| 1. Best Love |
| 2. Love Is a Beautiful Thing |
| 3. Waiting on You |
| 4. What Does It Take |
| 5. Keep on Pushing Love |
| 6. You Are My Everything |
| 7. One Love |
| 8. People in the World (Keep on Lovin' You) |
| 9. Give It Everything |
| 10. Your Love (Is More Than I Ever Hoped For) |
| 11. Fountain of Love |
| 12. Don't Look Back - Al Green, Curtis Stigers |
| 13. Love in Motion - Al Green, Curtis Stigers |
Editorial Reviews
Product Description
Import exclusive 1994 compilation featuring 13 tracks, 'Best Love', 'Love Is A Beautiful Thing', 'Waiting On You', 'What Does It Take', 'Keep On Pushing Love', 'You Are My Everything', 'One Love', 'People In The World', 'Give It Everything', 'Your Love', 'Fountain Of Love', 'Don't Look Back' & 'Love In Motion'.
Oh, I'd be remiss writing about Boston and not mentioning how sad I've been since Brad Delp left this earth. His soaring vocals were as pure, clean and strong as any rock and roll has ever produced. I miss you Brad and wish there would have been another way for you to ease your pain.
As a musician, I like to see growth in the sound of a band, and in the writing. Boston's only lack here, and on their third album, too, is that their sound is so set in stone that there is no growth in this regard. They're stuck. Future albums I've heard are not the same, actually a digression, like de-evolution, going backward. I don't know, haven't heard them.
All I can say is that while the writing is consistent -- a must for my continued interest, the sound remains the same. And that is often a bad thing because people change and the music, and its sound, should reflect that change, be a part of that change.
However, all that said, if you liked the first album, you'll like this one. Only a couple less than great songs are on this effort. Most bands should do this well in their creative processes. I wish they would learn to spend the time necessary to create something worth recording as Boston did, even if it is sonically the same as the first.
Now Boston is one one of my favorite rock'n'roll bands of all time due, in large part, to Tom's guitar theatrics. Actually, that's the wrong word to describe his guitar playing,Jimi Hendrix was theatrical, Tom Scholz is simply magic. I think that his work is too often under-rated, probably because there is so little of it. To me, though, there is simply nothing to compare to the glittering glissandos that he seems to bring forth in effortless endless profusion. Combine the very tight overall musicianship of the band, Brad Delp's unforgettable vocals, and lyrics that still, in many cases, speak as much to the social issues of today as they did when written some thirty years ago, and you have an unbeatable combination.
The melody of "A Man I'll Never Be" is insanely complex for a rock'n'roll song, which is probably why (along with its six and one-half minute length) that it never got very high on the pop music charts. Tom Scholz is all over the frets on his guitar and is coaxing every bit of feeling he can get out of it. When one realizes that he plays no chords throughout this song his mastery of his instrument is truly apparent. He is, to me, in the same class as Eric Clapton, Duane Alman, Gary Moore, and Roger McGuinn when it comes to a short list of the best rock'n'roll guitarists of all time.
But he doesn't do it by himself. Boston was, until their breakup over legal issues with their record label, one of those bands in which each member can be considered a master of his instrument, whether it's Brad Delp and his voice, or Fran Sheehan and his bass, Sib Hashian banging away on the drums , or Barry Goudreau's wonderful rhythm and second lead guitar. Together they were far more than the sum of their parts as one can tell when listening to any of their various solo efforts or work with other bands. It was a magic combination such as happens once in a generation or less.
What makes Boston's music even more special is that the vast majority of what one hears on the albums was composed and performed by just Tom Scholz and Brad Delp. They had little help making their music, except for some lead guitar by Barry Goudreau and drums by Jim Masdea. It wasn't until the first album was sold to CBS that a real band was put together to produce the Boston sound. Thus, the folks playing up on stage are not only playing some of the most complex rock music ever conceived, they played it note perfect every time, so that Boston's live sound was as close to the album sound as it's possible to get.
The remastering that Tom Scholz did for this re-issue is simply remarkable. The richness of Brad Delp's voice on all the songs, but particularly on "A Man I'll Never Be"' has to be heard to be believed. The remix has transformed one of my best-loved Boston songs from a work of art into a true gem of the craft of music-making. Everything about the remix transforms this album and brings the sound alive in a way that one could never experience outside of a Boston concert. In this day of sound alike rap, hip-hop, and techno, the music of Boston stands as a beacon and an example of true muscianship and dedication to one's craft. Would that there was more music of this caliber.
Hooker's music falls into the generation of the R & B bluesmen of the late 1940s who brought the stream of music from the Delta--Johnny Lee being from Clarksdale--to the North, Muddy Waters to Chicago, Johnny Lee to Detroit. Johnny's music, particularly his music from the late 1940s and 1950s when he was popular not among white ex folkies or whites who think they love the blues, but in the Black community, is impossible to understand outside of the context of postwar R & B, not the initial delta blues. The dance rhythm that proceeds from Boogie Chillun, King Snake, Boom Boom Boom, wouldn't have worked in a 1920s Juke Joint. It belongs someplace like Henry's Swing Club where a rockin' rhythm is coming from the attempt to combine the power of swing with the rock of the blues that created R & B in the 1940s.
Hooker was a highly sophisticated musician who developed his own off-shoot from the traditional trajectory of blues artists. Starting with the great female blues stars and Blind Lemon Jefferson, the direction of blues has been to harmonize the essential modal African-based musics of the blues.
Hooker took the music in an entirely different method, by returning to the modal base of the music. To do so he essentially goes away from the tendency of blues musicians to develop the music into a band music. He solves the problem of filling the sound that had become expected without the harmonizing basis for different instruments to work together in a band by technological innovation, not tradition. He was the first bluesman to take full advantage of the ability of electric guitars and amplifiers to do more than make the sound of a guitar louder. He used the settings on guitar, amplified, and recording studio to create a new and different sound, and used the amplification to fill the spaces in the music others would need bands to fill. This decision was really in the vanguard of the electric guitar revolution in blues, rock, country, and all popular music that exploded in the 1950s and has yet to end.
Hooker with accompanying musicians and bands. Some of the best sides came when he was recorded not with other blues players but with some of the top Jazz players in the late 1950s. His modal music, excellent timing, free form improvisation and general cool made his records sell not only among blues players but Jazz lovers back in the day. This speaks to how advanced his rhythmic sense really was. There was also a confluence between Hooker and some of the most advanced Jazz players of the late 1950s and 1960s who sought similar modal solutions to the problems of jazz improvisation.
Get this, and then get everything else Hooker Did. My favorites are the recordings Hooker did in the late 1940s and early 1950s aimed at an R & B audience as well as the sides he did in the 1960s for Vee-Jay a Black owned record company that produced him as a quality artist with great soundwork and free selection of his material. Hooker is really an electric artist, so some of the sides cut during the 1960's "folk revival" where he's made to play an acoustic are kind of an insult to his artistry and history, though like everything Hooker did,they were great music.
Nope. Not even close.
My first exposure to this album was in January 2005, when I finally took the plunge and started expanding my Boston collection (I already had the debut, which I had bought in 2003). I was 16 years old, which is of course a very impressionable age. And, unlike most of my peers, I listened (and still listen) to classic and progressive rock music. So, on a blusteringly cold January evening, I bought 'Don't Look Back' (1978). And I haven't looked back. The memories I forged during that period of my life (I listened to this and 'Third Stage' incessantly for about a month or so) will stay with me forever. That's why I love this album so much.
As I said in my review of the debut, there are those who seem to have a taboo against Boston (I dated one once--it didn't last long). I really can't see where that comes from, considering Boston is not like any of the other AOR bands with which it is usually lumped. The band, the brainchild of MIT graduate and instrumentalist extraordinaire Tom Scholz, pioneered some completely new ground with its eponymous debut album. 'Boston' (1976) has sold, to date, over 17 million copies, which at one time was a record for a debut album (which has since been broken). I feel like I would be repeating myself to recount the whole story of the band (I gave a detailed account of this in my review of the debut), so I'm just going to jump right into the song-by-song breakdown.
A track listing, along with my comments on each song:
1. "Don't Look Back' - This anthemic, majestic rocker has been a staple on classic rock stations ever since it was released. This was the only song from the album I had ever heard prior to buying it. What can I really say? Through and through, this is classic Boston: soaring guitars, operatic layered vocals, and that unique Boston sound that has never been and can never be imitated. It's a strong opening song, which segues into the next track.
2. "The Journey" - This is a very short instrumental work, played mainly on organ, with Scholz's cosmic guitar sound effects in the background. It segues into the next track.
3. "It's Easy" - This is a pretty standard rock song, albeit very well done because it's Boston. The usual elements of Boston-esque excellence are all here, and in just the right amounts in order that they not cheapen the franchise through overzealous pretension.
4. "A Man I'll Never Be" - This is a departure for Boston. Most of the songs up to this point were clearly rock songs. "A Man..." is actually a ballad, penned long before the myriad such ballads in the 1980s. As such, it's somewhat different in style than the cheesy 80s interpretation--different and better by far. This is how the band "Boston-izes" a rather dull artform and makes it something really special. I have always liked this track: the gradual buildup, the lyrics, the melody, and the rocking organ at the end are just awesome. Oh, and this is the first time Boston ever used a piano as accompaniment (according to the liner notes, it's a Steinway, though it sounds somewhat thin--I suppose Tom didn't know how to record a piano properly).
5. "Feelin' Satisfied" - Some people say this is a throw-away song. I honestly don't know why they would think that; "Feelin' Satisfied" is one of my favorite songs from the album. Boston really hit on something special with their unique style because, as I'm writing this review, I find that I would be repeating myself quite a bit were I to describe each song in full detail. And yet, somehow Boston never gets boring, even if the band does use the same formula time and again. Boston's is a timeless recipie for success, I suppose.
