very finest of RVWs works to record on this set and for me this is his greatest testament as a conductor. His sheer (and somewhat amazing in itself as a jazz musician) love for RVWs music comes out tops here. A great recording and an absolutely tremendous bargain.
For the first time the acid jazz icon's entire career is anthologised. 40 tracks on two CDs, including all three albums recorded for Acid Jazz, 'Dad Man Cat', 'High Havoc' and 'Out Of Here' along with their two albums for V2/Big Cat, 'The New You!' and 'Klik'. Slimline double jewel case. 2001 release.
London England,Corduroy,Castle Music UK,Dance,Pop,Popular Music,Punk,Rock
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London Calling
The Clash Manufacturer: Sony ProductGroup: Music Binding: Audio CD  General
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ASIN: B00004BZ0N Release Date: 2000-01-25 |
Tracks:
- London Calling
- Brand New Cadillac
- Jimmy Jazz
- Hateful
- Rudie Can't Fail
- Spanish Bombs
- The Right Profile
- Lost In The Supermarket
- Clampdown
- The Guns Of Brixton
- Wrong 'Em Boyo
- Death Or Glory
- Koka Kola
- The Card Cheat
- Lover's Rock
- Four Horsemen
- I'm Not Down
- Revolution Rock
- Train In Vain
Album Description
Digitally remastered from the original production master tapes, this a reissue of the 1979 & third album by 'the only band that matters'. Features the original artwork and all 19 of the original tracks, including the hidden hit 'Train In Vain (Stand By Me)', their first U.S. single to chart (it reached #23 at the time). Also contains reproductions of the original LP sleeves, including the lyrics. 1999 release.Album Details
Limited Millennium Edition. Packed in a Heavy Weight Card Wallet that Faithfully Recreates the Original Vinyl Sleeve, Right Down to the Inner Bag. The Wallet Will Come in a Plastic Cover.Amazon.com essential recording
Bursting at the seams with creative energy, the Clash's stunning 1979 double album more than made up for the artistic and commercial disappointment of its predecessor, 1978's tried-too-hard Give 'Em Enough Rope. With ex-Mott the Hoople producer Guy Stevens harnessing their sound as never before, the band yielded what proved to be the best work of their career. Bouncing from hard rock (the apocalyptic vision of the title track) to rockabilly ("Brand New Cadillac") to reggae ("Rudy Can't Fail") to pop (the Top 40 hit "Train in Vain"), the Clash knocked down all musical walls and, in the process, ended the argument over punk's viability in the U.S. --Billy AltmanCustomer Reviews:
The Clash's best album!!!........2007-07-26
Clash City Shocker.......2007-07-17
It starts brilliantly with the title track but then it's downhill fast, with lack-luster forays into r+b and reggae, rockabilly and jazz. Drifting and meandering all over the place in a vain attempt to find some badly needed cohesion, some sort of direction in among the painfully forced `diversity'.
It's a well known rock truism that Strummer and Jones weren't getting on at the time this was recorded, and you can tell, it sounds like they were in different rooms! It's sad to watch this once-great song-writing team align against each other in such an obvious (and childish!) way. Strummer with his slurry `rocka' pose, and Jones with his toe-curling `Americanisms`.
Strummer didn't recover `til `Combat Rock', and before you start scoffing, compare `Straight to Hell' with ANYTHING on here, and it'll be the stronger song by streets.
Anything with the inexplicably awful `Guns of Brixton' on it, just HAS to suck a big one,(now THERE'S a song worth a giggle or two) along with `This Is Radio Clash', their poorest song in a frustratingly inconsistent canon. (if ever a group's output was justifiably labeled `peaks and troughs' it's the Clash`s.)
If only `London Calling' the album was as good as `London Calling' the song, we would indeed have something special on our hands. As it is, we've got something tired, a bit derivative, and really rather tatty.
`London Calling' was voted the best album of all time in a poll. It's not even the best Clash album.
