The Evil

The Evil

Track Listings

1. Someone

2. In Your Face

3. Hate

4. Hypnotized

5. Preacher

6. Evil

7. Help Me

8. Stop at Nothing

9. Rainy Daze

10. Sick

11. Ace of Spades

Tracks:

People Of The Sun
Bulls On Parade
Vietnow
Revolver
Snakecharmer
Tire Me
Down Rodeo
Without A Face
Wind Below
Roll Right
Year Of Tha Boomerang

Amazon.com

As the vitriol spewed from Evil Empire, Rage Against the Machine's long-awaited follow up to their 1993 debut owes much to Chuck D.'s polemic fury and rapid-fire urgency--though as always the band rages without hip-hop machinery in favor of the heavy-duty power tools of rock. But no matter if Rage against the Machine amounts to revolutionary rap, protest metal, or a combination of the two, the band's command of sonic rage makes Evil Empire a powerful assault in any musical language.

But wait, there's more to the name. Raging against the machine, like yelling at the TV, is woefully misdirected. Lyricist Zack de la Rocha is clearly someone with strong political views--particularly when it comes to the plight of fellow Mexicans on both sides of the border. He vents his indignation sharply at times ("Vietnow," "Without a Face"), rather clumsily and artlessly most others. Music this angry should be aimed at something more specific than an entire race or nation or government, or else it risks sounding like the empty rants of confused postpubescent rebellion. If only Rage against the Machine's raw musical muscles were grinding over a focused message, lord knows how potent they could be. --Roni Sarig

Customer Reviews:

The Best Rage Album...?.......2007-07-30

Of their three studio albums, this one is the most experimental. The riffing isn't as repetitive as the first album, and the lyrics aren't quite as juvenile as that release either. (Yes, I realize that their first album is considered a modern classic--but that doesn't mean it isn't without its faults.) "Evil Empire" is the only Rage album that stands up to repeat listenings, in my opinion. It's too bad that they've been out of commission in the post-9/11 era, because we need them now more than ever.

"Don't mothers make good fathers?".......2007-06-13

Inspired for the most part by the mobilization of the anti-globalisation, anti-neoliberalism, anti-imperialist Ejército Zapatista de Liberación Naçional (EZLN) on January 1st 1994, Rage Against the Machine's second album deploys the impoverished Mexican state of Chiapas as the spiritual locale of vocalist Zack de la Rocha's tirade against contemporary America.

Given the frontman's Chicano heritage it is valid to identify Evil Empire as de la Rocha's most personal work, no mean feat for an artist not known for keeping his emotions bottled-up.

The album opens with 'People of the Sun', a spiky number documenting the hardships of the Mexican people and their oppression throughout history at the hands of colonial powers, corruption and bureaucracy, and their neighbour to the north.

Fundamentally connected to the opener are the staccato 'Vietnow' and 'Without a Face', the former condemning the bellicose ideology of right-wing neoconservatism and the expansionist maxim prevailing in Occidental discourse, and the latter detailing individual small-scale delinquency as a simile for larger-scale dissidence and insurgency (as in the case of the Zapatista movement) engendered by colonial signification eroding indigenous identity.

Elaborating on the theme of colonial subjugation, Evil Empire's hit 'Bulls on Parade' underlines the machinations of dominant capitalism, pointing an accusatory finger at the US administration's military-industrial complex whilst disparaging of a governmental inability to identify any correlation between arms production and violent crime.

Musically, Evil Empire is informed more by hip-hop modes than the band's other two original works (1992's Rage Against the Machine and 1999's The Battle of Los Angeles), with the stop-start aesthetic allowing more scope for Tom Morello's typically innovative, often atonal guitar. Bassist Timmy C and drummer Brad Wilk (both of whom went on to become members of Audioslave, along with Morello) are the key players on Evil Empire's propulsive instrumentals however, combining to thunderous effect on 'Revolver' and 'Tire Me' in particular.

Evil Empire is de la Rocha's story though, and despite the polemic subject matter, he delivers each line with a cohesion and clarity superseding Rage's other work.

In these troubled times a lot of people need Rage Against the Machine to lend a voice to their discontent, we can only hope that new material follows their much-vaunted reunion shows. If ever there was a time for Rage to reclaim their vacant mantle of Most Imporant Band in the World, unfilled since they disbanded in 2000, it is surely now.

Raging With the Metal?.......2007-03-04

Released in 1995, funk-metal's Rage Against the Machine released their second album "Evil Empire" after a three year wait (supposedly due to rapper Zack de la Rocha's perfectionist tendencies, as the next album would take four years). The only album that I feel I can fairly make comparisons to is Rage Against the Machine's self-titled, so bear with me. I understand that following up such a classic is impossible, but there are several aspects they failed to capture that made the first album a classic.

Many people have claimed that this album sounds similar to or follows the same formula as 1992's self-titled album, but I disagree; it sounds very different, much slower and darker. There were significant changes in how it was mixed; Zack de la Rocha's vocals are distant, not as clear or up-front as before; Brad Wilk's drums are louder and more expansive, as he tries out different rhythms; Tim Commerford's bass is higher and more frequently distorted in the mix, and isn't nearly as funky or bright, making each song darker; Tom Morello's guitar is almost always heavily distorted, making it sound more like a machine than a string instrument. In fact, this sounds more like a rap-metal album than a funk-metal album. There's pretty much no melody here. Each of the instruments, including the vocals, sound almost audibly equal in volume, blending together into a mush of sound, while their self-titled was careful in making each instrument distinct and bright. The pace has also been slowed significantly and, subsequently, most of the energy has been sucked from this album. This is a bleak listen, and it isn't nearly as colorful or fun as their previous effort. Surprisingly, the only thing different here is producer Brendan O'Brien, with Andy Wallace still behind the mixing tables, so it's possible that the band wanted it this way.

I must give Tom Morello some mention, of course, since his solos are interesting and innovative as always. The highlight here is "Bulls on Parade", where his solo sounds like a DJ scratching a turntable; the fact alone that the man has to duplicate this live is insane. He also adds another dimension to their sound with his electronic playing, creating very unique metallic textures, but it doesn't sound soulful or organic. At times it simply sounds a machine, plowing through the music.