6. "Party" - As I pointed out in my review of the debut, I don't particularly care for party songs. This song's counterpart on the debut is the infamous "Smokin'", and I don't like that one much, either. As I said in the other review, if you like this sort of thing, Boston does it at least as well as anyone else.
7. "Used To Bad News" - Again, many people say this is filler. I couldn't disagree more. This is another of my favorite songs from the album, and is an instance in which the timing is perfect. The song is placed perfectly between two rockier, more hard-hitting songs. In addition, "Used..." is short, yet perfect in length. Any longer and it would have lost some of its effect. Structurally, this song reminds somewhat of "Hitch A Ride" on the debut album, except that "Used..." does not include the instrumental fadeout. Other than that, the two follow similar song formats, both have call-and-answer melodic structures, and both are smooth, flowing songs. Regardless of what others think, I enjoy this song very much.
8. "Don't Be Afraid" - If the previous song was an example of exploiting a musical idea to the correct duration, then "Don't..." is an example of stretching it too far. The song is just too long and repetitive. It's not a bad song, but there are several instances where cadences are struck, only for a jarring reprise to begin the theme anew. It's a weaker closer than "Let Me Take You Home Tonight" on the debut.
It is prudent to note that this particular edition of the album is the original 1990 digital transfer. Its sound quality is notoriously poor. However, you're in luck because earlier this year Tom Scholz personally remastered both this album and the debut. So if you're shopping for Boston albums, make sure you get the remastered editions of the first two releases (they're in digipaks and should have stickers proclaiming the involvement of Tom Scholz in the remastering project). Also, Amazon carries the remasters of both 'Don't Look Back' and 'Boston'. And right now they're being offered for a very reasonable price.
All in all, I can't say anything bad about this release. There are those who say it's not as good as the debut, and perhaps they might have a point. But it's still an impressive effort, and it's not nearly as far behind 'Boston' as most people seem to think. I believe the fact that everybody knows Tom Scholz wasn't satisfied with this album (he wanted to add one more song, as well as work on the other selections a bit more) has affected their judgement somewhat. But, regardless, this is a classic album that has stood the test of time. If you don't have it yet, what are you waiting for? Get out there and buy it!
former selves, song writing not up to par, blah, blah, blah. How can anyone give an album as superb as this one any less than 5 stars? Has anyone listened to what passes as music in the 21st Century? Bob Dylan had it right a few weeks back when he said today's music is pitiful. Back to the second Boston album. The only problem I have with this album is it is too short! Whereas
the debut by Boston has great light/shade and bombast (in a good way) the second Boston album is one which is more of a steady ride. It also contains the best song Boston ever released "A Man I'll Never Be." Brad Delp shows incredible maturity in his songwriting on this album. The great guitar tones are back for a second appearance, there is nothing like the sound of a Les Paul with a bit of "sweetening". There is also a bit of keyboard which accents and never overshadows any of the tunes. Mr Scholz's production is again, like the debut, very well realized. Like the debut-10 stars!
BOSTON's self-titled debut was an absolute smash and hit the music world by surprise in 1976, but 1978's Don't Look Back is a worthy album in its own right. Building off of their first album and the sound which continues to inspire, Don't Look Back had many hits including `Don't Look Back', `A Man I'll Never Be', and `Feelin' Satisfied'.
The lineup was headed by lead guitarist and musical mastermind, Tom Scholz, an MIT graduate whose hobby as a guitar player turned into an obsession. An avid perfectionist in the studio, Scholz meticulously harmonized instruments as much as he could, sometimes having two or three guitars playing the same lick. In addition, the pure Rock vocals of Brad Delp were the perfect compliment to Scholz guitar work. The rest of the lineup was rounded out by Barry Goudreau on rhythm guitar, Fran Sheenan on bass, and the versatile Sib Hashian on drums.
Don't Look Back's first track `Don't Look Back' is clearly the best song on the album. It showcases every aspect of BOSTON's sound from start to finish. The signature driving opening riff leads into a more melodic verse, which leads to a sharp chorus that features Scholz and Goudreau's double melodic guitar licks. Delp's ability to hit harmonies on command gives Goosebumps during the song's final climactic chorus.
`The Journey' is an eerie instrumental which leads very nicely to the easy rocking `It's Easy', which is a lighter song that's not centered on specific riffs such as `Don't Look Back', but nicely showcases Scholz's improvisational skils.
The A-side is rounded out by the ballad, `A Man I'll Never Be', which is a soft but solid track that is once again centered ar
ound a double guitar riff, which almost acts like a chorus in itself. Again Delp's creamy vocals are incredible as he puts all of his emotion into his voice.
Being pressed by their record label, Epic, Scholz felt rushed in creating the album and admits that it wasn't the perfection that he had hoped for. Ultimately this perfection cost BOSTON as their next albums took many years to produce and suffered in record sales. It's worth saying that the B-Side has a couple of good tracks such as `Feelin' Satisfied' and `Party' and is rounded out by minor songs `Used to Bad News' and `Don't Be Afraid'. However, some of these B-sides closely resembled tracks on BOSTON's first album and cause some to argue that this album is just the same formula repeated over again. This clearly is not the case for the whole album as BOSTON expanded the melodic sound that they originated in '76, and created a monster A-side, which arguably rivals BOSTON's first album.
Overall, Don't Look Back was a very strong follow up effort for BOSTON in 1978 and cemented their status as a staple in rock history. As mentioned above, the A-side is phenomenal, with about 20 minutes of Tom Scholz finest guitar work and the best of Brad Delp on vocals. It is truly an album which stands on its own, even though it will forever be in the shadow of BOSTON's 1976 debut.
It was worth the wait.
The concept is great. The packaging is great. The recording is great. Disc five is really cool for an ALW aficionado. There are a few real gems on it; my favorites are Petula Clark's "I Could Have Given You More" and "Benedicite."
I've always thought "Gus the Theatre Cat" made a great medley on the piano with "Unexpected Song" and "I DOn't Know How to Love Him," but wished there was an alternate lyric to match the other two songs. Now that I know there *is*, and it's a good lyric, it's a dream come true.
The melody of "Benedicite" is one of my favorites from _Sunset_ (the book mis-identifies it as "SUrrender"; it's actually "The Lady's Paying" and "Eternal Youth is Worth a Little Suffering"). The lyrics are the canticle from Daniel 3, which comes up every odd Sunday in the Divine Office, so it's nice to have cool music to sing it with.
I haven't bought _By Jeeves_ or _THe Beautiful Game_ yet, to it was great to sample them.
There are other parts of the CD taht aren't found in my collection. I like CD 4 "The Hits."
But the selections on CDs 1-3 don't make sense.
First, any self-respecting ALW fan has the Original London Cast of _Phantom_, so six tracks are totally useless. Why not draw from the Canadian cast with Colm Wilkinson? Or pull out some obscure recordings never published.
Why two different tracks with Michael Ball singing "Love Changes Everything", yet they're hardly any different?
On Disc 5 is "It's Only Your Lover Returning," sung by Julie Covington. It's an early draft of the song (Lloyd Webber and Rice went through several suggested titles) and quite nice. The very thing one expects on a Boxed Set.
So why have the Julie Covington "Don't Cry for Me" on disc 1?? The only difference is a few words, but it's otherwise identical. Why not Elaine Paige or Patti Lupone or Madonna?
The _Evita_ section is otherwise the best, choosing a sample from each major recording, though I'd have chosen slightly differently (as above).
There is a great selection of "Mungojerrie and Rumpleteazer" from the Sydmonton festival, using the original music that was changed when _Cats_ went to Broadway_. It would have been nice if they'd included more recordings from Sydmonton, like the original lyric of "All I Ask of You" shown on the second DVD to the _Phantom_ movie.
With so many great actress-singers who've played Norma Desmond, why does the collection beat us over the head with Glenn Close?
Paul Miles Kingston must be set for life in royalties, for the number of albums the original recording of "Pie Jesu" has appeared on. "Amigos Para Siempre" is nice, but it reminds me of Shari Lewis's "The Song that Doesn't End," especially when it's been used on so many compilations.
In short, this is a great collection for the obscure material, if you can get it cheap. But for a boxed set, it's a poor sampling, drawn mostly from the most familiar recordings.
Over the years many compilations of his work have emerged. In the late 80-is and early 90-is it was the "Encore" series and lately the one-disc collection called "Gold". The one in question here can be considered one of the best currently on the market. First, it includes a 3-disc selections from all of his shows, minus the latest one, i.e., "The Woman in White", which, considering the triviality of the score, is no great lost. The fourth disc covers some of his most known songs sung by the famous artists. Then, there is the fifth disc with previously unreleased material, most of which are the songs ALW wrote with Tim Rice for various artists during the 70-is. The disks are all neatly packed in a hardcover book that features 67 pages of pictures and text with information about each of ALW's shows. One of the other assets here is the perfect sound quality, since all of the tracks have been digitally remastered.
Here are my basic impressions and comments regarding the material on the discs:
* Disc #1 has the selections from "Jesus Christ Superstar", "Evita", "Cats" and "Song & Dance". The Superstar material mostly comes from the Concept Recording. Although the songs sound beautiful as always, their orchestration is a bit dated now. Only Steve Balsamo's "Gethsemane" from the 1996 revival cast has a modern rock sound. "Evita" comes with the material from all of the major recordings: London, Broadway and the movie productions, as well as the Concept album. No objections here; since this is one of ALW's most satisfying works, every song is just perfect, although Patti LuPone, the Broadway and overall the best Evita, is left with only a couple of lines. With the selections from "Cats", however, I have some doubts. A plus to the choice of the "Jellicle ball" impressive orchestral sequence from the 1998 movie version and "Mister Mistoffelees" from the 1981 London cast. One of the best known ALW's songs, "Memory", also comes from that album. It's a pretty version and Elaine Paige's rendition cannot be matched, but why include this when the definite version, featuring an 80-piece orchestra and Elaine Paige with much better interpretation, can be found in the same movie version. Thusly, one has to buy Elaine Paige's latest 2-disc compilation "Centre Stage: The very best of Elaine Paige" to get that one. And "Gus the theatre cat" is more a recital than a song, so there was not much point in including that. Marti Webb brings her vocal charm to the "Song & Dance" sequence, Sarah Brightman sings "Unexpected song" with her famous soprano, but as much as I like her version, Bernadette Peters, who was in this show on Broadway is strangely left out here.