EVERY PERSON SHOULD HAVE THIS ALBUM.......2007-07-04
The Clash's greatest album, and one of rock's most enduring masterpieces...........2007-07-02
Every Wannabe Rock & Roller Should Own This.......2007-06-05
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The Singles
The Pretenders Manufacturer: Sire / London/Rhino ProductGroup: Music Binding: Audio CD General
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ASIN: B000002LD7 Release Date: 1990-10-25 |
Tracks:
- Stop Your Sobbing
- Kid
- Brass In Pocket
- Talk Of The Town
- I Go To Sleep
- Day After Day
- Message Of Love
- Back On The Chain Gang
- Middle Of The Road
- 2,000 Miles
- Show Me
- Thin Line Between Love And Hate
- Don't Get Me Wrong
- Hymn To Her
- My Baby
- I Got You Babe
Amazon.com
Ignoring the "Precious" side of Chrissie Hynde's rocking and writing, The Singles still captures a good bit of what was special about her in the '80s. Bopping assertions of strength ("Brass in Pocket"), wistful dreaminess ("Talk of the Town"), flat-out weepers ("2000 Miles"), her tough-mom attitude ("Middle of the Road")--the many sides of her seven-inches are generously surveyed herein. --Rickey WrightCustomer Reviews:
Don't pretend.......2007-07-06
Love the music.......2007-06-16
Mellow, Dramatic, and Rockin' Chrissie.......2007-01-29
Pretenders Deliver the Hits.......2006-08-25
I'd probably have bought the greatest hits if I had known it was available.......2006-05-30
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Royal Albert Hall: London May 2-3-5-6 2005
Cream Manufacturer: Reprise / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B000AYEIZY Release Date: 2005-10-04 |
Tracks:
- I'm So Glad
- Spoonful
- Outside Woman Blues
- Pressed Rat & Warthog
- Sleepy Time Time
- N.S.U.
- Badge
- Politician
- Sweet Wine
- Rollin' & Tumblin'
- Stormy Monday
- Deserted Cities of the Heart
- Born Under A Bad Sign
- We're Going Wrong
- Crossroads
- Sitting On Top of the World
- White Room
- Toad
- Sunshine of Your Love
Amazon.com
After a 37 year absence Cream reformed in May 2005 for a series of concerts at the Royal Albert Hall, the stage of their last UK performance. As befitting a trio whose focus was always squarely on the music, they emerge to no fanfare, briefly test their instruments and launch into the perfectly apt "I'm So Glad." Drawing from each of their four studio albums, they revisit the songs for their inherent resonance and as a springboard for their instrumental interplay. There's no need to update the material, as it all still fits each of the three men like a thousand dollar suit. Bruce's vocals still soar with operatic bearing, Clapton sounds energized, freed from the production cushioning on his own recordings, and Baker, now in his mid-sixties, can still dazzle with his solo turn on "Toad." --David GreenbergerAlbum Description
Cream, the legendary band of Ginger Baker, Jack Bruce and Eric Clapton, performed for the first time in 37 years in May 2005. One of the most highly anticipated reunions in rock, the concert at London's Royal Albert Hall-where the band played its farewell show November 26, 1968-returned to the stage the trio that forever changed rock 'n' roll. Now the best of those historic peformances are available on Royal Albert Hall London May 2-3-5-6 2005. This is classic Classic Rock. A companion DVD is being released utilizing different takes of the same tracks.Customer Reviews:
I'm So Glad It Happened.......2007-05-27
If you want to call their first go around "Power Trio", "Supergroup", or both you would be correct. Jack Bruce had a voice that could mesmerize a nation and their ability to improvise was nothing short of spectacular. The London subway walls were filled with admiration (Alright it was graffiti) for Eric's solos, Ginger's unique style, and Jack's thunderous bass-lines.
Cream could take the 5 minute tune and even when it reached 18 minutes you still would hang on every note.
The brief reunion tour was a bit different in their approach. You didn't have 20 minute jams and they played the songs closer to what a Derek & The Dominos show would be but to be able to experience the three of them on stage again is well worth the shorter improvisation and less intense solos.
Don't get me wrong. Jack Bruce can be proud of his voice to this day and when you watched him play the bass, men and women half is age feel far inferior. Ginger may have held back a bit on the drums but in no way did he detract from the pure joy of the reunion.
The songs for the most part were what you thought. A fanatic like myself would have liked something out of the blue such as "Those Were The Days" or "What A Bring Down" but I was too busy sitting on top of the world during the festivities.
For the younger fan see why they were "The Cream." For us old folks, we can feel a bit more youthful.
Be well always,
Craig Fenton
Author of the Jefferson Airplane book "Take Me To A Circus Tent"
Excellent production; generous selection of tunes.......2007-04-24
Still they are head an shoulders above most of the rest and the DVD is a joy and a must have for fans of the band and younger rock aficionados as well.