The lyrics were great, and the subjects have become more varied; social commentary seems to share as much of the lyric sheet as the anti-government sentiment. However, Zack's slogans aren't nearly as catchy or energizing as in the debut, maybe because it's so hard to hear them. The biggest problem here would be the vocals; they aren't clean or clear, and they're actually brought down in the mix to the levels of the instrumentation. Zack's vocals add power to the band's sound, but because they seem to blend right in, they don't stand out as much. When he screams, the rhythm section drowns him out, making each scream pointless. Why scream if you can rap normally at the same volume?

This isn't packed with instant rock classics like in their self-titled, with the whole CD feeling more like a rap-oriented metal album, and some of the tracks are a real drag (I struggled to get through "Wind Below" without switching tracks; the whole carnival guitar effect is sweet, but listening to it trudge on is so damn borning). If you're a first-timer, I advise you get their self-titled debut if you want to see the band at their prime. If you're a fan, I definitely recommend this, although I suggest you keep your mind open and brace yourself. There are some moments where this album really shines, like "Bulls on Parade", "Revolver", and "Snakecharmer", but other times I found songs to be bland (especially "People of the Sun" and "Vietnow"). Don't get me wrong, I love this band and I tried like hell to get into this CD, but "Evil Empire" just doesn't do it for me. Thankfully, they recapture their sound on their next album, "The Battle of Los Angeles".

People of the Sun (6/10)
Bulls on Parade (10/10*)
Vietnow (6/10)
Revolver (8/10)
Snakecharmer (9/10)
Tire Me (8/10)
Down Rodeo (8/10)
Without a Face (7/10)
Wind Below (5/10)
Roll Right (5/10)
Year of tha Boomerang (7/10)

* Favorite track

best Rage album.......2007-02-23

This is one of the best Rage Against the Machine albums ever. If your a Rage fan or not you should know the words to almost all the songs on this album.

DUDE its RAge.......2007-02-19

Evil Empire Is One of the best albums of all time without a doubt

Evil Dead: The Musical (2006 Original Off-Broadway Cast)

Average customer rating:

This is Hysterical
Irreverent, Funny, and Excellent
Something that would be worth a long car ride with very smelly people to see
I Have Never Heard Anything Worse
Evil Dead Rocks!

Evil Dead: The Musical (2006 Original Off-Broadway Cast)

Manufacturer: Time Life Records
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

General | Soundtracks | Styles | Music
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ASIN: B000N3ST7U
Release Date: 2007-04-24

Tracks:

Book of the Dead
Cabin in the Woods
Stupid B****
Housewares Employee
Evil Trees
It Won't Let Us Leave
Look Who's Evil Now
What the F**k Was That?
Join Us
Good Old Reliable Jake (Intro)
Good Old Reliable Jake
Housewares Employee (Reprise)
Death is a B****
I'm Not A Killer
Evil Puns
Bit Part Demon
Good..Bad..I'm the Guy with the Gun
All the Men in My Life Keep Getting Killed by Candaian 19. Demons
Ode to an Accidental Stabbing
Boomstick

Album Description

It's frighteningly clear that Evil Dead: The Musical is nothing like its glittery Broadway siblings. Peppered with enough four-letter words to make a rapper blush and bursting with more force than a Monty Python skit, the original cast recording of Evil Dead: The Musical is a truly unique treasure, sure to appeal to many with its offbeat edginess.

Customer Reviews:

This is Hysterical.......2007-07-26

I think it works better if you've seen the movie, better still if you've actually seen the stage show. But either way you don't have to be in the in crowd to get it or enjoy it. The production quality is excellent, and this will be the CD that gets worn out in the player, especially if you're having a bad day. Trust me.

Irreverent, Funny, and Excellent.......2007-07-23

My husband got tickets for me for Christmas and went back for the last show in NYC. Have seen the movies and love it all.
The soundtrack is so great. Yes, it's vulgar and crass, but it's demons not angels. The only song I don't particularly care for is the last one, "Blew the B**** Away." It didn't fit in with the rest of the music. It fit with seeing the show live, but not with the tone of the rest of the soundtrack. I know that sounds odd, but there it is.
When/if the show comes back to NYC, I'll be back to see it. Greatest line, "she just ripped my pre-ripped Abercrombies..."

Something that would be worth a long car ride with very smelly people to see.......2007-07-12

When I had first heard of this musical, I had thought that it could not possible be for real. When I actually heard this cd, I had thought that it could not possible be for real. This is the funniest, smartest, crassest and most original remake of movie that I have come across in a very long time. "What the F*** Was That?" will be on my list of top 100 songs for a very long time. Anyone who loved the movies this is based on, or who just have a place in their heart for comic gold, need to have this cd in their collection.

I Have Never Heard Anything Worse.......2007-07-11

OK, so after reading this review, I'm sure that most people will think that I'm one of those musical theatre elitists that just "don't get it" when a show is just trying to be fun. But, believe me, that couldn't be further from the truth. I can appreciate that musical theatre is supposed to speak to a wide range of tastes and styles and that a show like Evil Dead is not supposed to be taken too seriously. I also get it when a show is trying to be a clever parody (i.e. Urinetown) or just a fun and light-hearted piece of eye and ear candy that doesn't require a lot of deep thought or heavy emotion. I also understand that not all composers/lyricists are seasoned professionals and, believe it or not, I actually support and encourage new and start-up writers and embrace all of their novice mistakes, as long as they don't all occur in the same place at the same time. So, believe me, I get it.