* Disc # 2 starts with "Starlight Express". This was never one of my favorite ALW's shows; the plot is even lighter than in "Cats" and the 1984 original cast recording is terribly dated. Yet, here we have one terrific duet, "I am starlight" from the original together with three songs from the later revivals and it seems that fresh orchestrations were just the thing Starlight needed. My favorite remains a touchy ballad, "Next time you fall in love". "Requiem" is the most solemn of all ALW's compositions, written in 1985 to commemorate the death of his father. Placido Domingo's tenor rides together with the chorus all the way through the strong "Hosanna", only to be joined by Sarah Brightman in the final moments of this song. She then gives an echoing deliverance of "Pie Jesu". What can be said of ALW's next show, "The Phantom of the Opera"? A phenomenon in its own right, it's easy to see from the six numbers included here why this is one of the best and most beloved musicals of all time. The cast, the music, the story - everything is perfect. Although "Aspects of love" was never a popular hit, it does have some of the most beautiful love melodies ALW has ever written. "Love changes everything" sung by Michael Ball is probably one of the best tunes ever about love. The rest of the selected material here has a dreamy love flavor and the melodies find their way into your brain in the best Lloyd Webber way.
* ALW's first musical, "Joseph and the amazing Technicolor dreamcoat" was more successful in its revival form than the original from the 70-is. The three songs included here are sung by the show stars, Jason Donovan and Donny Osmond. Maria Friedman was not a lucky choice to play the narrator, as the track from the 1998 movie version shows. "By Jeeves" was ALW's only big flop when it came to the stage in the 70-is. The 1995 revival sounds much better though, full of funny numbers in the best manner of the musical comedy. "Travel hopefully" remains one of the show's highlights on this compilation. "Sunset Boulevard" comes next. "Sunset" remains for me one of Webber's best scores; lush and beautiful. I listen to the original cast recording with Patti LuPone all the time. However, here most of the songs are performed by Glenn Close. A big mistake. If you've ever listened the American premiere recording with her, you'll know what I am talking about. She may have a strong stage presence, but her vocal abilities are too limited, and her aggressive approach to the role lacks any subtlety. Therefore, the two big numbers from this show, "With one look" and "As if we never said goodbye" are ruined by the fact she can't sing. The same goes for the American Joe Gillis, who was played by Alan Campbell. Luckily, Patti LuPone and Kevin Anderson, the original Norma and Joe from the London production, make their brief entrance here with the "Perfect year"; enough to show how better they are. The funny thing is, on the jacket and inside of it, Glenn Close and Alan Campbell are credited as performers in this song as well. If this was a mistake on ALW's part, it was a good one. The next ALW's show, "Whistle down the wind" was never a critic's dear and yet the audiences rushed in to see it in London. The score brings back ALW to his rock and roll roots of the seventies and the story is quite interesting. But the selections here are not the happiest, since the cast recording boasts with much better songs. And finally, "The Beautiful Game". Again, we have one of those ALW's shows that is worth in its individual parts rather than as a whole. "Our kind of love" and "Let us love in peace" are two catchy ballads. The latter is a nice amalgam version not available elsewhere. The two other tracks here I could live without.
* Disc # 4 has the songs from all the above shows performed by different artists. The assembled tracks have their pros and cons. For example, we have some previously unreleased stuff, like Dame Kiri Te Kanawa's operettic rendition of "The heart is slow to learn", or a stunning and epic "A kiss is a terrible thing to waste" from "Whistle down the wind", performed by The Metal Philharmonic Orchestra. Then again, what was the point in including almost identical tracks as the ones on the previous disks? So we have Michael Ball again singing "Love changes everything" with only a bit different orchestration; Sarah Brightman comes out again with the same Phantom duets, but only with the different male singers. It would be much more appropriate to include tracks from the Toronto Cast of the Phantom, with Colm Wilkinson. Other pop deliverances (Tina Arena's "Whistle down the wind", Barbra Streisand's "As if we never said goodbye", Boyzone's "No matter what" and many more) were wisely chosen. Patti LuPone is again nowhere to be found and Petula Clark's "With one look" sounds too worn-out.
* The last disc is probably the one that will be of most interest to Lloyd Webber aficionados. It consists of entirely previously unreleased material ALW for the most part wrote for various artists during his early years, with Tim Rice. Some of these tunes, not successful as a singles, were later used in his shows. Thus "Down thru' summer" became "Buenos Aires"in Evita, "Try it and see", an unsuccessful attempt for the Eurovision was used for "King Herod's song" in "Superstar" and so on. Some of these songs are nicely made pop songs: "Make believe love", ALW's first recorded composition, for which he provided the lyrics; "Goodbye Seattle", sung by Paul Raven, who later became Gary Glitter; "Come back Richard, your country needs you", from a never made musical, sung here by Tim Rice, or Latin flavored "Magdalena", with Tony Christie singing. My all time favorite here is a song called "It's easy for you", sung by none other than Elvis Presley himself. Lloyd Webber and Rice sent him a demo recording that he accepted and recorded this live version a couple of weeks before he died. It's amazing to hear how his voice remained in the perfect shape. Also, there is a track of Andrew Lloyd Webber singing "Policle dogs and Jellicle cats" while plying the piano. His voice doesn't sound bad at all.
Taken as a whole, this compilation makes a perfect birthday or Christmas present to any fan of Andrew Lloyd Webber shows, or just anybody interested in some of the best tunes from the modern era of the musical theatre; despite the flaws I mentioned above. To the former, it may just be the final addition for the Andrew Lloyd Webber collection.
Opera") and the longest-running show of all time ("Cats"), the man whose homes are filled with three Grammys, five Oliviers, a Golden Globe, and Oscar and too many other honors and hosannas to mention, the man knighted in 1992 certainly doesn't need an introduction. Now Decca Broadway pays tribute to Sir Andrew Lloyd Webber with "Now and Forever," a spectacular 5-CD set compiled and produced by Sir Andy himself. It's cheaper than a
ticket to "The Producers" ... and more much exciting. This treasure trove contains highlights from all of Webber's shows, and a bonus disc of tunes sung by Betty Buckley, Barbara
Streisand, Jose Carreras, Boy George, Charlotte Church, Madonna, Tom Jones, Petula Clark, even Elvis! A must for lovers of theatre---and good music.
The cuts from the musicals are great but are likely owned by ALW fans as they are on the original cast albums. And I'm glad that there were tunes included from the composers most recent efforts which have yet to make it beyond London (Whistle Down the Wind, Beautiful Game).
My only complaint is the inclusion of way too many tracks by Sarah Brightman. She must've received a great divorce settlement that included having tunes on any ALW collection until the end of time!! Her interpretations of some of the tunes were limp and uninspired. I would've much rather heard casts from around the world rather than yet another song by this disdainful soprano! How about Colm Wilkinson's version of "Music of the Night" from the original Canadian cast of "Phantom"? Or Michael Crawford's version of "Unexpected Song"? What? No Betty Buckley from "Sunset Blvd."? And of course there are songs you KNOW are going to be on the collection before you even listen to it as they have been on EVERY ALW collection for the past decade or so.
A great collection but too much Sarah Brightman!
Import exclusive 1994 compilation featuring 13 tracks, 'Best Love', 'Love Is A Beautiful Thing', 'Waiting On You', 'What Does It Take', 'Keep On Pushing Love', 'You Are My Everything', 'One Love', 'People In The World', 'Give It Everything', 'Your Love', 'Fountain Of Love', 'Don't Look Back' & 'Love In Motion'.
Don't Look Back,Al Green,Bmg Int'l,Memphis Soul,Pop,Pop-Soul,R&B,R&B/Soul,Smooth Soul,Soul,Soul/R & B
Average customer rating: 
|
Don't Look Back
Boston Manufacturer: Sony ProductGroup: Music Binding: Audio CD  General
| Pop
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
General
| Rock
| Styles
| Music
General
| Hard Rock & Metal
| Styles
| Music
Hard Rock
| Hard Rock & Metal
| Styles
| Music
Album-Oriented Rock (AOR)
| Classic Rock
| Styles
| Music
General
| Classic Rock
| Styles
| Music
Arena Rock
| Classic Rock
| Styles
| Music
$7.99 and Under
| Blowout Music
| Stores
| Music
Pop
| Styles
| Blowout Music
| Stores
| Music
Classic Rock
| Styles
| Blowout Music
| Stores
| Music
Rock
| Styles
| Blowout Music
| Stores
| Music
Hard Rock & Metal
| Styles
| Blowout Music
| Stores
| Music
All Blowout Music
| Blowout Music
| Stores
| Music
$7.99 and Under
| Prices
| Blowout Music
| Stores
| Music
More Titles at Least 25% Off
| Blowout Music
| Stores
| Music
Similar Items:
ASIN: B000EQ47HC Release Date: 2006-06-13 |
Tracks:
- Don't Look Back
- The Journey
- It's Easy
- A Man I'll Never Be
- Feelin' Satisfied
- Party
- Used To Bad News
- Don't Be Afraid
Customer Reviews:
There and back again.......2007-07-30
Oh, I'd be remiss writing about Boston and not mentioning how sad I've been since Brad Delp left this earth. His soaring vocals were as pure, clean and strong as any rock and roll has ever produced. I miss you Brad and wish there would have been another way for you to ease your pain.