Best Classic Rock DVD EVER!.......2007-04-09
Eric, with original members Jack Bruce and Ginger Baker performing like the superstars of old, rock the Albert Hall to the delight of thousands who were fortunate enough to be there. For us, the unlucky, this great 2 DVD Set can be ordered, and when played on a surround sound/ big screen system, this show comes alive. With outstanding editing, a high quality soundtrack, excellant near HD quality picture, this concert is at the top of my top ten list. This DVD sets the standard for outstanding music DVD videos.
Very Disappointed.......2007-03-28
the best power group ever.......2007-03-14
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London 0 Hull 4
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ASIN: B000002H3Z Release Date: 1990-10-25 |
Tracks:
- Happy Hour
- Get Up Off Our Knees
- Flag Day
- Anxious
- Reverends Revenge
- Sitting On A Fence
- Sheep
- Over There
- Think For A Minute
- We're Not Deep
- Lean On Me
- Freedom
- I'll Be Your Shelter (Just Like A Shelter)
- People Get Ready
- The Mighty Ship
- He Ain't Heavy, He's My Brother
Amazon.com
The band whose alumni went on to both the Beautiful South and (improbably) Fatboy Slim was a lot more like the former. Paul Heaton's laconic songs are nicely groomed and innocuous-sounding, with a happy jangle and rich harmonies (the group's interest in gospel extends to technique as well as sentiment), but there is a dryly vicious sense of humor lurking inside them--"Sheep" flips a familiar religious image on its back and leaves its legs waving in the air. London 0 Hull 4, the band's first album, is full of cheerful, taut little tunes about failures of the spirit, barstool sexism, and thermonuclear Armageddon--not to mention love of humanity, which underscored the fact that they weren't just nihilists, they actually cared. --Douglas WolkCustomer Reviews:
Astounding work of staggering genius :).......2007-06-23
House Martins..what have you done for me latley?.......2006-11-10
Loved this one - but was disappointed with later releases.......2006-09-07
Don't let their cuddly exterior fool you........2003-06-06
The Housemartins remain my favorite "80s Nerd Alternative" band and will never go out of style in my house. I was reading Ayn Rand and Nietzsche while I was listening to "Get Up Off Our Knees", and the combined effect has lasted well into my adulthood.
I originally owned this on cassette, and the CD includes several bonus tracks that make it worth every penny paid - most notably, the gospel/a capella rendition of "He Ain't Heavy, He's My Brother" that never fails to bring a tear to my eye while I'm belting along with it in the car. It's on tracks like "Heavy" that P.D. Heaton and his bandmates redeem themselves for the conniving way they've driving socialism deep into your brain with their pop hooks. At their core, the Housemartins are not about politics, they're about people, and their affection for humanity must be the root of the beautiful harmonies and charming pop melodies that put this album in my top 5 of all time.
Pure Pop.......2001-11-21
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Songs to Learn and Sing
Echo & the Bunnymen Manufacturer: Sire / London/Rhino ProductGroup: Music Binding: Audio CD General
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ASIN: B000002L8T Release Date: 1990-10-25 |
Tracks:
- Rescue
- The Puppet
- Do It Clean
- A Promise
- The Back Of Love
- The Cutter
- Never Stop
- The Killing Moon
- Silver
- Seven Seas
- Bring On The Dancing Horses
Amazon.com
Songs to Learn and Sing is a staple in the collection of post-new-wave rock. It was an era when the term progressive had just replaced the word alternative to describe music that was just too cool for American radio. This album is a compilation of Echo and the Bunnymen's British chart toppers from 1980 to 1985. The only song on this album that received attention beyond the band's cult following was "Bring on the Dancing Horses," made famous by its inclusion in the Pretty in Pink soundtrack. Echo and the Bunnymen are a tinny, twangy, ever-so-slightly-out-of-tune guitar band. What lead singer Ian McCulloch lacked in vocal range he made up for by embracing his comfort zone with full-force cracking, emotional yelps. A distinctive, recognizable sound, even to the barely initiated, this album marks an era yet is so enjoyable, it remains proudly timeless. --Beth BessmerCustomer Reviews:
OH! you will.......2006-03-09
Worth another listen.......2006-03-09
These really are songs to learn and sing!
Deep vocals of Ian McCullough are strong and the lyrics are catchy such as Do It Clean which is still playing in my mind.
Merely a "good" collection of Echo songs - it's not the best stuff ever, but it's still pretty decent.......2006-01-10
Highlights include:
"The Killing Moon"
the rest are good or decent.