But, sometimes, even with all of this forgiveness in my heart, there are some scores that are simply atrocious. I'm afriad that Evil Dead falls into that category. First, the music: In my mind, a musical score has to be either melodic or original. In the best cases, you have both. In the worst cases, you have neither. In this case, you have nothing. Just nothing. The songs don't say anything - musically or otherwise. They have all been done before, and they are all really, really, bad. I just don't know how else to say it. But the worst part of this unforgivable score has got to be the lyrics. When I say that they are unlistenable, I am not exagerating. These are the worst lyrics I have ever heard committed to CD. Seriously, they are that bad. I couldn't find one redeeming moment. Picture rhymes that a 6-year old might come up with - like trying to rhyme "would be" with "groovy", or "girl" with "squirrel". Yes, I'm afraid these are real examples. The lyrics, in fact, are so bad, that I am not completely confident in my review of the music because I couldn't even get through some of the songs. I shudder at the thought of ever going back to listen to this monstrosity again.

The performances are awful - but that I can forgive. After all, this was not a Broadway show and the actors, in all fairness, had no decent material to work with. I do like the concept, so please don't think that this is the problem. In fact, the story is why I even picked up this CD to begin with. My entire problem is that this is the worst score I have ever heard and, because of that, I found myself constantly infuriated at the fact that these composers were given any funding at all to stage this show - clearly based on the draw of the concept - when there are far better unknown composers out there with real talent who just can't get a break.

So, in summary - I encourage everyone reading this review to continue to support off-Broadway theatre and upstart composers and even shows that are not completely perfect. Just don't support this one. I'm sorry if that sounds harsh. But the producers who mounted this show and released this CD really don't deserve your money. There's no nice way to say it.

Evil Dead Rocks!.......2007-06-29

The cast album to 'Evil Dead" is almost as much fun as Little Shop of Horrors! It's a tongue in cheek spoof all the way with some really fun music to go along with it. Loads of different styles of music and plenty of fun for all!

Average customer rating:

underrated.
Lame
My new favourite band?
hahahahahahahahahahahahahahahaha
Ouch.

City of Evil
Avenged Sevenfold
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Emo | Hardcore & Punk | Alternative Rock | Styles | Music

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IV

ASIN: B0009I7NNA
Release Date: 2005-06-07

Tracks:

Beast and the Harlot
Burn It Down
Blinded in Chains
Bat Country
Trashed and Scattered
Seize the Day
Sidewinder
Wicked End
Strength of the World
Betrayed
M.I.A.

Album Description

Shattering preconceptions of punk and metal, Avenged Sevenfold blazes a bold new path with its debut major label album, City of Evil. Fusing punk with melody, metal intensity with an adventurous spirit, the drama and darkness of A7X moves effortlessly from his powerful vocal punch to thick cascading melodies, from loud and fast to epic. Influenced by everyone from Pantera, Metallica and Iron Maiden to Bad Religion, Misfits, Guns 'N Roses, prog-metal and experimental rock, Avenged Sevenfold seeks its own musical vengeance with City of Evil.

Customer Reviews:

underrated........2007-07-26

yeah, I know all the wannabe metalheads are gonna want to rip me a new one for calling this underrated, but all they can do is leave an immature comment on my review, so I'll just let em. Scream at your computer if you want. I'm sure it'll cry for you.
Most of the negative comments on this band/album are quite amusing, actually. Especially since most of the negative reviewers just say "DEY'RE NOT METAL" and repeat that over and over again. They probably have only heard Bat Country. And I don't see why fans of the first 2 albums don't like this. It's really not that different. So M. Shadows isn't screaming. So they're on mtv. So they won some "best new artist" award even though they're not a new artist. SO FREAKING WHAT? 2 of those "reasons" have absolutely nothing to do with the music, and as for M. Shadows not screaming, don't you think that was getting annoying? I sure thought it was. I'm not a big fan of Sounding the Seventh Trumpet mainly because M. Shadows is just screaming through alot of the songs. Hardly any melodic singing, and that's what I enjoy about him. If you guys don't like bands that don't scream, that's fine, but you don't have to be a gigantic jerk and take a dump on everyone else's good time.
As for my opinion on the album, I personally love it. I can listen to it because M. Shadows' annoying screaming is not present in this album. And the guitars may not be AS heavy as before, but it's still metal. People are always screaming out "A7X AREN'T METAL" but can never really prove their claims. Sorry losers. This is metal, whether you want to admit it or not.
A truly great but underrated album by a truly great but underrated band

Lame.......2007-07-14

Avenged Sevenfold isn't metal and probably never will be. I seriously can't fathom why someone would be stupid enough to like this load of bollocks. Their emo look is simply laughable. And the music is so horrid and sub-par it makes me want to shoot myself in the foot. Avenged Sevenfold is like a joke that just isn't funny. Don't support these MTV whores and buy some real metal.

My new favourite band?.......2007-07-07

I picked up this album on the strength of Total Guitar having rated the solo in Bat Country so highly in their top 100 guitar solos article (and man I love that solo!) and without knowing anything else about the band at all.

One listen through and I was hooked. I really love the tight arrangements of the songs on the album, complete with fast dual guitar lines (Burn It Down sticks out in this regard!) and insanely brilliant drumming. The biggest appeal about this band is the diversity of their sound. Like several of the forerunners in Metal currently (Trivium, BFMV to name a couple) the guitar harmonies are undoubtedly influenced by Iron Maiden. But coupled onto this is an undeniable tip of the hat to the Gunners (you can't miss the similarities in guitar tones and licks played by Synister Gates in Seize the Day and Slash's work on November Rain)

My favourite song on the album is a tie between Sidewinder and Bat Country, but since most are going for Bat Country I'll promote Sidewinder! My least-favourite number on the album is Strength of the World (that military shout of the chorus "Strength of the World" feels a little silly) but there are still parts of the song that I like.

There is no doubt that this is a guitar-purist's type of album, but the songs themselves are strong enough to be liked by people looking for more than just the next guitar solo. So now I sit waiting for the next offering by the band

hahahahahahahahahahahahahahahaha.......2007-06-18

This CD is funny.

Decent guitar work.