It's not fair to compare it to the first album.......2007-07-09
Great Follow-up.......2007-05-21
As a musician, I like to see growth in the sound of a band, and in the writing. Boston's only lack here, and on their third album, too, is that their sound is so set in stone that there is no growth in this regard. They're stuck. Future albums I've heard are not the same, actually a digression, like de-evolution, going backward. I don't know, haven't heard them.
All I can say is that while the writing is consistent -- a must for my continued interest, the sound remains the same. And that is often a bad thing because people change and the music, and its sound, should reflect that change, be a part of that change.
However, all that said, if you liked the first album, you'll like this one. Only a couple less than great songs are on this effort. Most bands should do this well in their creative processes. I wish they would learn to spend the time necessary to create something worth recording as Boston did, even if it is sonically the same as the first.
Not bad!.......2007-03-25
A superb second album, in spite of Tom Scholz' misgivings.......2007-03-20
Now Boston is one one of my favorite rock'n'roll bands of all time due, in large part, to Tom's guitar theatrics. Actually, that's the wrong word to describe his guitar playing,Jimi Hendrix was theatrical, Tom Scholz is simply magic. I think that his work is too often under-rated, probably because there is so little of it. To me, though, there is simply nothing to compare to the glittering glissandos that he seems to bring forth in effortless endless profusion. Combine the very tight overall musicianship of the band, Brad Delp's unforgettable vocals, and lyrics that still, in many cases, speak as much to the social issues of today as they did when written some thirty years ago, and you have an unbeatable combination.
The melody of "A Man I'll Never Be" is insanely complex for a rock'n'roll song, which is probably why (along with its six and one-half minute length) that it never got very high on the pop music charts. Tom Scholz is all over the frets on his guitar and is coaxing every bit of feeling he can get out of it. When one realizes that he plays no chords throughout this song his mastery of his instrument is truly apparent. He is, to me, in the same class as Eric Clapton, Duane Alman, Gary Moore, and Roger McGuinn when it comes to a short list of the best rock'n'roll guitarists of all time.
But he doesn't do it by himself. Boston was, until their breakup over legal issues with their record label, one of those bands in which each member can be considered a master of his instrument, whether it's Brad Delp and his voice, or Fran Sheehan and his bass, Sib Hashian banging away on the drums , or Barry Goudreau's wonderful rhythm and second lead guitar. Together they were far more than the sum of their parts as one can tell when listening to any of their various solo efforts or work with other bands. It was a magic combination such as happens once in a generation or less.
What makes Boston's music even more special is that the vast majority of what one hears on the albums was composed and performed by just Tom Scholz and Brad Delp. They had little help making their music, except for some lead guitar by Barry Goudreau and drums by Jim Masdea. It wasn't until the first album was sold to CBS that a real band was put together to produce the Boston sound. Thus, the folks playing up on stage are not only playing some of the most complex rock music ever conceived, they played it note perfect every time, so that Boston's live sound was as close to the album sound as it's possible to get.
The remastering that Tom Scholz did for this re-issue is simply remarkable. The richness of Brad Delp's voice on all the songs, but particularly on "A Man I'll Never Be"' has to be heard to be believed. The remix has transformed one of my best-loved Boston songs from a work of art into a true gem of the craft of music-making. Everything about the remix transforms this album and brings the sound alive in a way that one could never experience outside of a Boston concert. In this day of sound alike rap, hip-hop, and techno, the music of Boston stands as a beacon and an example of true muscianship and dedication to one's craft. Would that there was more music of this caliber.
Average customer rating:
|
Don't Look Back
John Lee Hooker Manufacturer: Virgin Records Us ProductGroup: Music Binding: Audio CD Contemporary Blues
| Blues
| Styles
| Music
Delta Blues
| Blues
| Styles
| Music
General
| Blues
| Styles
| Music
Traditional Blues
| Blues
| Styles
| Music
Electric Blues Guitar
| Blues
| Styles
| Music
Modern Blues
| Blues
| Styles
| Music
Similar Items:
ASIN: B000000WD2 Release Date: 1997-03-04 |
Tracks:
- Dimples
- The Healing Game
- Ain't No Big Thing
- Don't Look Back
- Blues Before Sunrise
- Spellbound
- Travellin' Blues
- I Love You Honey
- Frisco Blues
- Red House
- Rainy Day
Amazon.com
Don't Look Back is credited to John Lee Hooker and produced by Van Morrison, but effectively functions as a duet between the two, who have appeared and recorded together previously (Hooker's Never Get Out of These Blues Alive and Chill Out). Here, Morrison lends his hypnotic chanting--an intriguing complement to Hooker's spellbinding approach--to his own, "Healing Game," as well as contributing freely elsewhere, both vocally and on rhythm guitar. This set is more meditative than other recent Hooker discs, with the bluesman thoughtful and cogent on Morrison's "Don't Look Back," Hendrix's "Red House," and a number of originals. --Rickey WrightCustomer Reviews:
Artistry and innovation, what Johnnie Lee was.......2004-11-03
Hooker's music falls into the generation of the R & B bluesmen of the late 1940s who brought the stream of music from the Delta--Johnny Lee being from Clarksdale--to the North, Muddy Waters to Chicago, Johnny Lee to Detroit. Johnny's music, particularly his music from the late 1940s and 1950s when he was popular not among white ex folkies or whites who think they love the blues, but in the Black community, is impossible to understand outside of the context of postwar R & B, not the initial delta blues. The dance rhythm that proceeds from Boogie Chillun, King Snake, Boom Boom Boom, wouldn't have worked in a 1920s Juke Joint. It belongs someplace like Henry's Swing Club where a rockin' rhythm is coming from the attempt to combine the power of swing with the rock of the blues that created R & B in the 1940s.
Hooker was a highly sophisticated musician who developed his own off-shoot from the traditional trajectory of blues artists. Starting with the great female blues stars and Blind Lemon Jefferson, the direction of blues has been to harmonize the essential modal African-based musics of the blues.
Hooker took the music in an entirely different method, by returning to the modal base of the music. To do so he essentially goes away from the tendency of blues musicians to develop the music into a band music. He solves the problem of filling the sound that had become expected without the harmonizing basis for different instruments to work together in a band by technological innovation, not tradition. He was the first bluesman to take full advantage of the ability of electric guitars and amplifiers to do more than make the sound of a guitar louder. He used the settings on guitar, amplified, and recording studio to create a new and different sound, and used the amplification to fill the spaces in the music others would need bands to fill. This decision was really in the vanguard of the electric guitar revolution in blues, rock, country, and all popular music that exploded in the 1950s and has yet to end.
Hooker with accompanying musicians and bands. Some of the best sides came when he was recorded not with other blues players but with some of the top Jazz players in the late 1950s. His modal music, excellent timing, free form improvisation and general cool made his records sell not only among blues players but Jazz lovers back in the day. This speaks to how advanced his rhythmic sense really was. There was also a confluence between Hooker and some of the most advanced Jazz players of the late 1950s and 1960s who sought similar modal solutions to the problems of jazz improvisation.
Get this, and then get everything else Hooker Did. My favorites are the recordings Hooker did in the late 1940s and early 1950s aimed at an R & B audience as well as the sides he did in the 1960s for Vee-Jay a Black owned record company that produced him as a quality artist with great soundwork and free selection of his material. Hooker is really an electric artist, so some of the sides cut during the 1960's "folk revival" where he's made to play an acoustic are kind of an insult to his artistry and history, though like everything Hooker did,they were great music.
Some Fine Blues..........2004-03-27
If you're new to Hooker, start either with this CD or "Healer". Healer is also an excellent recording (it does, however, have a lot more guest musicians). On this disk, you hear a more diluted Hooker, but you need to hear this before you hear the real raw Hooker.
The first track with Los Lobos is excellent - makes you want to get up and dance. Second and Fourth track are duets with Morrison and are both excellent work. Red House is a take on a Hendrix classic, and while the guitar work can't compare to the Hendrix guitar, the vocals, I thought, are a lot better, grittier, more bluesy than Hendrix's own version.
Get it - you won't regret it.
GET IT DON'T REGRET IT.......2003-10-05
To sound this good at his age is like sipping a fine vintage wine.
Long live Hooker!
doesn't get better.......2003-02-01
DONT LOOK BACK.......2001-12-13
Average customer rating:
|
Don't Look Back
Boston Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
| Pop
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
General
| Rock
| Styles
| Music
General
| Hard Rock & Metal
| Styles
| Music
Hard Rock
| Hard Rock & Metal
| Styles
| Music
Album-Oriented Rock (AOR)
| Classic Rock
| Styles
| Music
General
| Classic Rock
| Styles
| Music
Arena Rock
| Classic Rock
| Styles
| Music
CDs $7 - $10
| Album-Oriented Rock (AOR)
| Classic Rock
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Album-Oriented Rock (AOR)
| Classic Rock
| Today's Deals in Music
| Formats
| Music
CDs $7 - $10
| Hard Rock
| Hard Rock & Metal
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Hard Rock
| Hard Rock & Metal
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Oldies
| Pop
| Today's Deals in Music
| Formats
| Music
Similar Items:
ASIN: B0000025C0 Release Date: 1990-10-25 |
Tracks:
- Don't Look Back
- The Journey
- It's Easy
- A Man I'll Never Be
- Feelin' Satified
- Party
- Used To Bad News
- Don't Be Afraid
Customer Reviews:
Not As Good As The First Album.......2006-10-25
Boston is back for an encore--this album brings back memories..........2006-10-05
Nope. Not even close.
