Advance & Vanquish [Import]

Advance & Vanquish [Import]

Track Listings

1. Fear On The Bridge (Upon The Boiling Sea)

2. Deadly Sinners

3. Revenge Is A Vulture

4. Dominion Of Deceit

5. Premonition Of Pain

6. Lord Of The Storm (Upon The Boiling Sea Ii)

7. Wykydtron

8. Swordmaster

9. Axes Of Evil

10. Crazy Nights

11. Destory The Orcs

12. The Phantom Of The Crimson Cloak

13. Isle Of Eternal Despair (Upon The Boiling Sea Iii)

14. Quest For The Manticore (Bonus Track)

Editorial Reviews
Product Description
Japanese pressing of 2004 release, scheduled to include one exclusive bonus track. Details TBA. Roadrunner.

Advance & Vanquish,Three Inches of Blood,Roadrunner,Heavy Metal

Advance and Vanquish
Average customer rating:

One part thrash metal + one part power metal = ALL PARTS AWESOME!

Awesome! From a euro-power-metal listener.

The voice

About as metal as it gets...

Stewart's Favorite Band

Advance and Vanquish
Three Inches of Blood
Manufacturer: Roadrunner Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00061RYWA
Release Date: 2004-10-19

Tracks:

Fear On The Bridge (Upon The Boiling Sea I)
Deadly Sinners
Revenge Is A Vulture
Dominion Of Decent
Premonition Of Pain
Lord Of The Storm (Upon The Boiling Sea II)
Wykydtron
Swordmaster
Axes Of Evil
Crazy Nights
Destroy The Orcs
The Phantom Of The Crimson Cloak
Isle Of Eternal Despair (Upon The Boiling Sea III)

Customer Reviews:

One part thrash metal + one part power metal = ALL PARTS AWESOME!.......2007-07-20

About a month ago my life was a pitiful wreck. I had a diverse collection of music, but there was something lacking. I was lacking music about killing orcs and killer robots from the future. My neck was pitifully healthy and robust from shortage of head-banging, and I lacked the appropriate soundtrack to accompany my favorite night-time hobby of dressing like King Leonidas from 300 and smashing my neighbor's mailboxes with a golf club.

But then all that changed one day. I spotted a CD with artwork and a band title so chock full of badassery that I had to purchase it. I had low expectations popping the CD into my stereo, but lo and behold I was pinned to the wall from the sheer power of awesome emanating from this CD! The Canadian metal gods blessed us with 3 Inches of Blood and their album Advance and Vanquish, a 10,000 megaton bomb of metal! A whole album about sword fighting, killing orcs, and even a song about a killer robot from the future!

Since getting this CD my life is much better. My Spartan get-up is getting a lot more usage, my neighbors have warrants out for my arrest for destruction of property, and the left side of my body is starting to go numb from the sheer tidal wave of head banging I've been doing! My sudden growth of chest hair may even be a result of this album!

So if you fellow metalhead, lack the awesome power of orc-smashing Canadian metal, pick up Advance and Vanquish today!

Awesome! From a euro-power-metal listener........2007-05-05

I listen to mostly power metal and perhaps a bit of death... but I have to say these guys are just awesome! Yes, the lyrics are a bit of a joke (like most power metal bands lyrics), but don't let that put you off. The people giving this a low score obviously do NOT like extreme metal. If you do, get this, GUARANTEED NOT TO DISAPPOINT! My favorite thing about it is the vocal style... super high-pitched with warbling. It drives me nuts and I love it! Can't wait until their next release... which is coming very soon.

The voice.......2007-04-10

I recently bought this cd because of the sound samples. The guys voice was really cool, what a mistake. While the cd has some cool points, the voice is nails on a chalk board. The cds alright in small amounts, but the whole album at once, get some asprin.

About as metal as it gets..........2007-03-02

Aside from putting on an incredible live show, 3 Inches of Blood are one of the most energetic, and entertaining metal acts of the decade. Speedy, old-school riffs and versitile dual vocals make 'Advance and Vanquish' a very solid, (yet not revolutionary) effort.