The Most Underrated Band in History. .......2006-01-04
a must have..........2005-09-01
ian mcculloch proved to be the perfect frontman -- the trademark haircut, the trenchcoat, the voice that threated to crack at any second, the enigmatic persona. while not a truly gifted vocalist, he never had to be. his raspy voice is ideally suited to the music. much of the bunnymen's charm lay in their working class roots, settling for less than perfect, slightly gritty production and focusing instead on quality beats and melodies. will sargeant single-handedly ushered in a new guitar movement. his playing was sometimes intrusive in the beginning, but always interesting melodically and sonically as he matured. (and coldplay oughta be paying him royalties for the riffs they've nicked from him.) add to that a more than capable rhythm section (r.i.p., pete), and the bunnymen became one of the most influential rock bands of the last 25 years.
some of the finest bunnymen songs are found here: the oft mentioned 'the killing moon,' 'never stop,' 'the cutter,' 'the rescue,' etc. even now (2005), they sound fresh. every time i play this cd in my car or at home, i'm blown away by how utterly *fantastic* a band they really are--inventive, unique, and ridiculously original; excellent arrangements, flawless melodies, superb musicianship. of course, it always helps to have ian broudie doing the knob-twiddling.
this collection is something of 'greatest hits' that chronicles one of the most important 'post-punk' bands to ever come out of the UK. a must have for any music afficionado.
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Suede
London Suede Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
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ASIN: B00000294L Release Date: 1993-04-06 |
Tracks:
- So Young
- Animal Nitrate
- She's Not Dead
- Moving
- Pantomime Horse
- The Drowners
- Sleeping Pills
- Breakdown
- Metal Mickey
- Animal Lover
- The Next Life
Amazon.com
Spelling the end of Happy Mondays laddishness, Suede were a southern Smiths transported back to the era of Ziggy Stardust. Their songs were vignettes of sad suburban dreamers, set to chords that came straight from the David Bowie songbook. Singer Brett Anderson exhumed Bowie's feyest Anthony Newley voice, while guitarist Bernard Butler took a major leaf out of the Johnny Marr simultaneous-lead-and-rhythm book, underpinning Anderson's wan languor with a gritty verve. "The Drowners" was a glam classic, and "Metal Mickey" as poutingly punky as any of the great T. Rex singles. --Barney HoskynsCustomer Reviews:
Easily one of the ten greatest albums of the nineties.......2007-04-01
It is tragic that Anderson and Butler couldn't have remained collegial longer. As a team they perfectly complimented one another. Anderson sold the songs with such passion and sensuality that could perhaps be matched only by Jarvis Cocker during the same period. Though they recorded in the wake of punk, Anderson sounded as if he could have fronted any of the great glam bands of the seventies. As for Butler, did Great Britain produce a greater guitarist in the entire decade? Or even in the decade that followed? Stylistically he always reminded me of someone who listened to a lot of Dave Gilmour before discovering Johnny Marr. The heart of his playing owes a lot to Marr, but the edges are softer and darker, like Gilmour. Though SUEDE and DOG STAR MAN are not often thought of as great guitar albums, they in fact contain some of the most brilliant playing of the last twenty years.
Though the Anderson-Butler version of Suede stayed together only a while, they left us with a string of utterly stunning singles. "So Young," "Animal Nitrate," "The Drowners" (which was a massive hit), "Sleeping Pills," and "Metal Mickey" are all songs that are simply perfect. Though not the most celebrated cut on the album, my favorite Suede song might be "Pantomime Horse," which combines some of Anderson's most passionate singing with some of Butler's most astonishing playing to produce an epic masterpiece.
Anyone who loves music needs this album. I recently was talking to a huge Radiohead fan who incredibly had never heard this album. It is hard to realize if you have been following music for more than a couple of decades how quickly albums move from being "contemporary" to being "classics." But regardless of the label, this is an album anyone not knowing it really needs to own. It is one of the essentials.
the emperor's new clothes.......2006-12-21
assuming that most people reading this are american, you can count yourselves lucky that unless you pored over the nme and the now defunct (yay!) melody maker that you missed said wave of hype. said that, i'm sure you see it happening with other bands even now.
so what of it now. well, like so many others in this demon slaying, it turns out thati was right and suede...weren't very good at all. to whit, a lead singer who sounds like he's got a raw onion shoved up his rectum and a sub-glam sound. and that is that. oh there are one or two interesting moments - 'drowners' starts off with a drum riff similar to simple minds 'boys from brazil' (i'll wait for the suede fans here to check their history, i'll be here a while - it's kinda like a tortoise and hare/ evolutionary curve thing) before descending into a morass of mediocrity. 'moving' is perhaps the only track worth saving - so that's one out of eleven? well done!
if people had seen this album on its release for what it was maybe they'd bugger off and leave us alone. instead the music press (bless their rotten little hearts) conspired to fool the general public into believing something special was going on. meanwhile, yours truly sat here saying "...erm, actually people...these guys suck". oh well.
once more: nothing to see here folks, don't believe the hype.