My first exposure to this album was in January 2005, when I finally took the plunge and started expanding my Boston collection (I already had the debut, which I had bought in 2003). I was 16 years old, which is of course a very impressionable age. And, unlike most of my peers, I listened (and still listen) to classic and progressive rock music. So, on a blusteringly cold January evening, I bought 'Don't Look Back' (1978). And I haven't looked back. The memories I forged during that period of my life (I listened to this and 'Third Stage' incessantly for about a month or so) will stay with me forever. That's why I love this album so much.
As I said in my review of the debut, there are those who seem to have a taboo against Boston (I dated one once--it didn't last long). I really can't see where that comes from, considering Boston is not like any of the other AOR bands with which it is usually lumped. The band, the brainchild of MIT graduate and instrumentalist extraordinaire Tom Scholz, pioneered some completely new ground with its eponymous debut album. 'Boston' (1976) has sold, to date, over 17 million copies, which at one time was a record for a debut album (which has since been broken). I feel like I would be repeating myself to recount the whole story of the band (I gave a detailed account of this in my review of the debut), so I'm just going to jump right into the song-by-song breakdown.
A track listing, along with my comments on each song:
1. "Don't Look Back' - This anthemic, majestic rocker has been a staple on classic rock stations ever since it was released. This was the only song from the album I had ever heard prior to buying it. What can I really say? Through and through, this is classic Boston: soaring guitars, operatic layered vocals, and that unique Boston sound that has never been and can never be imitated. It's a strong opening song, which segues into the next track.
2. "The Journey" - This is a very short instrumental work, played mainly on organ, with Scholz's cosmic guitar sound effects in the background. It segues into the next track.
3. "It's Easy" - This is a pretty standard rock song, albeit very well done because it's Boston. The usual elements of Boston-esque excellence are all here, and in just the right amounts in order that they not cheapen the franchise through overzealous pretension.
4. "A Man I'll Never Be" - This is a departure for Boston. Most of the songs up to this point were clearly rock songs. "A Man..." is actually a ballad, penned long before the myriad such ballads in the 1980s. As such, it's somewhat different in style than the cheesy 80s interpretation--different and better by far. This is how the band "Boston-izes" a rather dull artform and makes it something really special. I have always liked this track: the gradual buildup, the lyrics, the melody, and the rocking organ at the end are just awesome. Oh, and this is the first time Boston ever used a piano as accompaniment (according to the liner notes, it's a Steinway, though it sounds somewhat thin--I suppose Tom didn't know how to record a piano properly).
5. "Feelin' Satisfied" - Some people say this is a throw-away song. I honestly don't know why they would think that; "Feelin' Satisfied" is one of my favorite songs from the album. Boston really hit on something special with their unique style because, as I'm writing this review, I find that I would be repeating myself quite a bit were I to describe each song in full detail. And yet, somehow Boston never gets boring, even if the band does use the same formula time and again. Boston's is a timeless recipie for success, I suppose.
6. "Party" - As I pointed out in my review of the debut, I don't particularly care for party songs. This song's counterpart on the debut is the infamous "Smokin'", and I don't like that one much, either. As I said in the other review, if you like this sort of thing, Boston does it at least as well as anyone else.
7. "Used To Bad News" - Again, many people say this is filler. I couldn't disagree more. This is another of my favorite songs from the album, and is an instance in which the timing is perfect. The song is placed perfectly between two rockier, more hard-hitting songs. In addition, "Used..." is short, yet perfect in length. Any longer and it would have lost some of its effect. Structurally, this song reminds somewhat of "Hitch A Ride" on the debut album, except that "Used..." does not include the instrumental fadeout. Other than that, the two follow similar song formats, both have call-and-answer melodic structures, and both are smooth, flowing songs. Regardless of what others think, I enjoy this song very much.
8. "Don't Be Afraid" - If the previous song was an example of exploiting a musical idea to the correct duration, then "Don't..." is an example of stretching it too far. The song is just too long and repetitive. It's not a bad song, but there are several instances where cadences are struck, only for a jarring reprise to begin the theme anew. It's a weaker closer than "Let Me Take You Home Tonight" on the debut.
It is prudent to note that this particular edition of the album is the original 1990 digital transfer. Its sound quality is notoriously poor. However, you're in luck because earlier this year Tom Scholz personally remastered both this album and the debut. So if you're shopping for Boston albums, make sure you get the remastered editions of the first two releases (they're in digipaks and should have stickers proclaiming the involvement of Tom Scholz in the remastering project). Also, Amazon carries the remasters of both 'Don't Look Back' and 'Boston'. And right now they're being offered for a very reasonable price.
All in all, I can't say anything bad about this release. There are those who say it's not as good as the debut, and perhaps they might have a point. But it's still an impressive effort, and it's not nearly as far behind 'Boston' as most people seem to think. I believe the fact that everybody knows Tom Scholz wasn't satisfied with this album (he wanted to add one more song, as well as work on the other selections a bit more) has affected their judgement somewhat. But, regardless, this is a classic album that has stood the test of time. If you don't have it yet, what are you waiting for? Get out there and buy it!
More Boston Magic-Another 5 Star Winner!.......2006-09-10
former selves, song writing not up to par, blah, blah, blah. How can anyone give an album as superb as this one any less than 5 stars? Has anyone listened to what passes as music in the 21st Century? Bob Dylan had it right a few weeks back when he said today's music is pitiful. Back to the second Boston album. The only problem I have with this album is it is too short! Whereas
the debut by Boston has great light/shade and bombast (in a good way) the second Boston album is one which is more of a steady ride. It also contains the best song Boston ever released "A Man I'll Never Be." Brad Delp shows incredible maturity in his songwriting on this album. The great guitar tones are back for a second appearance, there is nothing like the sound of a Les Paul with a bit of "sweetening". There is also a bit of keyboard which accents and never overshadows any of the tunes. Mr Scholz's production is again, like the debut, very well realized. Like the debut-10 stars!
A rushed follow up to the debut album.......2006-06-30
Shadowed By It's Predecessor.......2006-03-29
BOSTON's self-titled debut was an absolute smash and hit the music world by surprise in 1976, but 1978's Don't Look Back is a worthy album in its own right. Building off of their first album and the sound which continues to inspire, Don't Look Back had many hits including `Don't Look Back', `A Man I'll Never Be', and `Feelin' Satisfied'.
The lineup was headed by lead guitarist and musical mastermind, Tom Scholz, an MIT graduate whose hobby as a guitar player turned into an obsession. An avid perfectionist in the studio, Scholz meticulously harmonized instruments as much as he could, sometimes having two or three guitars playing the same lick. In addition, the pure Rock vocals of Brad Delp were the perfect compliment to Scholz guitar work. The rest of the lineup was rounded out by Barry Goudreau on rhythm guitar, Fran Sheenan on bass, and the versatile Sib Hashian on drums.
Don't Look Back's first track `Don't Look Back' is clearly the best song on the album. It showcases every aspect of BOSTON's sound from start to finish. The signature driving opening riff leads into a more melodic verse, which leads to a sharp chorus that features Scholz and Goudreau's double melodic guitar licks. Delp's ability to hit harmonies on command gives Goosebumps during the song's final climactic chorus.
`The Journey' is an eerie instrumental which leads very nicely to the easy rocking `It's Easy', which is a lighter song that's not centered on specific riffs such as `Don't Look Back', but nicely showcases Scholz's improvisational skils.
The A-side is rounded out by the ballad, `A Man I'll Never Be', which is a soft but solid track that is once again centered ar
ound a double guitar riff, which almost acts like a chorus in itself. Again Delp's creamy vocals are incredible as he puts all of his emotion into his voice.
Being pressed by their record label, Epic, Scholz felt rushed in creating the album and admits that it wasn't the perfection that he had hoped for. Ultimately this perfection cost BOSTON as their next albums took many years to produce and suffered in record sales. It's worth saying that the B-Side has a couple of good tracks such as `Feelin' Satisfied' and `Party' and is rounded out by minor songs `Used to Bad News' and `Don't Be Afraid'. However, some of these B-sides closely resembled tracks on BOSTON's first album and cause some to argue that this album is just the same formula repeated over again. This clearly is not the case for the whole album as BOSTON expanded the melodic sound that they originated in '76, and created a monster A-side, which arguably rivals BOSTON's first album.
Overall, Don't Look Back was a very strong follow up effort for BOSTON in 1978 and cemented their status as a staple in rock history. As mentioned above, the A-side is phenomenal, with about 20 minutes of Tom Scholz finest guitar work and the best of Brad Delp on vocals. It is truly an album which stands on its own, even though it will forever be in the shadow of BOSTON's 1976 debut.