What you will hear on 'Advance and Vanquish' is a unique and very tasteful mix of classic Judas Priest-ish (Painkiller-era) riffage presented with a colorful touch of the modern-day metalcore scene. The dual vocals add a unique vibe to this speedy assault. One vocalist weilds an almost King Diamond-ish falsetto, (yet not quite as versitile as the King) while the other delivers a contrasting harsh, yet very attractive, scream. Overall, something that you should definately not overlook if you are looking for some good old school, classic metal.

Stewart's Favorite Band.......2006-11-04

If Beavis and Buttmunch were still on the air, they'd go mess with Stewart. When you see Stewart he'd be wearing a 3 Inches Of Blood T shirt, LOL!

Average customer rating:

Lady Shredder
stays with you
Creative

In Advance of the Broken Arm
Marnie Stern
Manufacturer: Kill Rock Stars
ProductGroup: Music
Binding: Audio CD

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ASIN: B000MDH896
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Customer Reviews:

Lady Shredder.......2007-07-11

Stern's out-of-nowhere debut epic is quite a formidable listen. It's like a musical treadmill, this one. Stern is the most apt candidate for guitarist of the year this side of Mike Barr (who obliterated The Urban Lounge for those with kind of normal expectations when he opened for Gang Gang Dance this month). Listening to this female shredder is truly an endurance test. That may be a bit misleading because Stern has some super catchy, truly accessible tracks here on Broken Arm. It's just that I can't even imagine how some of these guitar lines are possibly being played by a human and there is no letting up through the entire album. Seems fitting that the drumming on the album is completed by none other than Hella mega-drummer Zach Hill (also a Mike Barr collaborator along with everyone else in the world besides you). This is the best pop/rock record set too alien guitar metal in the entire world. I'm not sure how to let you know why you should listen to this. I could reference Deerhoof or maybe the Ladies or something. Either way, In Advance of the Broken Arm will not disappoint and here is a guarantee that you will not want to try out these songs on Guitar Hero (unless your name is Bjorn Turoque). Now let me get some rest because I think that the live version of these songs might give me a heart attack tonight if I'm well rested.

stays with you.......2007-07-09

i read the reviews in the ny times and washington post and ordered this album.. the more i listened the more i liked it.the songs stayed with me all day..i have HEALER in my mind now. marnie looks so petite it is hard to imagine that she is such a guitar heroine. her music is strange and compelling..her fingerpicking and tapping is a breathtaking barage of notes and colors.there are offhand references to the likes of plato and rimbaud and a spellbinding and surrealistic tribute to glenn goulds solitude trilogy of radio documentaries. marnies music is the intersection between hendrix and highbrow. the drums of zack hill are the cherry on the top.

Creative.......2007-03-29

Marnie Stern is a woman playing horribly detailed guitar shreddery. Actually, a gorgeous woman.

Moving past that, this is the kind of creativity of which music needs as much as it can get. I read that Marnie basically controls everything herself through to production (excepting drums, which are owed to the genius of Zach Hill). Well, that's pretty much what it sounds like: one person overflowing with interesting musical ideas gives us a peek into her brain. As soon as the disc starts she's yelling about being a "vibrational match", and then the finger-tapping and pitch-shifting begin.

This record suffers a little in the same way many solo artists do: a little bit unfocused or obtuse; maybe some of it could have been cut and refined a little more if more people had been part of the process. But then on the other hand I would infinitely prefer this to something that might get watered down. That's why I still give it five stars.

That and the incredible playing. I mean, Zach Hill (the drummer) has played with Spencer Seim in Hella for years and this stuff is on par. She multi-tracks parts and uses effects and her voice. It's immersive.

That and the inventiveness of it all. Listening to this is like reading a good book of poetry. Not every poem is perfect but you feel a relationship to the poet.

And then there's the sex appeal.