Won't someone give me a gun?!.......2006-10-17
Next time you pop Suede in your cd player,just try to distance yourself of all the background, all the casual crap that you've been fed to by the press and the media.Try to feel it and forget those retarded pop dinosaurs.This is the delight of the chemical smile...
Remarkable beginning, forgettable finish.......2006-10-07
That is until song six. Just as you are settling down for a good listen - no, a great listen - the band ease off the unpredictable breaks and you get a murky, sodden wall of noise with few highlights.
Buy it for the opening set of five. They've got more punch than most albums collectively. But forget the rest.
it moved my life in a new direction.......2006-08-15
much is made of brett anderson's voice. before a decade of cigs and booze reduced it to a shell of its former self, brett's voice was a marvel--undeniably sexy, grand, lush, grandiose, operatic, cinematic and yeah, a pinch nasally. add that to his undeniable good looks and he was the first hero of an about-to-be-revitalized britpop invasion (no, it didn't start with blur or oasis or radiohead--suede were the harbingers). he was, perhaps, the first vocalist in a long while to get the girls AND boys whipped up in a frenzy. brett tackled tough themes and exposed the dark side of the pysche.
bernard was, too, either brett's perfect foil or ideal accomplice. always underappreciated when it comes to the decades great axemen, bernard butler is a virtuoso. contrary to many of his comtemporaries and 99% of today's guitarists, bernard never simply strummed. his riffs were melodic and functioned much as a backing vocalist would. it gave the music an unprecedented depth and uniqueness, something that graham coxon would later employ in blur, at least to some extent (i met his once at virgin megastore--his hands are HUGE).
the album does have a 'slapped-together' feeling to it. this, no doubt, comes from the fact that in the beginning suede was very much a singles band, just as franz ferdinand is now. that looseness, however, gives the album its danger and excitement. concept albums be damned--'suede' was about the three-minute, fist-in-the air anthem--a three-minute high that echoed one of the album's dirty druggie undertones.
the album's singles, 'the drowners,' 'metal mickey,' 'animal nitrate,' and 'so young,' are benchmarks of the britpop era. add to the album another dozen or so b-sides (most notably 'to the birds' and 'my insatiable one) that were better than most other bands 'A' material, and you had a band that was everything a great band should be. mat osman and simon gilbert don't often receive their proper credit, but they are both fantastic musicians. any great band needs a great rhythm section to let the more flamboyant guitarists and vocalists do their thing and mat and simon, in this regard, though in the background, were vital ingredients in the suede army.
'suede' was a lift-altering experience for this listener and even when i listen to the album these days (and as i'm doing now), it reminds me of a different time and a different place--a time when a band was truly unpredictable and never failed to surprise me.
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Live in London
Rod Stewart , and Faces Manufacturer: Immortal ProductGroup: Music Binding: Audio CD General
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ASIN: B000R3K0QE Release Date: 2007-06-04 |
Tracks:
- It's All Over Now
- Take a Look at the Guy
- Bring It on Home to Me
- You Send Me
- Sweet Little Rock 'N' Roller
- I'd Rather Go Blind
- Angel
- I Can Feel the Fire
- You Can Make Me Dance, Sing or Anything
- Twistin' the Night Away
- You War It Well
- Maggie May
Album Details
By 1975, Rod Stewart's Solo Career Had Blossomed So Well that it was Inevitable that He Would Depart Faces for Greener Pastures to Build on his Personal Success. As the Band Grew Apart and the Inevitable Apparent, the Group Toured the World in 1975 on their Farewell Tour. This Disc Captures a Key Moment of Rock History When the British Blues Rock Scene Lost It's Final Superstar Band. The Onstage Chemistry of These Musicians was Simply a Magical Good Time for all and Provided Some of Most Memorable Moments in Rock History. Includes a Special Guest Appearance by Ron Wood's Future Bandmate Keith Richards!