Vocals = hahahahahahahahahahahaha

Lyrics = hahahahahahahahahahahaha

Maybe I would have really liked it if I was 15

Ouch........2007-05-17

Really isn't all that fantastic of an album. It's just more pop-metal nastiness mostly. Vocals are nasily, yes I know he got surgery, but that doesn't mean the whole band has to change. The guitar work wasn't all the impressive either, let alone the drumming. You want metal? (Though Avenged Sevenfold is hardly metal)Listen to Mastodon or Lamb of God. Much more worth it, those are some boys with talent. Cheers!

Average customer rating:

Speak No Evil...
the Miles effect
What This Album Means To Me
Sustained Beauty
Flawless

Speak No Evil
Wayne Shorter
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

Hard Bop | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Modern Postbebop | Jazz | Styles | Music

Blue Note Records | Amazon.com Label Stores | Stores | Music

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Modern Post Bop | Jazz | Indie Music | Stores | Music
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ASIN: B00000I8UH
Release Date: 1999-03-23

Tracks:

Witch Hunt
Fee-Fi-Fo-Fum
Dance Cadaverous
Speak No Evil
Infant Eyes
Wild Flower
Dance Cadaverous (Alternate Take)

Amazon.com

Wayne Shorter's compositions helped define a new jazz style in the mid-'60s, merging some of the concentrated muscular force of hard bop with surprising intervals and often spacious melodies suspended over the beat. The result was a new kind of "cool," a mixture of restraint and freedom that created a striking contrast between Shorter's airy themes and his taut tenor solos and which invited creative play among the soloists and rhythm section. The band on this 1964 session is a quintessential Blue Note group of the period, combining Shorter's most frequent and effective collaborators. Trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter, and drummer Elvin Jones merge their talents to create music that's at once secure and free flowing, sometimes managing to suggest tension and calm at the same time. --Stuart Broomer

Album Description

24 bit digitally remastered Japanese reissue of classic Blue Note album in a miniaturized LP sleeve limited to the initial pressing only, and with the original artwork intact. Contains all six tracks from the original 1964 issue. 1999 release.

Album Details

Japanese Version Featuring A Limited Edition LP Style Slipcase. 24Bit Remastered.

Customer Reviews:

Speak No Evil..........2007-06-15

I can't anymore to what already has been said. This work
(Wayne's 3rd Blue-Note Album) is simply outstanding. It's
a complete modern jazz work. As this is my first Wayne Shorter
album, I have nothing to compare it to! So, this gives
me an excuse to purchase another disk. But, what to buy?
I know, I'll pick up the following:

1. "Night Dreamer" (Wayne's 1st Blue Note Album)
2. "JuJu" (Wayne's 2nd Blue Note Album)

Then, I can perform comparisons! Stay tuned...Oh yes, this album
rates five stars!!

the Miles effect.......2007-04-20

Along with key sidemen Freddie Hubbard (t), Herbie Hancock (p), Ron Carter (b) and Elvin Jones (d), Wayne Shorter produced this classic in 1964 and it was released that following year by Blue Note. Known for both the compositional ingenuity that went into this record as well as for the improvisational nature of the music at hand, this seminal recording has influenced countless musicians that followed. This particular reissue is part of the Rudy Van Gelder Edition series, and as such has received 24-bit digital remastering that improves upon the integrity of the sound here greatly.

This is music that followed Shorter having joined Miles Davis in the summer of 1964, and as such shows Wayne becoming more innovative and daring as a composer. I cannot recommend this album enough to everyone. If you enjoy the music of `Speak No Evil' then you will also thoroughly enjoy the albums `Juju', `Soothsayer' and `Adam's Apple'. Out of all the Wayne Shorter projects produced during his Blue Note years, `Speak No Evil' is the definitely the best place to start.