Average customer rating:

An Endearing Collaboration
Prelude to the new King Crimson
No "YAWN" here...Classic Frippian and Summerian for sure!
:-Yawn-:
Lovely, Dark, Intense

I Advance Masked
Andy Summers , and Robert Fripp
Manufacturer: A&M
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002GGJ
Release Date: 1992-04-21

Tracks:

I Advance Masked
Under Bridges Of Silence
China-Yellow Leader
In The Cround Forest
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Customer Reviews:

An Endearing Collaboration.......2007-07-31

I recently ponied up for the remastered CD of this fascinating & decidedly uncommercial collaboration between two of the great unsung guitar heroes of the pop/punk phase of the 1980s. And while it's disappointing on one hand that no bonus tracks of unreleased material/alternate takes of the compositions were included (and most likely exist somewhere in Mr. Fripp's formidable library of tapes) it is a genuine pleasure to finally have this vastly under-rated little album available on CD. I would heartily recommend it to any fan looking to expand either the Andy Summers/Police or Robert Fripp/King Crimson universes.

Fripp & Summers of course made two collaborative albums during the early 1980s while working with both of their respective bands -- which could not have been more different if one had tried to find such opposites -- 1981's "I Advanced Masked" and 1984's "Bewitched," the latter of which sadly had somewhat less involvement by Fripp due to touring schedules with King Crimson. The collaboration may seem mismatched but in fact made perfect sense: The Police were perhaps the most commercial pop band to come out of the punk/new wave explosion of the late 1970s, where Robert Fripp had retreated from the music industry after dissolving King Crimson in the mid 70s, gone into seclusion for a period, and only re-emerged in 1977 as a session musician associated with borderline avante garde hitmakers like David Bowie, Peter Gabriel, and Brian Eno. By 1980 Fripp was actively plotting his return to the "first division" of touring rock bands with a sound and approach to making music that would ultimately find form in the 1981 version of King Crimson, based on complex polyrhythms of interlocking guitar parts that he would eventually name "Craft Guitar" (and can ultimately be traced back to his 1974 King Crimson composition "Fracture" with it's long, splintery, arpeggiotic solo section).

But in 1981 Fripp's "Craft" theories were still at an experimental level, and after utilizing the evolved approach of the "Fracture" solo on his "Zero of the Signified" solo piece in addition to his League of Gentlemen punk/dance band ("Inductive Resonance," "Cognitive Dissonance" and of course, "Trap") Fripp was ready to see how it would sound to involve another guitarist playing as counterpoint to this method, and made a very natural selection of Andy Summers as his "test subject." Summers and Fripp had known each other since adolescence while growing up in the same section of Bournmouth, and had sort of known all along that they would probably eventually perform together in one manner or another. Summers was also at one point considered as a transitional member of the early King Crimson bands, but his style of playing was judged not to be suitable for the "heavier" rock band sounds that Fripp was exploring.

By the time of this recording, however, the situation was much different: Fripp had become one of the darling session guitarists of the Byrne/Eno circle of New York & London based punk/pop bands (a distinction shared with Adrian Belew, destined to join Fripp's "Discipline" era King Crimson projects soon after this release), and the proto new wave/jazz/reggea sounds that Andy Summers had helped to popularized with The Police was the vogue of the day: Summers' jazz style of minimalist playing was, along with Stewart Copeland's dumming, the key to The Police's unique sound, with his use of pedal synthesizer and delay/effects boards adding a complex harmonic depth to albums like "Zenyatta Mondatta" and "Ghost in the Machine" that remain unique.

It was during a respite after Fripp's work with The League of Gentleman that Fripp and Summers apparently crossed paths quite by accident, and with both having some free time on their hands they decided to go into the studios for a month or so to see what they could come up with -- "I Advanced Masked" was the result, and is a remarkable collaboration in the truest sense of the word in that both of their styles & approaches to playing are equally represented as they "answer" one another's riffs. There is a genuine dialog going on between their guitars on nearly every track, with one musician throwing out a musical phrase and the other replying in kind, albeit with their own unique methodology.