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Live at the Bloomsbury Theatre, London
The Zombies Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B000LV6RG4 Release Date: 2007-04-03 |
Tracks:
- Andorra
- This Will Be Our Year
- I Love You
- What Becomes Of The Broken Hearted
- Mystified
- A Rose For Emily
- Beechwood Park
- Time Of The Season
- I Want To Fly
- In My Mind A Miracle
- Keep On Rolling
- Hold Your Head Up
Tracks:
- Sanctuary
- Pleasure
- Say You Don't Mind
- Misty Roses
- I Don't Believe In Miracles
- Old & Wise
- Care Of Cell 44
- Indication
- Tell Her No
- She's Not There
- Just Out Of Reach
- God Gave Rock 'N Roll To You
- Summertime
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Their Odessey and Oracle is considered a pop classic, but unfortunately the Zombies had disbanded by the record's 1968 release. Four decades later, eternal versions of that album's "This Will Be Our Year," "A Rose for Emily," "Beechwood Park," "Care of Cell 44," and "Time of the Season" make this 25-song live reunion of founding members Colin Blunstone and Rod Argent worth the effort. Though no other Zombie was aboard for the 2004 project (including underrated guitarist/vocalist Chris White), Argent's burning keyboards, Blunstone's inimitable voice, and skilled backing musicians assure that the entire band receives its due, particularly on the Odessey selections and nuggets from the singles collection, including Argent's "Tell Her No" and "Indication," Blunstone's "Just Out of Reach," and White's "I Love You." The harmonic backing vocals that littered the Zombies catalog are astoundingly intact, with only the occasional ramble into Argent's eponymous post-Zombies band (remember "Hold Your Head Up"?) left to clutter the sequencing. (A 16-song DVD of performances from the Bloomsbury Theatre show is also available, including multiple camera angles, immaculate sound, and four of the CD's five Odessey and Oracle numbers.) --Scott HolterAlbum Description
Captured live in the West End of London at the famed Bloomsbury Theatre, this 2005 concert brings the house down with an empeccably recorded program of timeless Zombie hits, Argent classics, solo Blunstone gems, and more!Customer Reviews:
The Return of the Zombies.......2007-06-28
Thanks for the reuniting of this great group! It's really a trip to be able to finally see one of my early hero's live, since I never had the chance to see Argent live in concert.
By the way, if you really like Rod Argent, look for "Red House". It's quite a departure of his "fury on the organ", more laid back and introspective, yet shows his talent as a composure.
JLMankin
Excellent glimpse of one of the greatest bands of the 60s........2007-06-09
Nice to Hear Them Again, but Where Is Chris White?.......2007-05-25
"Live at Bloomsbury Theatre" celebrates the reunion of Rod Argent with vocalist Colin Blunstone. Technically, they alone cannot represent a reforming of the Zombies, since songwriter/vocalist Chris White has always been an integral part of the band. His absence is felt, but after so much time, it's nice to hear these tunes, even without White's crucial input. The CD is a generous 2-disk set containing 25 songs, while the DVD pairs the song selection down to a less unwieldy 15 tracks. The editing is a good thing, allowing the video to hold the viewer's interest significantly better than the CD collection. All of the major hits are here, including Argent's best-known solo work, such as "Hold Your Head Up" and "God Gave Rock and Roll to You." The performances are admirably executed, often utilizing a string section to augment that standard rock and roll configuration of the actual band. Argent sounds great and Blunstone is in fine voice throughout. In summation, "Live at the Bloomsbury" is a fine but faulted collection, never quite transcending its aura of nostalgia, while glossing over the absence of Chris White. B Tom Ryan
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The Futureheads
The Futureheads Manufacturer: Sire / London/Rhino ProductGroup: Music Binding: Audio CD General
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ASIN: B00049QKDI Release Date: 2004-10-26 |
Tracks:
- Le Garage
- Robot
- A to B
- Decent Days and Nights
- Meantime
- Almsa
- Danger of the Water
- Carnival Kids
- City is Here For You To Use, The
- First Day
- He Knows
- Stupid and Shallow
- Trying Not to Think About Time
- Hounds of Love
- Man Ray
Amazon.com
Like compatriots Franz Ferdinand , the Futureheads play a dazzling power pop that's impossible to sit still to. This British quartet's rambunctious long-playing debut showcases choice art school tastes ca. 2004: Their sound's strongly influenced by the herky-jerky pop of early XTC, the album was produced by the Gang of Four's Andy Gill, one of the songs is called "Man Ray" (dada and surrealism are perennial hits with undergrads), while one of the best tunes is a well-placed cover of Kate Bush's "Hounds of Love." These retro ingredients would result in trendy mush in most hands, but the 'heads' songs are strange, melodic and almost as original as the artists they brazenly borrow from. With intricately woven vocal harmonies that almost recall jubilee-era gospel (really), excellently sparse production, and a sproing-oing guitar sound that's to die for, the Futureheads' snappy songs are not likely to go stale as quickly as your electroclash favorites did. --Mike McGonigalAlbum Description
England's Futureheads may be one of the first real punk bands to emerge in many years. With an arsenal of blisteringly fast, great songs, a strident artiness, and so much youth, their trajectory should be unstoppable.Customer Reviews:
Angular, Edgy Retro-Pop.......2006-07-31
But I wouldn't insult the band by calling them derivative; after all, you can't riff on XTC without having the ability to write a catchy tune. On songs like "Decent Days and Nights" and "Meantime:," the Futureheads show they have a knack for songwriting. There are missteps; "Danger of the Water" and "The City Is Here for You..." are too ambitious by half, but again, you can't fault them for aiming high. So I'll admit that I'm rating this CD a little bit higher based on the band's potential and moxie.