What This Album Means To Me.......2007-01-13

This dynamic quintet marks one of the peaks in jazz creation and interplay in it's musical history. With an allstar cast of Wayne Shorter, Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones, the music was destined to be nothing less than amazing from the start. But amazing players is not all it takes to make an album worth a spot on the jazz timeline. The day of recording it was obvious that everybody was on. Fueled by the lyrically sad and revolutionary compositions of Shorter, their creative drive was explosive. Being a drummer this album has taught me a huge chunk of what I know about the concepts of swing and interplay. This music has nothing to do with showing off or proving something to one's audience. The fantastic thing about Shorter is his ability to say exactly what he wants and yet the music comes across in a way that's "medicine for your ears" according to Herbie Hancock. Shorter was the only person to bring music to Miles that never had to be changed because it was perfect and this album shows exactly that; a solemn soul creating something far beyond music.
Witchhunt is a dynamic opening to the cd. The rhythmic explosion at the intro already tells the audience with in it's first few seconds of sound that the album's a classic. It's interesting to note how the intro is a great example of call and response, a somewhat foreshadowing of the interplay to come in the solos. Elvin's swing into the head is driving and powerful. All the tunes and solos on this cd are examples of Wayne's ability to use space. Witchhunt is no exception with a bouncy rhythm of 8th notes for two bars followed by space for two bars. The horns are somewhat behind the beat, defining their unique concept of swing. Wayne understood what the rhythm section was there for. It wasn't to make himself sound good, but to make the music sound good. The intense B section contrasts the mellow and bouncy A and is another great example of how Wayne incorporated call and response in ways beyond just leaving space after a phrase. The end of the B section then mellows down with some 8th note phrasing somewhat reminiscent of the A. Wayne's solo begins with an epic fill by Elvin and then the subtle interplay begins. If you're to tune out the rhythm section it almost sounds like Wayne is soloing over a ballad. His enigmatic way to keep his cool over a "medium up" song is incredible. His phrasing and style make his rests seem longer and spacier than they are which is also very masterfully accomplished by the rhythm section. They knew how to make two bars feel like an eternity, something that is hard to explain in simple music terminology. He has a subtle way of referencing the head into his solo without using it too much. Hubbard begins his solo with some high pitched dynamic phrasing. Freddie is a lot more ahead of the beat than Wayne, another interesting form of call and response that keeps your ear wanting more. Hancock's solo opens with a simple 3 note motif. His solo is not very related to the head but still is innovative and exciting, proving his inate ability to write music on the spot. Coming back into the head the drums are more intense than they were at the beginning. Freddie slips a little at the end, but is almost not even worth mentioning as the song is incredible.
Fee Fi Fo Fum opens with a syncopated and mysterious piano intro. The head itself is very spacey and mellow with the current of swing under it. One of the most amazing pieces of this album is Freddie's solo intro on this track. It's virtually indescribable along with the rest of his solo which built off his great topic sentence. The solo is fairly short, but still says so much. Shorter's solo is very behind the beat and very rarely has anything faster than quarter notes. Later in his solo he busts out some lines that are almost straight. These lead into some very bluesy licks and his climax into Herbie's solo. Herbie's solo plays off Wayne's blues motifs and incorporates his own style until he builds tension with a triplet line back into the head. The first note of the head is played in such a way that it seems like they used some kind of effect, but it's all simply in how well they played it. The ending is predictable and releaving.
Dance Cadaverous is a somewhat "up" waltz, but is more like a mysterious and haunting lullaby. The piano comping over the head is another one of my favorite parts of this cd. It's this amazingly awkward and muddy feeling that if heard by itself would simply be weird, but Herbie knew how to use his out of the box mind to add the spice to Shorter's music. The piano solo begins behind the beat and very beautiful. Herbie rapidly builds tension and releases it into a flurry of notes leading into the downbeat. The energy subtly increases into Shorter's solo in which he seems like he's grasping onto something. Shorter's uncanny ability to use his life experience to bring out the human and raw emotion in something as obscure as a complex waltz is truly stunning. His solo then builds back into the mysterious head where Herbie's comping is again exactly what the composition needed. The strong ending is great and a perfect end to a perfect song.
Speak No Evil, the title track, is a "medium up" swing song with such subtle things done during the head that it's hard to notice. The head itself is a simple 5 note motif that leads into the downbeat from the and of 3. The B section is a quick and large amount of tension that is quickly released. The solos are all over only the A section which makes it very cohesive and swingin'. Shorter's solo is my favorite on this cd. This is the only time he's on top of the beat in any way. This song has some of the most intense interplay i've heard in all my listening experience. Wayne's climax is practically orgasmic and after it happens you can hear one of the musicians say "yea," which is said in the best way possible. The crescendo into Hubbard's solo is strong and then mellows down to be built back up over the intense swing. Freddie has no problem consistently hitting notes that tug at the soul and uses them as a common tension builder throughout the cd. Hancock is also fairly on top of the beat but still maintains a very relaxed feel. He then busts into one of his polyrhythmic tension builders and leads back into the spacey head. The crescendos are so well done between Shorter and Hubbard that it's hard to tell that there are 2 horns. It ends with a fadeout which is appropriate even though I'm not ussually one for fadeouts.
Infant Eyes is the ballad of this cd. Shorter's intro is incredibly soulful and his sense of rubato glides the peace as opposed to making it feel like chunking quarter notes which can get very repetitive in ballads. This song is a perfect example of Wayne Shorter feeding off his painful life experiences to create something wonderful. "Bring It On" Shorter says when discussing life tragedies, "because I want to reep the benefits." With the loss of his wife, parents, and daughter, Wayne Shorter has embraced solitude and used it to breathe tragedy into his horn. This song has a level of authenticity that is far beyond chops, pitch, rhythm, but is simply directly about soul. He references the head in his solo and the discussion between the sax and the piano turn this from a ballad into a beautifully depressing conversation. The ending is very mysterious and poignant.
Wildflower is the final song of this cd with the exception of the alternate take of Dance Cadaverous. Though this song is an "up" waltz it really feels like a lullaby. I commonly find myself humming it while I'm walking around. Shorter begins his solo by quoting the head. He still uses his ability to stay behind the beat to show
the contrast he has with the rhythm section. Freddie's solo also quotes the head and uses his high pitch on ability to stay on top of the beat to portray his message. Hancock uses polyrhythms to lead into realeases on the downbeat, starting his phrases halfway through the measures. He and Elvin synch up on a dotted half note rhythm back into the head. The A section is soft and serene while the B section builds the tension into the ending.
This cd gave me so many new concepts as a musician, but as a listener too. This was one of the first jazz albums I really got into and it was a gateway drug of sorts because it really opened my mind to this world I had never explored. Shorter still remains one of my all time favorite musicians and composers. There's something about his playing that's not just wonderful. It's not just lyrical. It really tugs at your heart in an indescribable way. He understands that music isn't just music. That a rhythm isn't just a rhythm and a note isn't just a note. If you ever find yourself wondering why all the soul in music is gone these days it's because most of it's gone to Wayne. He has no intentions of quitting and neither does my ear, cuz it needs it's daily dose of the Shorter.

Sustained Beauty.......2006-08-25

In the early to mid-sixties, Wayne Shorter, both before and during his tenure with Miles Davis, created some of the most indelible compositions in the jazz lexicon. The genius of the composer, who created "Speak No Evil" "Night Dreamer," "Juju," and "Adam's Apple," all recorded during this time,is beyond description. Using many of the same personnel (usually Herbie Hancock in the piano chair, who was also central to the harmonic voicings of the ensemble playing-Reggie Workman or Ron Carter on bass, Elvin Jones or Joe Chambers on drums, Freddie Hubbard or Lee Morgan on trumpet) probably accounts for the "unity" of sound on these albums, but even more central are the songs written by Wayne Shorter-"Infant Eyes" from Speak No Evil," "Footprints" from "Adam's Apple," "House of Jade" from "Juju," the title track from "Night Dreamer" or "Oriental Folk Song" just for starters.

As another writer mentioned, this is "cool jazz," but much different form what came to be known as "West Coast cool." The tunes unfurl at an even pace, and the beauty of the music is such that it sometimes seems to stop momentarily, just so the beauty could be sustained a little longer. These are the records that (no disrespect to Coltrane, Hawkins, Webster, or any of the great tenor players) cement Wayne Shorter as my favorite tenor player, and one of the greatest musicians of the 20th (and now 21st) century.