While it can be said with a degree of cynicism that "Fripp plays circles around Summers" such is actually the entire point of the experiment. Most of the compositions are staged as Summers providing a rhythmic and melodic base upon which Fripp effortlessly floats his trademark whirls of synthesizer enhanced guitar sound. Like Adrian Belew would rather set out to do with King Crimson, Summers does not attempt to try and "keep up" with Fripp's hyperspeed noodlings, but instead provides a bedwork of tones and rhythms that Fripp then weaves his own magic through, around, over, and under. The album is also a brilliant study in musical minimalism in that there are no drums or bass or keyboards to provide propulsion or fill in the sonic gaps, though the duo do add simplistic percussion tracks and overdub liberally with washes of Summers' trademark guitar synthesizer fills, and the work proves that less can also be more in musical terms as well -- a sentiment echoed at the time by guitarists like Michael Hedges, William Ackerman and Alex De Grassi of the Windham Hill group of musicians that were also in vogue during the 1980s.

The content of "I Advanced Masked" is broken down into three main types of compositions: Rhythmic tracks that set an almost frenetic pace upon which Fripp would spin various solo segments, shorter "pastoral" pieces where the two guitarists would engage in the musical dialog or give & take of answering each other, and then more dissonant proto-noise segue pieces which find the two musicians experimenting with the noises their guitars and devcices make in a way that is more evocative of Fripp's avant garde work with King Crimson, Eno, Bowie, Van Der Graaf Generator, and later with David Sylvian.

Getting to hear the album almost anew again after a decade plus of being out of print one is first struck by how diverse the different songs sound, and yet how cohesive as an album it really is as almost a "concept" record. The opening title track "I Advanced Masked" sets the stage brilliantly, combining the sort of arcing swishes of melodics from The Police with the frenzied, hyper-precise playing of a classic Robert Fripp linking solo, under which a very "Discipline" like polyrhythm played by both guitars churns. "Under Bridges of Silence" provides a dissonant noise section with the two experimenting with feedback, delay and pedal synthesizer -- with an odd mishmash of percussive effects that owes equally to Stewart Copeland, Michael Giles and Bill Bruford -- before giving way in a traditional King Crimson screeching halt to the sweeping (and dubiously titled) "China - Yellow Leader" with it's two distinct segments, one displaying the Andy Summers method of electronic/pedal harmonics, the other a wonderful little showoff segment for Robert Fripp's infamous Frippertronics tape delay system, over which both churn with the interlocking polyrhythms that would become the trademark King Crimson sound of the 1980s.

A pastoral experimental piece follows, the haunting minor keyed "In the Cloud Forest" which is one of my favorite tracks from the album, and one of the most evocative & atmospheric bits of music ever devised, as Summers keeps a choppy echo-enhanced jazz riff bottom upon which Fripp floats a mesmerizing synth guitar solo that is one of the finest things he has ever committed to record. The next track, "New Marimba", not only lives up to it's name in re-defining the guitar as a rhythm instrument, but does so in an almost comical manner as Fripp quite literally plays circles around Summers' filler riffs and synthesizer pedal blasts in what is essentially an experiment in organized chaos. The album then shifts gear downward with the pastoral "Girl on a Swing" with Fripp soloing over a mesh of acoustic guitar and simplistic piano fills that recall his work with Brian Eno and the "quiet interlude" pop song segments from the early King Crimson eras. But let truth be known, it is not my favorite piece, and without the need to flip an LP album sort of brings things to a halt for a few minutes ... though Fripp's solo is appropriately pretty.

Things pick up steam again with the album's centerpiece section opened up with gusto by "Hardy Country," a successful enough compromise between the styles of The Police and Fripp's idea of polyrhythmic pop as to have found it's way onto a single. It really does sound like The Police in sections, with Summers playing an engagingly awkward solo pedal effected to sound like a sytar while Fripp builds the rhythm base with more "Discipline" styled riffs of repeated arpeggios. Of all the tracks on the album it is perhaps the closest to a "rock" song, and as such Fripp felt the need to throw a monkey wrench at listeners by having the piece dissolve into "The Truth in Skies," a dissonant noise segue composition hilighting the "SkySaw guitar" pedal effects he had been introduced to by Brian Eno.