SIDELIGHT: In the true spirit of New Wave pop music, most of the songs here clock in at just over two minutes. The band's magnum opus, "He Knows," is 3:14.
Joyful and energetic, this is POP!.......2006-03-21
Good post-punk, but far from classic - genre fans will be satisfied.......2006-01-14
Highlights include:
the entire album!
The Futureheads induce the scratching heads.......2006-01-01
This is one of those albums that sounds like one long single rather than several separate songs; it's very difficult to distinguish one song from the next (except for "Stupid and Shallow", which is just that). And the fact that they breeze through fifteen tracks in 35 minutes shows a lack of substance. This album from the Futureheads might suit indie rock purists well, but I personally think they need a little more variety in their material.
Anthony Rupert
Impossible to resist (4.5 Stars).......2005-10-12
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Vaughan Williams: The Nine Symphonies
Manufacturer: RCA ProductGroup: Music Binding: Audio CD Vaughan Williams, Ralph
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ASIN: B00011MK74 Release Date: 2004-03-09 |
Tracks:
- A Song For All Seas, All Ships - Andante Maestoso - London Symphony Chorus
- On The Beach At Night, Alone - Largo Sostenuto - London Symphony Chorus
- Scherzo: The Waves - Allegro Brillante - London Symphony
- The Explorers - Grave E Molto Adagio - London Symphony Chorus
Tracks:
- Lento: Allegro Risoluto
- Lento
- Scherzo (Nocturne)
- Andante Con Moto; Maestoso Alla Marcia; Allegro; Lento; Epilogue
- Allegro Pesante - James Oliver Buswell IV
- Adagio - James Oliver Buswell IV
- Presto - James Oliver Buswell IV
- Overture
Tracks:
- Molto Moderato - Douglas Cummings
- Lento Moderato - Douglas Cummings
- Moderato Pesante - Douglas Cummings
- Lento - Douglas Cummings
- Allegro
- Andante Moderato
- Scherzo: Allegro Molto
- Finale Con Epilogo Fugato: Allegro Molto
Tracks:
- Preludio: Moderato
- Scherzo: Prestso
- Romanza: Lento
- Passacaglia: Moderato
- Explorer
- Poet
- Queen
- Allegro Moderato - John Fletcher
- Romanza: Andante Sostenuto - John Fletcher
- Finale: Rondo Alla Tedesca - John Fletcher
Tracks:
- Allegro
- Moderato
- Scherzo: Allegro Vivace
- Epilogue: Moderato
- Moderato Maestoso
- Andante Sostenuto
- Scherzo: Allegro Pesante
- Andante Tranquillo
Tracks:
- Spoken Introduction - The Ambrosian Singers
- Prelude: Andante Maestoso - The Ambrosian Singers
- Spoken Introduction - The Ambrosian Singers
- Scherzo: Moderato; Poco Animato - The Ambrosian Singers
- Spoken Introduction - The Ambrosian Singers
- Landscape: Lento - The Ambrosian Singers
- Spoken Introduction - The Ambrosian Singers
- Intermezzo: Andante Sostenuto - The Ambrosian Singers
- Spoken Introduction - The Ambrosian Singers
- Epilogue: Alla Marcia Moderato (Ma Non Troppo) - The Ambrosian Singers
- Fantasia (Variazioni Senza Tema)
- Scherzo Alla Marcia (Per Stromenti A Fiato)
- Cavatina (Per Stromenti Ad Arco)
- Toccata
Customer Reviews:
A Great First Buy on Ralph Vaughan Williams........2007-06-05
All nine of Vaughan William's symphonies are included here along with four bonus pieces, the Concerto Accademico for Violin, the Bass Tuba Concerto, "Three Portraits from the England of Elizabeth" and the overture for the stage play "The Wasps".