Obviously, anyone who likes "Speak No Evil" should check out "Adam's Apple," "Juju," "Night Dreamer," or Miles" "Nefertiti," to which Shorter contributes another classic composition in the same vein as the others, "Fall."

Flawless.......2006-04-11

Exploiting simple melodies to gorgeous effect and engaging in brilliant harmonic interplay with trumpeter Freddie Hubbard, Wayne Shorter crafted one classic LP after another on Blue Note in 1964, culminating in this Christmas Eve set, easily his strongest, with "JuJu" a close second. Every composition here shows tremendous growth and while the pieces are shorter than some of the more explorative works he would undertake later in the 70's with keyboardist Joe Zawinul (somebody please release "Odyssey Of Iska" on CD!!!!) the overall feel of this work is easy flowing and expansive, relaxed but not languid or slow and sprawling but not too drawn out. The 8 minute title cut is a standout for it's unforgettable melody and stellar soloing by all members of the quintet. Both mellow and lively, this entire set is essential for any fan of "real" jazz. Perfect.

Average customer rating:

A Great Live Album From A Righteous Rock Guitarist
Excellent. Classic Mule, hard hitting three man power.
old school Mule
Reissue of the 2nd Mule album with "Voodoo Chile" bonus

Live at Roseland Ballroom
Gov't Mule
Manufacturer: Evil Teen Records
ProductGroup: Music
Binding: Audio CD

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Mule on Easy Street
The Benefit Concert, Vol. 2
The Benefit Concert, Vol. 1
Weary and Wired
Live in Glasgow

ASIN: B000NVIXHS
Release Date: 2007-05-01

Tracks:

Trane [Live]
Temporary Saint [Live]
Painted Silver Light [Live]
Don't Step on the Grass, Sam [Live]
Kind of Bird [Live]
Mule [Live]
Voodoo Chile [Live][*] - Jack Casady, Gov't Mule, Chuck Leavell

Customer Reviews:

A Great Live Album From A Righteous Rock Guitarist.......2007-07-11

LIVE AT ROSELAND BALLROOM is a great live CD by Government Mule, with no overdubs and no touch-ups. Instead, what you hear is the unvarnished honesty of a true power trio playing their hearts out like there's no tomorrow. True, this can lead to some overindulgence and excessive jamming, but there are several great songs that more than make up for the occasional excess. In addition, guitarist-singer Warren Haynes' advocacy of sanctions against Indonesia in retaliation for that country's trumped-up 2005 drug-smuggling conviction of a young Australian tourist makes this CD an essential purchase for both your ears AND your conscience.

Excellent. Classic Mule, hard hitting three man power........2007-06-15

Gov't Mule is an awesome band. Great lyrics and singing along with powerful guitar work by Warren Haynes. Fantastic drum work by Matt Abts. Heavy deep end by Allen Woody (too bad he had to leave us so soon).

If you haven't listened to the Mule, this is a terrific album to cut your teeth on.

old school Mule.......2007-05-12

As it says in the liner, 'No overdubs, no editing, no apologies. Warren would like to take responsibility for being out of tune during Painted Silver Light. Matt would like to take responsibility for the confusion at the end of Dont Step On The Grass. Everything else is Woody's Fault !'
Master tapes were recently Calbitized and sound wonderful. This music absolutely demands to be played loud. Bonus Voodoo Chile makes for nice filler. Awesome reissue, crank it up !

Reissue of the 2nd Mule album with "Voodoo Chile" bonus.......2007-05-11

Chronologically speaking, this was the second Gov't Mule album (a live document of their New Year's Eve 95/96 concert at NYC's Roseland Ballroom). True Haynes fans / Mule-heads will pay for the double dip in order to obtain the 15 minute "Voodoo Chile" with Jack Casady on bass and Chuck Leavell on organ (NOT the version found on the "Deepest End" DVD). The original album offered up a tasty 8-minute version of Steppenwolf's "Don't Step On The Grass Sam," one Allman Bros. track ("Kind Of Bird") and four tracks from the debut album. There's a reason why Haynes has found a home not only in Gov't Mule but also in The Dead, Phil Lesh & Friends, The Allman Brothers...they're all jam bands and he's the consummate jam player. Everybody and his brother has covered "Voodoo Child, Slight Return" at one time or another, but Warren's the only player of consequence I know of who's tackled "Voodoo Chile" WITH original bassist Casady in tow. Later in Gov't Mule's career, an attempt was made to offer songs at the more traditional 3 to 4 minute length. Not here. The shortest track runs at approximately 6 minutes, with two topping 15. This is air guitar heaven. Jump in.

Midnight In The Garden Of Good And Evil: Music From And Inspired By The Motion Picture

Average customer rating:

A must hear for everyone
A Great Great Soundtrack Album
Best Jazz Vocal Ever and a Good Album
Midnight in the Garden of Good and Evil Soundtrack
Good and Evil is Mostly Good!

Midnight In The Garden Of Good And Evil: Music From And Inspired By The Motion Picture
k.d. Lang , Joe Williams , and Paula Cole
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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Midnight in the Garden of Good and Evil
Midnight in the Garden of Good and Evil
The Complete Johnny Mercer Songbook
The Bridges Of Madison County: Music From The Motion Picture
Capitol Collectors Series

ASIN: B000002NJF
Release Date: 1997-11-18

Tracks:

Skylark - K. D. Lang
Too Marvelous For Words - Joe Williams
Autumn Leaves - Paula Cole
Fools Rush In (Where Angels Fear To Tread) - Rosemary Clooney
Dream - Brad Mehldau
Days Of Wine And Roses - Cassandra Wilson
That Old Black Magic - Kevin Spacey
Come Rain Or Come Shine - Alison Eastwood
Ac-Cent-Tchu-Ate The Positive - Clint Eastwood
This Time The Dream's On Me - Alison Krauss
Laura - Kevin Mahogany
Midnight Sun - Diana Krall
I'm An Old Cowhand (From The Rio Grande) - Joshua Redman
I Wanna Be Around - Tony Bennett