And in the truest form of Fripp's persistence in making his music a study in harmonic opposites, the noise gives way to "Painting and Dance" with the two guitarists exchanging interlocking polyrhythms and distortion free solo sections that for many will be the high point of the album. Save for some judicious use of volume control pedals there is none of the "studio gimcrackery" embellishments from the previous tracks, with the two guitarists actually engaged in a complex dialog that has more in common with "The Sheltering Sky" and "Frame by Frame" than anything else on the record. And while it used to be my favorite composition on the album I have since come to appreciate more the next track, "Still Point," which is one of the great unheard Robert Fripp solo pieces that still makes my jaw hang open in awe of after twenty-five years. Fripp and Summers start with a minor key polyrhythm base upon which Summers adds touches of his harmonic pedal effects fills while Fripp engages upon a blistering solo that is as good as anything else he has ever released. Effortlessly scaling up and down the length of his fret board Fripp demonstrates once again that he is the Wizard of Solo Rock Guitar who usually does not reveal the true extent of his powers in the presence of mere mortals: It is the most inspired and original track on the album and reason enough for devotees of his unique brand of pop/rock to seek this CD out.

The last three tracks are a bit of a let down however, and I usually do not bother beyond "Lakeland/Aquarelle," which is sort of a major key version of "In the Cloud Forest" and serves as a nice lullabye piece who's sense of floating dreamily is banished summarily with "Seven and Seven" and the nearly unlistenable "Stultified," two dissonant compositions that seem to have been created with the deliberate intention of driving listeners to switch the damn thing off. Stockhausen may have been impressed but I fail to see the point in the pieces beyond elementary arty noise indulgences, and wish to this day that they had been left off the album. "Lakeland/Aquarelle" is usually where I call it a day.

In closing, if there is anyone I can recommend this album to more than even fans of Fripp & Summers' more well-known work, it would be to someone looking for a gift for a young guitarist who is perhaps hung up on noise & flash rather than technique or method. Not only is it amongst the best work ever recorded by the two musicians even when looking at their own catalogs, it is a brilliant study in a collaboration, with two artists giving each other the room to not only shine on their own but contribute to a greater whole than amounts to something more than the sum of their parts. You can tell that both musicians were actively **LISTENING** to what the other was playing rather than just spouting off on their own. It's a great lesson in how to work with another musician to create new forms, as well as a great example of how rock music can result in atmospheres in addition to straight forward songwriting.

Now with all that said, where are the alternate takes? They MUST exist and the time is right, release them. Please.

Prelude to the new King Crimson.......2007-05-08

This album was released in 1981 and is 38 minutes long.

This album was recorded just before Robert Fripp created the next version of King Crimson with Adrian Belew and Tony Levin, with Bill Buford returning, after Fripp thought the world was going to end and broke up the band in 1975.

Much of this album sounds a lot like what will appear on the next three King Crimson albums, Discipline, Beat and Three of a Perfect Pair.

But, it isn't all King Crimson sounding. First off, it all instrumental (no vocals). And there is Andy Summer's influence and sound on many songs. Some of it might sound as if Discipline meets Ghost in the Machine (the Police album that came out right after this).

No "YAWN" here...Classic Frippian and Summerian for sure!.......2003-09-26

Wow. This is a lovely recording of some extremely Frippian Prog. You can definately hear Andy Summers' influences in the subtext. Yes, you have to be sort of predisposed to early 80's Experimental and Prog to appreciate this unit. If you listen to Fripp's King Crimson or any Andy Summers solo stuff, this will satisfy your need for more. Fripp's "Crafy" guitar style shows up here and the intricracies abound. Definately for the Prog efficianado and the 80's-style ambient lover.