Average customer rating: 
|
Don't Look Back
Common Sense Manufacturer: Common Sense Records ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
| Music
General
| Dance & DJ
| Styles
| Music
General
| Dance Pop
| Dance & DJ
| Styles
| Music
General
| Reggae
| International
| Styles
| Music
General
| Reggae
| Compilations
| International
| Styles
| Music
General
| Rock
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
Similar Items:
ASIN: B0009299BA Release Date: 2005-04-12 |
Tracks:
- Sure Enough
- I'm Gone
- A Little Bit Closer
- Sunshine In My Cup
- Burn Fire Burn
- Ocean
- What Is Wrong With Us
- Baby Girl
- Good This Time
- Can't Forget
- Twisted Mind
- Don't Look Back
Average customer rating:
|
Don't Look Back
Antigone Rising Manufacturer: Lava ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
| Music
General
| Rock
| Styles
| Music
General
| Hard Rock & Metal
| Styles
| Music
Hard Rock
| Hard Rock & Metal
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
Pop Rock
| CD Singles
| Pop
| Styles
| Music
Adult Alternative
| Pop
| Styles
| Music
4-for-3 Alternative Rock
| 4-for-3 Music
| Stores
| Music
4-for-3 Hard Rock & Metal
| 4-for-3 Music
| Stores
| Music
4-for-3 Pop
| 4-for-3 Music
| Stores
| Music
4-for-3 Rock
| 4-for-3 Music
| Stores
| Music
4-for-3 All Music
| 4-for-3 Music
| Stores
| Music
Similar Items:
ASIN: B0002VYPGM Release Date: 2004-09-14 |
Tracks:
- Don't Look Back
- Last Try
- Jealousy and Human Kindness
Customer Reviews:
Best track on a superb album.......2005-09-23
Average customer rating:
|
Don't Look Back
John Lee Hooker Manufacturer: Shout Factory ProductGroup: Music Binding: Audio CD Delta Blues
| Blues
| Styles
| Music
General
| Blues
| Styles
| Music
Traditional Blues
| Blues
| Styles
| Music
Electric Blues Guitar
| Blues
| Styles
| Music
Modern Blues
| Blues
| Styles
| Music
Similar Items:
ASIN: B000OPO6WO Release Date: 2007-07-17 |
Tracks:
- Dimples
- The Healing Game
- Ain't No Big Thing
- Don't Look Back
- Blues Before Sunrise
- Spellbound
- Travellin' Blues
- I Love You Honey
- Frisco Blues
- Red House
- Rainy Day
- Bonus Track: Send Me Your Pillow
- Bonus Track: Blues Before Sunrise
Album Description
Don't Look Back, originally released in 1997, was co-produced by Van Morrison, who also duets with Hooker on four tracks. The album contains newly recorded versions of Hooker classics, as well as some new songs and two bonus tracks. Los Lobos appear on a storming version of "Dimples," and Hooker takes on Hendrix with a cover of "Red House." The album won two GRAMMY Awards: Best Traditional Blues Album and Best Pop Collaboration with Vocals for the title track, with Van Morrison. Remastered with 2 bonus tracks.
Average customer rating:
|
Andrew Lloyd Webber: Now & Forever
Various Artists Manufacturer: Decca Broadway ProductGroup: Music Binding: Audio CD Requiems
| Forms & Genres
| Early Music
| Historical Periods
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Noels
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Requiems
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
General
| Musicals
| Broadway & Vocalists
| Styles
| Music
Contemporary Musicals
| Musicals
| Broadway & Vocalists
| Styles
| Music
General
| Broadway & Vocalists
| Styles
| Music
General
| Soundtracks
| Styles
| Music
General
| Vocal Pop
| Pop
| Styles
| Music
General Christmas
| Holiday
| Miscellaneous
| Styles
| Music
Broadway & Musicals
| Broadway & Vocalists
| Box Sets
| Stores
| Music
The Decca Records Store
| Specialty Stores
| Music
General Christmas
| Holiday Music
| Special Features
| Music
Similar Items:
ASIN: B00005R5UJ Release Date: 2001-11-20 |
Tracks:
- Jesus Christ Superstar: Overture - Andrew Lloyd Webber
- Jesus Christ Superstar: Everything's Alright - Yvonne Elliman/Murray Head/Ian Gilllan
- Jesus Christ Superstar: I Don't Know How To Love Him - Yvonne Elliman
- Jesus Christ Superstar: Gethsemane (I Only Want To Say) - Steve Balsamo
- Jesus Christ Superstar: Superstar - Murray Head
- Evita: Oh What A Circus/Sing You Fools - Antonio Banderas
- Evita: I'd Be Surprisingly Good For You - Elaine Paige/Joss Ackland
- Evita: Another Suitcase In Another Hall - Barbara Dickson
- Evita: Don't Cry For Me Argentina - Julie Covington
- Evita: High Flying, Adored - Mandy Patinkin/Patti LuPone
- Cats: The Jellicle Ball - Andrew Lloyd Weber
- Cats: Memory - Elaine Paige
- Cats: Gus: The Theatre Cat - Susan Jane Tanner/John Mills
- Cats: Mr Mistoffelees - Paul Nicholas
- Song And Dance: Take That Look Off Your Face - Marti Webb
- Song And Dance: Tell Me On A Sunday - Marti Webb
- Song And Dance: Unexpected Song - Sarah Brightman
- Song And Dance: Nothing Like You've Ever Known - Sarah Brightman
- Song And Dance: Introduction - Andrew Lloyd Webber
- Song And Dance: Variations 1 -4 - Andrew Lloyd Webber
Tracks:
- Starlight Express: Starlight Express - El Debarge
- Starlight Express: Crazy - Greg Ellis/Reva Rice/Caron Cardelle/Samantha Lane/Voyd
- Starlight Express: Next Time You Fall In Love - Reva Rice/Greg Ellis
- Starlight Express: I Am The Starlight - Lon Satton/Ray Shell
- Starlight Express: Light At The End Of The Tunnel - The Company
- Requiem: Hosanna - Placido Domingo
- Requiem: Pie jesu - Sarah Brightman/Paul Miles-Kingston
- The Phantom Of The Opera: The Phantom Of The Opera - Michael Crawford/Sarah Brightman
- The Phantom Of The Opera: The Music Of The Night - Michael Crawford
- The Phantom Of The Opera: All I Ask Of You - Sarah Brightman/Steve Barton
- The Phantom Of The Opera: Entr'acte - Andrew Lloyd Webber
- The Phantom Of The Opera: Masquerade - The Company
- The Phantom Of The Opera: Wishing You Were Somehow Here Again - Sarah Brightman
- Aspects Of Love: Aspects Of Aspects - Orchester Der Vereinigten Buehnen Wien
- Aspects Of Love: Love Changes Everything - Michael Ball
- Aspects Of Love: Seeing Is Believing - Michael Ball/Ann Crumb
- Aspects Of Love: The First Man You Remember - Kevin Colson/Diana Morrison
- Aspects Of Love: Anything But Lonely - Sarah Brightman
- Aspects Of Love: Chanson D'Enfance - Sarah Brightman
Tracks:
- Joseph And The Amazing Technicolor Dreamcoat: Any Dream Will Do - Jason Donovan
- Joseph And The Amazing Technicolor Dreamcoat: Joseph's Coat - Maria Friedman/Richard Attenborough/Donny Osmond
- Joseph And The Amazing Technicolor Dreamcoat: Close Every Door - Donny Osmond
- By Jeeves: Travel Hopefully - John Scherer/Martin Jarvis/Don Stephenson
- By Jeeves: When Love Arrives - Steven Pacey/Diana Morrison
- By Jeeves: Half A Moment - Sarah Brightman
- Sunset Boulevard: With One Look - Glenn Close
- Sunset Boulevard: New Ways To Dream - Glenn Close/Alan Campbell
- Sunset Boulevard: The Perfect Year - Glenn Close/Alan Campbell
- Sunset Boulevard: Sunser Boulevard - Alan Campbell
- Sunset Boulevard: As If We Never Said Goodbye - Glenn Close
- Whistle Down The Wind: Whistle Down The Wind - James Graeme/Lottie Mayor
- Whistle Down The Wind: Cold - Everly Brothers
- Whistle Down The Wind: No Matter What - Children/Adult Chorus
- Whistle Down The Wind: The Nature Of The Beast - Marcus Lovett/Lottie Mayor
- The Beautiful Game: Overture - Andrew Lloyd Webber
- The Beautiful Game: The Beautiful Game - The Company
- The Beautiful Game: Our Kind Of Love - Hannah Waddingham
- The Beautiful Game: Dont Like You - Josie Walker/David Shannon
- The Beautiful Game: Let Us Love In Peace - Josie Walker/Omagh Youth Community Choir
Tracks:
- Oh What A Circus - David Essex
- Memory - Betty Buckley
- The Phantom Of The Opera - Sarah Brightman/Steve Harley
- All I Ask Of You - Sarah Brightman/Cliff Richard
- Love Changes Everything - Michael Ball
- Any Dream Will Do - Donny Osmond
- Amigos Para Siempre (Friends For Life) - Sarah Brightman/Jose Carreras
- As If We Never Said Goodbye - Barbra Streisand
- The Perfect Year - Dina Carroll
- With One Look - Petula Clark
- You Must Love Me - Madonna
- The Heart Is Slow To Learn - Kiri Te Kanawa
- A Kiss Is A Terrible Thing To Waste - The Metal Philharmonic Orchestra
- Whistle Down The Wind - Tina Arena
- No Matter What - Boyzone
- The Vaults Of Heaven - Tom Jones
- Try Not To Be Afraid - Boy George
- Pie Jesu - Charlotte Church
Tracks:
- Make Believe Love - Wes Sands
- Down Thru' Summer - Ross Hannaman
- I'll Give All My Love To Southend - Ross Hannaman
- Believe Me I Will - Sacha Distel
- Joseph And The Amazing Technicolor Dreamcoat (1969 Radio Luxembourg Commercial) - Joseph Consortium/Pete Murray
- Try It And See - Rita Pavone
- Come Back Richard Your Country Needs You - Time Rice And The Webber Group
- Goodbye Seattle - Paul Raven
- John 19:41 - The Andrew Lloyd Webber Orchestra
- What A Line To Go Out On - Yvonne Elliman
- Disillusion Me - Gary Band
- The Ballad Of Robert And Peter - Tim Rice
- Christmas Dream - Maynard Williams
- It's Only Your Lover Returning/All Through My Crazy And Wild Days/Don't Cry For Me Argentina - Julie Covington
- It's Easy For You (1977 Jungle Room Session Version) - Elvis Presley
- Magdalena - Tony Christie
- Buenos Aires - The Roja Rockers
- Pollicle Dogs And Jellicle Cats - Andrew Lloyd Webber
- Mungojerrie And Rumpleteazer (Live At The Sydmonton Festival 1980) - Gemma Craven
- I Could Have Given You More - Petula Clark
- I've Been In Love Too Long - Marti Webb
- Benedicite - The Stephen Hill Singers
Album Description
Disc 1: Selections from Jesus Christ Superstar, Evita, Cats, and Song and DanceDisc 2: Selections from Starlight Express, Requiem, Phantom of the Opera, and Aspects of Love