Amazon.com

This Clint Eastwood vanity-project was one of the biggest box office disappointments of 1997, despite a masterful performance by Kevin Spacey, Eastwood's typically subtle direction and, to these ears anyway, one of the most satisfying collections of songs gathered in service of a film in many a year. It didn't hurt that they were all penned by the late, great Johnny Mercer (a native of Savannah, GA, the film's locale and most crucial, underrated element) and with the exception of Tony Bennett's "I Wanna Be Around" and Sinatra's classic "Summer Wind," were rendered by an all-star team of jazz players (Charlie Haden, Michael Brecker, Joshua Redman, Kevin Eubanks, Christian McBride among them) and an impressive line-up of vocalists including k.d. lang, Paula Cole, Joe Williams, Rosemary Clooney, Cassandra Wilson, Alison Krauss, Diana Krall, and Kevin Mahogany. Eastwood has long been a jazz devotee and, in recent years, eager proselytizer; this album plays like a love letter to one of his most beloved musicians and composers. --Jerry McCulley

Customer Reviews:

A must hear for everyone.......2007-05-20

I have several of these CDs in my collection. I keep one in the car, one in the home system and one for traveling.

It is, by far, the best soundtrack I have ever encountered...

A Great Great Soundtrack Album.......2007-02-24

If you could buy only one CD this year, I have NO IDEA what it should be. Maybe you should get a second job, you deadbeat. But if you buy two CDs (without having to work in a salt mine, or sell Uncle Bob, piece by piece, for experiments), it should be two soundtracks: Midnight in the Garden of Good and Evil and L.A. Confidential.

Dark, ethereal, and moody, these albums have an incredible presence, and hold together on their own as great albums, able to stand apart and peer out from beneath the long, great shadows cast by their respective, impressive film counterparts.

Midnight in the Garden of Good and Evil is a Johnny Mercer 'songbook' as done by mostly modern artists, including Clint Eastwood, Midnight's director. This, of course, proves that Mr. Eastwood is a great ... director.

Actor Kevin Spacey fairs better, pulling off "That Old Black Magic" without a hitch. Tony Bennett's "I Wanna Be Around" and Rosemary Clooney's "Fools Rush In" = Fabulous. But the stand-outs are Alison Krauss and k.d. lang. Krauss' "This Time the Dream's On Me" is absolutely, ... well, ... dreamy. "Skylark" as sung by Bobby Darin, is one of the great Croon Tunes, but when done here by k.d. lang, Darin gets the spanking he so richly deserves. lang's full, resonant voice fills the song with a warm, rich majesty.

Majesty, my friends.
It's good to be the king. And this album is king.
Worth the price of admission itself.

My suggestion: get both CDs, dim the lights, pour yourself a beverage or four, and listen to these two albums back to back.

Repeat as necessary.

Best Jazz Vocal Ever and a Good Album.......2007-01-28

Alison Krauss's version of "This Time the Dreams on Me" unexpectly sets a new standard for female Jazz vocals. Simplely amazing that Ms. Krauss could blow away this old standard, none of the twang of her usual recordings, just amazing.

Otherwise a nice selction of jazz vocals.

Midnight in the Garden of Good and Evil Soundtrack.......2007-01-17

A very beautiful album of Johnny Mercer music

Good and Evil is Mostly Good!.......2007-01-05

Very pleased with the music on this DVD. Only reservation is that I expected it to be a little closer to the actual score from the movie.

Average customer rating:

Great movie, better soundtrack
great collection of unusual music
Supurb
Amazing!
excellent

Mirrormask
Iain Ballamy , Stuart Hall , Martin Sharp , Matthew Sharp , Burt Bacharach , Dave McKean , Martin France , John Parricelli , Neil Percy , Iain Bellamy , Ashley Slater , Arve Henriksen , Chris Batchelor , David Powell , Josefine Cronholm , and Neil Gaiman
Manufacturer: La-La Land Records
ProductGroup: Music
Binding: Audio CD

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Where's Neil When You Need Him?
Mr. Punch

ASIN: B0007RTARU
Release Date: 2005-09-20

Tracks:

Sock Puppets / Flyover
Circus Overture
Spanish Web
Gorillas!
Running For The Bus
Abandoned Hall
Leaving The City
Arresting Helena
The White Queen Sleeps / The White Palace
Rabbit Band
The Library
The Myth Of Creation
Fish Street
Looking Through The Window
Giants Orbiting
Outside Bagwell's
Mrs. Bagwell's Rhumba
Meeting The Sphinx
Monkeybirds
Dream Park / Meeting In A Dream
Conjuring A Dome
In The Dark Forest
Betrayed!
Close To You
A New Life
A Rather Tense Dinner Party
Butterfingers
Discoveries / Fight Or Flight? / Goodbye Evil Helena
My Waltz For Newk
If I Apologised

Customer Reviews:

Great movie, better soundtrack.......2007-05-19

I just recently saw this movie and the only thing I could think about afterwards was that I had to get this soundtrack. I'm not usually a big fan of movie soundtracks, but this cd is unlike any other out there, soundtrack or not. The use of strings and carnaval type instruments is completely unique and makes this a must by for any fan of music.

great collection of unusual music.......2007-05-07

Rented the movie on reccomendation from Netflix, it was pretty good. But the music was the star of the show. The soundtrack follows the course of the movie pretty closely, it's kind of like listening to the movie. Each track brings to mind a specific scene in the movie. One of the highlights is the ecclectic treatment of Burt Bacharach's "Close to You". Most will remember the super-sweet Carpenter's version, but this interpretation was the main reason I bought the music. Unusual augmented chord progressions and almost minimalist format (complete with the mechanical background sounds made by the female jack-in-the-box-like, life-sized, mostly metal toy dressers) make the tune as captivating as in the movie when they 'convert' the trapped Helena into the black princess. Great music to play while relaxing, too.

Supurb.......2007-03-08

This soundtrack is truly a delight to listen to. It ranges from quirky circus music to deep and melodic mysterious tunes. It is a great CD to relax to and to use as background music for most any relaxing time hanging out with friends.