Conductor Andre Previn definitely brings these works to life in a mighty way. The "Sea Symphony" is a real standout with its beautiful choral arrangements and orchestrations. Other standouts are the "Pastoral" third symphony and the dramatic Stravinsky-esque fourth symphony.
Indeed, all of the music here is something special and I'm very satisfied to have this set as my introduction to the music of Ralph Vaughan Williams.
Like other reviewers have stated here, this is definitely a must-have collection and I can't think of a better way to start a Vaughan Williams library than with this.
A small footnote: After listening to the first movement of "A Sea Symphony", it may be quite possible that John Lennon sampled a small section of it for "Revolution 9" on the Beatles' White Album. The section in question occurs roughly 12 minutes into the first movement. It's very brief but it immediately stuck out once it was heard.
Vaughan Williams' wonderful music at last..........2007-04-21
André Previn has chosen some of the very finest of RVWs works to record on this set and for me this is his greatest testament as a conductor. His sheer (and somewhat amazing in itself as a jazz musician) love for RVWs music comes out tops here. A great recording and an absolutely tremendous bargain.
Previn & Vaughan Williams: An Excellent Coupling.......2007-01-10
Can't get any better.......2004-07-19
Comprehensive and Impressive Collection.......2004-04-07
Listening to his second symphony, A London Symphony, one hears typical Vaughan Williams-almost entirely melodic in its conception, with lots of diatonic, modal or pentatonic writing, and a touch of chromatic harmony to flavour the melody. It's beautiful, and the music spans a wide emotional gamut from intense introspection to joyous celebration. Only in the 4th Symphony does VW really open himself to a more contrapuntal and dissonant style, and the consequence is that the composition becomes quite reminiscent of Prokofiev or Schostakovich, the two other great Symphonists of the time. Following the 5th Symphony, however, I feel that VW's artistic output suffers. The later pieces, with the exception of the 7th Symphony, Sinfonia Antarctica-based on music he'd composed for the film Scott of the Antarctic--lack the vigor and excitement of the earlier works. They're more introspective, perhaps as befits an older composer, but they don't speak to me as strongly as, say, the later symphonies of Mahler or Schostakovich. Perhaps it is that VW was resistant to change in his basic musical outlook, but by the 1950's, the diatonic/pentatonic ideas he frequented had become increasingly irrelevant. That VW was brilliant and a master craftsman is unquestionable, but he seemed to need new fuel for his compositional fires and was unwilling to consider the atonality of Schoenberg and his followers, the rhythmic vitality of Stravinsky and Bartok, or even the orchestral colours and dramatic juxtapositions of Gustav Mahler. There are still many moments of brilliance, but as a whole the later works move me less.
All of the performances by Andre Previn and the London symphony Orchestra are superb-no one plays this music better. With 9 Symphonies and four other orchestral works-the Concerto Accademico, the Tuba Concerto, the Wasps Overture, and Three Portraits from The England of Elisabeth-this collection is packed with value, and I can scarcely do it justice in the limited room I have. While the Concerto Accademico seems aptly titled and not terribly engaging, the Three Portraits are a gem of VW's work for television. Its worth the price for the first two symphonies and the Sinfonia Antarctica alone, everything else is just gravy--or perhaps I should say, baked beans on toast! All in all, a terrific deal.
Album Review:
- Lounge Deluxe, Vol. 3 [Import]
- Love 2 Dance [Box set]
- Mellow [Extra tracks] [Import]
- Michelangelo in Space: The Bunny Remixes [CD-single]
- Miss E... So Addictive [Clean] [Enhanced]
- More Than Words [Import]
- Motograter [Clean] [Enhanced]
- Nights to Remember [Import]
- Nova Soul: Soul Flavoured Club Tunes
- Nu Balance: Domesticated Drum and Bass
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Back Stage Pass (Live & Rockin') [Live]
Band On The Run [Import] [Original recording remastered]
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Beethoven: Symphony No. 9 in D minor Op.125 'Choral'
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Skip James Live: Bloomington Indiana 30/3/1988 Part 1, Volume 2