Disc 3: Selections from Joseph nad the Amaziong Technicolor Dreamcoat, By Jeeves, Sunset Boulevard, Whistle Down the Wind, and The Beautiful Game
CD 4: 1. "Oh What a Circus" --David Essex 2. "Memory" - Betty Buckleey 3. "The Phantom of the Opera" -Sarah Brightman, Steve Harley 4. "All I Ask of You" --Sarah Brightman, Cliff Richard 5. "Love Changes Everything"--Michael Ball 6. "Any Dream Will Do"--Donny Osmond 7. "Amigos Para Siempre (Friends for Life)"--Sarah Brightman, Jose Caerras 8. "As if We Never Said Goodbye"--Barbra Streisand 9. "The Perfect Year"--Dina Carroll 10. "With One Look" --Petula Clark 11. "You Must Love Me" 12. "The Heart Is Slow To Learn" --Kiri Te Kanawa 13. "Whistle Down the Wind"--Tina Arena 14. "A Kiss Is a Terrible Thing To Waste"--The Metal Philharmonic 15. "No Matter What"--Boyzone 16. "The Vaults of Heaven"--Tom Jones and Sounds of Blackness 17. "Try Not To Be Afraid"--Boy George 18. "Pie Jesu"--Charlotte Church
Disc 5: (All tracks available for the first time) 1. "Make Believe Love"--Wes Sands 2. "Down Thru' Summer"--Ross Hannaman 3. "I'll Give All My Love to Southend"--Ross Hannaman 4. "Believe Me I Will"--Sacha Distel 5. "Joseph and the Amazing Technicolor Dreamcoat: 1969 Luxembourg Radio Commercial--The Jospeh Consortium, Pete Murray 6. "Try It and See"--Rita Pavone 7. "Come Back Richard Your Country Needs You"--Tim Rice and the Webber Group 8. "Goodbye Seattle"-- Paul Raven 9. "John 19:41"--The Andrew Lloyd Webber Orchestra 10. "What a Line To Go Out On"--Yvonne Elliman 11. "Disillusion Me" --Gary Bond 12. "The Ballad of Robert and Peter"--Tim Rice 13. "Christmas Dream" --Maynard Williams 14. "It's Only Your Lover Returning/All through My Wild and Crazy Days/Don't Cry for Me Argentina--Julie Covington 15. "It's Easy for You" (1977 Jungle Room Session version)--Elvis Presley 16. "Magdalena"--Tony Christie 17. "Buenos Aires"--The Rioja Rockers 18. "Pollicle Dogs and Jellicle Cats"--Andrew Lloyd Webber original demo 19. "Mungojerrie and Rumpleteazer" (Live at Sydmonton Festival 1980)-Gemma Craven 20. "I Could Have Given You More"--Petula Clark 21. "I've Been in Love Too Long"--Marti Webb 22. "Benedicte"-- Stephen Hill Singers
Customer Reviews:
I waited for this for five years.......2006-06-30
It was worth the wait.
The concept is great. The packaging is great. The recording is great. Disc five is really cool for an ALW aficionado. There are a few real gems on it; my favorites are Petula Clark's "I Could Have Given You More" and "Benedicite."
I've always thought "Gus the Theatre Cat" made a great medley on the piano with "Unexpected Song" and "I DOn't Know How to Love Him," but wished there was an alternate lyric to match the other two songs. Now that I know there *is*, and it's a good lyric, it's a dream come true.
The melody of "Benedicite" is one of my favorites from _Sunset_ (the book mis-identifies it as "SUrrender"; it's actually "The Lady's Paying" and "Eternal Youth is Worth a Little Suffering"). The lyrics are the canticle from Daniel 3, which comes up every odd Sunday in the Divine Office, so it's nice to have cool music to sing it with.
I haven't bought _By Jeeves_ or _THe Beautiful Game_ yet, to it was great to sample them.
There are other parts of the CD taht aren't found in my collection. I like CD 4 "The Hits."
But the selections on CDs 1-3 don't make sense.
First, any self-respecting ALW fan has the Original London Cast of _Phantom_, so six tracks are totally useless. Why not draw from the Canadian cast with Colm Wilkinson? Or pull out some obscure recordings never published.
Why two different tracks with Michael Ball singing "Love Changes Everything", yet they're hardly any different?
On Disc 5 is "It's Only Your Lover Returning," sung by Julie Covington. It's an early draft of the song (Lloyd Webber and Rice went through several suggested titles) and quite nice. The very thing one expects on a Boxed Set.
So why have the Julie Covington "Don't Cry for Me" on disc 1?? The only difference is a few words, but it's otherwise identical. Why not Elaine Paige or Patti Lupone or Madonna?
The _Evita_ section is otherwise the best, choosing a sample from each major recording, though I'd have chosen slightly differently (as above).
There is a great selection of "Mungojerrie and Rumpleteazer" from the Sydmonton festival, using the original music that was changed when _Cats_ went to Broadway_. It would have been nice if they'd included more recordings from Sydmonton, like the original lyric of "All I Ask of You" shown on the second DVD to the _Phantom_ movie.
With so many great actress-singers who've played Norma Desmond, why does the collection beat us over the head with Glenn Close?
Paul Miles Kingston must be set for life in royalties, for the number of albums the original recording of "Pie Jesu" has appeared on. "Amigos Para Siempre" is nice, but it reminds me of Shari Lewis's "The Song that Doesn't End," especially when it's been used on so many compilations.
In short, this is a great collection for the obscure material, if you can get it cheap. But for a boxed set, it's a poor sampling, drawn mostly from the most familiar recordings.
Excellent collection but BIG PUBLISHING MISTAKE! .......2006-01-10
ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS.......2005-03-21
Over the years many compilations of his work have emerged. In the late 80-is and early 90-is it was the "Encore" series and lately the one-disc collection called "Gold". The one in question here can be considered one of the best currently on the market. First, it includes a 3-disc selections from all of his shows, minus the latest one, i.e., "The Woman in White", which, considering the triviality of the score, is no great lost. The fourth disc covers some of his most known songs sung by the famous artists. Then, there is the fifth disc with previously unreleased material, most of which are the songs ALW wrote with Tim Rice for various artists during the 70-is. The disks are all neatly packed in a hardcover book that features 67 pages of pictures and text with information about each of ALW's shows. One of the other assets here is the perfect sound quality, since all of the tracks have been digitally remastered.
Here are my basic impressions and comments regarding the material on the discs:
* Disc #1 has the selections from "Jesus Christ Superstar", "Evita", "Cats" and "Song & Dance". The Superstar material mostly comes from the Concept Recording. Although the songs sound beautiful as always, their orchestration is a bit dated now. Only Steve Balsamo's "Gethsemane" from the 1996 revival cast has a modern rock sound. "Evita" comes with the material from all of the major recordings: London, Broadway and the movie productions, as well as the Concept album. No objections here; since this is one of ALW's most satisfying works, every song is just perfect, although Patti LuPone, the Broadway and overall the best Evita, is left with only a couple of lines. With the selections from "Cats", however, I have some doubts. A plus to the choice of the "Jellicle ball" impressive orchestral sequence from the 1998 movie version and "Mister Mistoffelees" from the 1981 London cast. One of the best known ALW's songs, "Memory", also comes from that album. It's a pretty version and Elaine Paige's rendition cannot be matched, but why include this when the definite version, featuring an 80-piece orchestra and Elaine Paige with much better interpretation, can be found in the same movie version. Thusly, one has to buy Elaine Paige's latest 2-disc compilation "Centre Stage: The very best of Elaine Paige" to get that one. And "Gus the theatre cat" is more a recital than a song, so there was not much point in including that. Marti Webb brings her vocal charm to the "Song & Dance" sequence, Sarah Brightman sings "Unexpected song" with her famous soprano, but as much as I like her version, Bernadette Peters, who was in this show on Broadway is strangely left out here.
* Disc # 2 starts with "Starlight Express". This was never one of my favorite ALW's shows; the plot is even lighter than in "Cats" and the 1984 original cast recording is terribly dated. Yet, here we have one terrific duet, "I am starlight" from the original together with three songs from the later revivals and it seems that fresh orchestrations were just the thing Starlight needed. My favorite remains a touchy ballad, "Next time you fall in love". "Requiem" is the most solemn of all ALW's compositions, written in 1985 to commemorate the death of his father. Placido Domingo's tenor rides together with the chorus all the way through the strong "Hosanna", only to be joined by Sarah Brightman in the final moments of this song. She then gives an echoing deliverance of "Pie Jesu". What can be said of ALW's next show, "The Phantom of the Opera"? A phenomenon in its own right, it's easy to see from the six numbers included here why this is one of the best and most beloved musicals of all time. The cast, the music, the story - everything is perfect. Although "Aspects of love" was never a popular hit, it does have some of the most beautiful love melodies ALW has ever written. "Love changes everything" sung by Michael Ball is probably one of the best tunes ever about love. The rest of the selected material here has a dreamy love flavor and the melodies find their way into your brain in the best Lloyd Webber way.