Amazing!.......2007-02-24

This is a very good soundtrack to a very good movie. The music is amazingly composed and is nice to listen to.

excellent.......2007-01-17

This CD is excellent! All the music from the movie in its entirety, all the songs are complete songs, and the songs are all top notch compositions.

Average customer rating:

Necessary Evil
Debbie Harry
Manufacturer: Eleven Seven Music
ProductGroup: Music
Binding: Audio CD

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ASIN: B000SM7QVQ
Release Date: 2007-09-25

Tracks:

Two Times Blue
School for Scandal
If I Had You
Deep End
Love with Vengeance
Necessary Evil
Charm Redux
You're Too Hot
Dirty and Deep
What Is Love
White Out
Needless to Say
Heat of the Moment
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Jen Jen
Naked Eye
Paradise

Ten Years of Resident Evil: The Official Soundtrack

Average customer rating:

Resident Evil

Ten Years of Resident Evil: The Official Soundtrack
Original Game Soundtrack
Manufacturer: Sumthing Else
ProductGroup: Music
Binding: Audio CD

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Resident Evil: Music From and Inspired By the Motion Picture
Silent Hill, Vol. 3
Hot Fuzz

ASIN: B000NJL55W
Release Date: 2007-03-27

Tracks:

Nightmare
Terror, Pt. 2
Terror, Pt. 3
Narrow and Close
Neptune
New Threat
Depth
Tyrant, Pt. 1
Evil Eye
Raccoon City
Front Hall
Basement of Police Station
T-A
Second Malformation of "G"
Escape from Laboratory
Maximize Your Survival Instict
Last Escape
Her Determination
Nemesis' Theme
Feel the Tense...
Mysterious Orgel (Correct)
Hospital
Euthanasia of Raccoon City
Incoming
Infants
Piano Roll
Lacrymal
Suspended Doll
Theme of Nosferatu
Deja Vu
Murderous Eyes
Theme of Alexia Type 2
Lullaby, Pt. 1
Training Facility Main Theme
Leechman, Pt. 1
Centipede
Chess
Dormitory (Chapel)
Lament (Success)
Lament (Failure)
Zero Ver. 2
Drive (Final Contact)
Gigante
Ganado IV
Regenerador
Krauser
Final Battle
Sorrow

Customer Reviews:

Resident Evil.......2007-07-14

This carries the feel of resident evil very well, though I was never a fan of the game. If you are a fan, however, I highly recommend this.

At least it's a break from the crap you hear on radio, and that automatically gives it 5 stars for me. Don't get the feeling this music is mediocre... 'cause it's not. It is very well composed.
So buy it.

Average customer rating:

Benefit
Good
GO'T MULE & FRIENDS
Gov't Mule, Allman Bros. and friends kick back and stretch out

The Benefit Concert, Vol. 2
Various Artists
Manufacturer: Evil Teen Records
ProductGroup: Music
Binding: Audio CD

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Torch
10 Days Out (Blues from the Backroads)/ (CD/DVD)

ASIN: B000MV8ZPY
Release Date: 2007-03-06

Tracks:

I'll Be The One
In My Life
Badness
Who Knows
Nancy Sinatra
Stuck In A Rut
Elevator To The Moon
Fixin' To Die
Time Is Free > Jack The Rabbit
Goin' Out West
Mountains Win Again

Tracks:

Alone
Scarred But Smarter
A Good Country Mile
Solitude
I Shall Be Released
Come And Go Blues
Ain't Wastin' Time No More
Born Under A Bad Sign
Soulshine
Statesboro Blues

Customer Reviews:

Benefit.......2007-05-19

If you really like Warren Haynes and Govt. Mule, you may really like this album, or you may not. It is well done technically, but is a wide spread of styles, and a bit folksy for me.

Good .......2007-05-13

I'm not a very good critic so I'll try and get to the point with this review and thought this CD is good .

GO'T MULE & FRIENDS.......2007-05-13

THIS IS PRETTY GOOD ALTHOUGH ANYTHING FROM MULE IS ALWAYS GREAT !

Gov't Mule, Allman Bros. and friends kick back and stretch out.......2007-05-12

Sequel to Warren's "Wintertime Blues" (now reissued under the name "The Benefit Concert Volume 1"). The first disc starts off with two acoustic numbers from Warren. He then introduces Austin's Chris Duarte Group, who perform their song "Badness" (with strong SRV overtones) and the Jimi Hendrix / Band of Gypsys call-and-response classic "Who Knows." The Bottle Rockets are up next with "Nancy Sinatra," which owes more than a little to that little old band from Texas, ZZ Top, and "Stuck In A Rut," a riff-driven song in the 70s blues-metal mode. Col. Bruce Hampton & The Aquarium Rescue Unit serve up the goofball funk of "Elevator To The Moon," the cowpoke ramble "Fixin' To Die," and the 17-minute, "all over the place" jam "Time Is Free / Jack The Rabbit" with Blues Traveler's John Popper sitting in. Then it's Mule time, as Warren and Mat Abts welcome Widespread Panic's Dave Schools on bass. After a half hour of the somewhat eccentric Hampton, the arrival of Gov't Mule and the straightforward stomper "Goin' Out West" is a true hit of fresh air. This is road music, baby. Popper then returns with Gov't Mule for "Mountains Win Again." Disc Two opens with the Haynes / Popper acoustic duet "Alone." Kevin Kinney joins Popper for "Scared But Smarter," and Kinney takes the lead for "A Good Country Mile." Warren returns for an acoustic duet with Edwin McCain on "Solitude." They are then joined by Popper and Kinney for "I Shall Be Released." Gregg Allman's up next in an acoustic duet with Warren on "Come And Go Blues." The final four tracks ("Ain't Wastin' Time No More," "Born Under A Bad Sign," "Soulshine," "Statesboro Blues") are electric Allman Brothers with various guests joining in. It's a "kindred spirits jam session," tighter in some spots than others, but any fan of Haynes / Mule / Allmans will definitely want it in their collection.

Music Info:

Music Info

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