* ALW's first musical, "Joseph and the amazing Technicolor dreamcoat" was more successful in its revival form than the original from the 70-is. The three songs included here are sung by the show stars, Jason Donovan and Donny Osmond. Maria Friedman was not a lucky choice to play the narrator, as the track from the 1998 movie version shows. "By Jeeves" was ALW's only big flop when it came to the stage in the 70-is. The 1995 revival sounds much better though, full of funny numbers in the best manner of the musical comedy. "Travel hopefully" remains one of the show's highlights on this compilation. "Sunset Boulevard" comes next. "Sunset" remains for me one of Webber's best scores; lush and beautiful. I listen to the original cast recording with Patti LuPone all the time. However, here most of the songs are performed by Glenn Close. A big mistake. If you've ever listened the American premiere recording with her, you'll know what I am talking about. She may have a strong stage presence, but her vocal abilities are too limited, and her aggressive approach to the role lacks any subtlety. Therefore, the two big numbers from this show, "With one look" and "As if we never said goodbye" are ruined by the fact she can't sing. The same goes for the American Joe Gillis, who was played by Alan Campbell. Luckily, Patti LuPone and Kevin Anderson, the original Norma and Joe from the London production, make their brief entrance here with the "Perfect year"; enough to show how better they are. The funny thing is, on the jacket and inside of it, Glenn Close and Alan Campbell are credited as performers in this song as well. If this was a mistake on ALW's part, it was a good one. The next ALW's show, "Whistle down the wind" was never a critic's dear and yet the audiences rushed in to see it in London. The score brings back ALW to his rock and roll roots of the seventies and the story is quite interesting. But the selections here are not the happiest, since the cast recording boasts with much better songs. And finally, "The Beautiful Game". Again, we have one of those ALW's shows that is worth in its individual parts rather than as a whole. "Our kind of love" and "Let us love in peace" are two catchy ballads. The latter is a nice amalgam version not available elsewhere. The two other tracks here I could live without.
* Disc # 4 has the songs from all the above shows performed by different artists. The assembled tracks have their pros and cons. For example, we have some previously unreleased stuff, like Dame Kiri Te Kanawa's operettic rendition of "The heart is slow to learn", or a stunning and epic "A kiss is a terrible thing to waste" from "Whistle down the wind", performed by The Metal Philharmonic Orchestra. Then again, what was the point in including almost identical tracks as the ones on the previous disks? So we have Michael Ball again singing "Love changes everything" with only a bit different orchestration; Sarah Brightman comes out again with the same Phantom duets, but only with the different male singers. It would be much more appropriate to include tracks from the Toronto Cast of the Phantom, with Colm Wilkinson. Other pop deliverances (Tina Arena's "Whistle down the wind", Barbra Streisand's "As if we never said goodbye", Boyzone's "No matter what" and many more) were wisely chosen. Patti LuPone is again nowhere to be found and Petula Clark's "With one look" sounds too worn-out.
* The last disc is probably the one that will be of most interest to Lloyd Webber aficionados. It consists of entirely previously unreleased material ALW for the most part wrote for various artists during his early years, with Tim Rice. Some of these tunes, not successful as a singles, were later used in his shows. Thus "Down thru' summer" became "Buenos Aires"in Evita, "Try it and see", an unsuccessful attempt for the Eurovision was used for "King Herod's song" in "Superstar" and so on. Some of these songs are nicely made pop songs: "Make believe love", ALW's first recorded composition, for which he provided the lyrics; "Goodbye Seattle", sung by Paul Raven, who later became Gary Glitter; "Come back Richard, your country needs you", from a never made musical, sung here by Tim Rice, or Latin flavored "Magdalena", with Tony Christie singing. My all time favorite here is a song called "It's easy for you", sung by none other than Elvis Presley himself. Lloyd Webber and Rice sent him a demo recording that he accepted and recorded this live version a couple of weeks before he died. It's amazing to hear how his voice remained in the perfect shape. Also, there is a track of Andrew Lloyd Webber singing "Policle dogs and Jellicle cats" while plying the piano. His voice doesn't sound bad at all.
Taken as a whole, this compilation makes a perfect birthday or Christmas present to any fan of Andrew Lloyd Webber shows, or just anybody interested in some of the best tunes from the modern era of the musical theatre; despite the flaws I mentioned above. To the former, it may just be the final addition for the Andrew Lloyd Webber collection.
SUCH MAGICAL MUSIC OF THE NIGHT!.......2003-01-19
Opera") and the longest-running show of all time ("Cats"), the man whose homes are filled with three Grammys, five Oliviers, a Golden Globe, and Oscar and too many other honors and hosannas to mention, the man knighted in 1992 certainly doesn't need an introduction. Now Decca Broadway pays tribute to Sir Andrew Lloyd Webber with "Now and Forever," a spectacular 5-CD set compiled and produced by Sir Andy himself. It's cheaper than a
ticket to "The Producers" ... and more much exciting. This treasure trove contains highlights from all of Webber's shows, and a bonus disc of tunes sung by Betty Buckley, Barbara
Streisand, Jose Carreras, Boy George, Charlotte Church, Madonna, Tom Jones, Petula Clark, even Elvis! A must for lovers of theatre---and good music.
A Must Have for Sir Andrew fans.......2002-05-21
The cuts from the musicals are great but are likely owned by ALW fans as they are on the original cast albums. And I'm glad that there were tunes included from the composers most recent efforts which have yet to make it beyond London (Whistle Down the Wind, Beautiful Game).
My only complaint is the inclusion of way too many tracks by Sarah Brightman. She must've received a great divorce settlement that included having tunes on any ALW collection until the end of time!! Her interpretations of some of the tunes were limp and uninspired. I would've much rather heard casts from around the world rather than yet another song by this disdainful soprano! How about Colm Wilkinson's version of "Music of the Night" from the original Canadian cast of "Phantom"? Or Michael Crawford's version of "Unexpected Song"? What? No Betty Buckley from "Sunset Blvd."? And of course there are songs you KNOW are going to be on the collection before you even listen to it as they have been on EVERY ALW collection for the past decade or so.
A great collection but too much Sarah Brightman!
Average customer rating:
|
Don't Look Back
Povertyneck Hillbillies Manufacturer: Cort Records ProductGroup: Music Binding: Audio CD General
| Country
| Styles
| Music
Similar Items:
ASIN: B000CAKJNQ Release Date: 2005-06-28 |
Tracks:
- Night That Changed My Life
- Heaven Help Me
- Hillbilly Way
- Kinda Cool, Ain't It
- One Night in New Orleans
- She Rides Wild Horses
- Jericho
- Any Road
- Right Here, Right Now
- Go Crazy with My Heart
- Way
- Mr. Right Now
Customer Reviews:
Don't Look Back.......2006-02-28
GREAT LYRICS AND MUSIC .......2006-01-07
Soon To Be The Next Big Thing........2005-11-25
An amazing group!.......2005-11-21
Average customer rating:
|
Don't Look Back
Warren Vache & The Scottish Ensemble Manufacturer: Arbors Records ProductGroup: Music Binding: Audio CD General
| Jazz
| Styles
| Music
Similar Items:
ASIN: B000ETVIJE Release Date: 2006-06-13 |
Tracks:
- It Was Written In The Stars
- My Mistress' Eyes
- Spring
- My Love And I
- Molly On The Shore
- April In My Heart
- Valse Prismatique
- I Fall In Love Too Easily
- Love Is For The Very Young
- On The Street Where You Live
- Don't Look Back
Album Description
"Warren Vaché has coalesced his influences into a unique, imitable style; his solos unravel in long skeins of cascading ideas, owing as much to the legacy of Fats Navarro and Clifford Brown as to the trumpet heroes of the Swing Era." -JAZZ REVIEWWarren Vaché performs with twelve-piece virtuoso string group The Scottish Ensemble, with arrangements by Bill Finegan, James Chirillo, and Alan Barnes. Features a lost arrangement by Johnny Carisi, originally written for Charlie Parker. Warren Vaché is an accomplished, versatile performer who has been astounding audiences for decades with his superb cornet, trumpet, and flugelhorn stylings. Through live performances and recordings, Vaché conveys incredible warmth through his burnished tone and intelligent improvisations. He has performed and recorded with such luminaries as Benny Goodman, Rosemary Clooney, Benny Carter and more.
Customer Reviews:
Warren Vache & the Scottish ensemble.......2007-03-09
It's Warren Vache. You can't go wrong........2007-01-10
Average customer rating:
|
Don't Look Back
The Libertines Manufacturer: Japanese Import ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
| Music
Punk Revival
| Hardcore & Punk
| Alternative Rock
| Styles
| Music
Britpop
| British Alternative
| Alternative Rock
| Styles
| Music
Indie Rock
| Indie & Lo-Fi
| Alternative Rock
| Styles
| Music
Garage Rock
| Rock
| Alternative Styles
| Alternative Rock
| Styles
| Music
General
| Rock
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
Rock
| Imports
| Stores
| Music
Similar Items:
ASIN: B0000C4GL1 Release Date: 2003-10-06 |
Tracks:
- Don't Look Back into the Sun
- Death on the Stairs (New Recording)
- Skint and Minted [Demo Version]
- General Smuts [Demo Version]
- Mr. Finnegan [Demo Version]
- 7 Deadly Sins [Demo Version]
- Plan A
- I Get Along [Multimedia Track]
Album Description
Japanese exclusive EP featuring eight tracks, 'Don't Look Back Into The Sun', 'Death On The Stairs' (New Recording), 'Skint & Minted' (Demo), 'General Smuts' (Demo), 'Mr. Finnegan' (Demo), 'The 7 Deadly Sins' (Demo), 'Plan A' & 'I Get Along' (Video). Labels/Rough Trade. 2003.Album Details
Japanese Exlusive EP. Includes an Enhanced Video for "i Get Along".Christian Music:
- Dream Street [Import]
- Eyes Never Lie
- Fanfan la Tulipe [Soundtrack] [Import]
- Finally
- Fulton St. [CD-single]
- Galaxy Years [Import]
- Girl I Wonder [CD-single]
- Girlfriend [CD-single] [Import]
- Greatest Hits
- Heart & Soul: Gloria Gaynor/Kool & the Gang/Rolls Royce/Tavares [Import]
Christian Music
Orlando Jacinto Garcia: Illuminated Shadows
Paris Jazz concert (live) 1962 [IMPORT]
Par Les Temps Qui Courent [Import]
Romanticos-Serie De Oro [Import]