:-Yawn-:.......2003-02-12

I bought a vynil copy of this album at a local used-record store not knowing what to expect. Since it was from 1982, I guessed that it would have a lot of the minimalist/contrapunctal type stuff that Fripp was into in that period. It does, but there doesn't seem to be very much variety in the pieces. In fact, the whole album seems to drag along with no real idea of it's own purpose. I think Fripp recorded this simply because he was in the studio with Summers. I strongly doubt that some of the pieces were even practiced beforehand.

There are a few "ambient"-style tracks thrown in for variety, but these pieces sound as though Fripp and Summers listened to a heap of old Eno records and tried to copy his style. That might be exactly what they did.

So I would say that if you are a Fripp completist, or really like his ticky-ticky guitar style of the early eighties, you will probably enjoy this disc. If not, you might find it aggravating. And DEFINETELY don't buy this based on a liking of king Crimson - Fripp outside of his band is a different player.

Lovely, Dark, Intense.......2002-05-10

This CD is difficult to characterize. In mucical terms, it is complex and was certainly ahead of its time upon its original release date. While heavy on Fripp, Summers adds unique voicings and his contributions to this work should not be underestimated. "Girl on a Swing" is perhaps an arrangement that summarizes the musical craftsmanship on the album.

Average customer rating:

Some excellent tracks.

World Anthems

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000007QGU
Release Date: 1998-06-16

Tracks:

Olympic Theme
Spain: Marcha Real
Austrailia: Advance Australia Fair
Poland: Jeszcze Polska
Brazil: Patria Amada, Brasil!
Denmark: Kong Christian
Kenya: Ee Mungu Nguvu Ye Tu (Oh God Of All Creation)
Canada: O Canada!/Au Canada
Great Britain: God Save The Queen
China: Ch'i Lai! (Arise!)
Belgium: La Brabanconne
Finland/Estonia: Maamme Laulu (Our Land)
Hungary: Isten Aldd Meg A Magyart (God Bless The Hungarians)
Norway: Ja, Vi Elsker Dette Landet
Germany: Einigkeit Und Recht Und Freiheit
The Czech Republic: Kde Domov Muj? (Where Is My Home?)
United States: The Star Spangled Banner
Greece: Segnorees Apo Tin Kopsi (I Shall Always Recognize You)
The Netherlands: Wilhelmus Van Nassouwe
Japan: The Peaceful Reign
Israel: Hatikvah (The Hope)
Egypt: Walla Zaman 'Algund (Hail, Gallan Troops)
France: La Marseillaise 'Algund
Argentina: Sean Eternos Los Laurales
Sweden: Du Gamla, Du Fria
Mexico: Mexicanos Al Grito De Guerra
Austria: Land Der Berge
Lithuania: Lietuva
Italy: Inno Di Mameli

Customer Reviews:

Some excellent tracks........2000-08-12

With twenty-nine national anthems and John Williams' "Olympic Theme", this album offers a reasonable variety of anthems. (Curiously, there is nothing from the USSR/CIS/Russia!) The recording quality is excellent. The interpretation of the anthems seems to attempt to give an 'appropriate' national flavour to each one. This does not always seem to work. For example, China's "Ch'i Lai!" sounds more like incidental music than a national anthem. There is an interesting rendition of France's "La Marseillaise". While it lacks the 'big' sound usually associated with this anthem, it is distinctive - and is probably a quite good representation of how it might have sounded back in 1792. If, however, you prefer the 'big' sound this version will be a disappointment. Argentina's "Sean eternos los laurales", Canada's "O! Canada" and John Williams' "Olympic Theme" are excellent, but Belgium's "La Brabanconne/Het Belgisch Volkslied" is disappointing and dirge-like. The anthems are performed by a chamber orchestra and consequently have neither the 'big' sound of a full orchestra, nor the martial sound of a military band. The album takes a distinctive approach to the anthems. Whether this approach works is ultimately a matter of personal taste. If you enjoy the more intimate sound of a chamber orchestra, this album will probably be to your taste.

Average customer rating:

Rawsthorne: Film Music

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004RDVO
Release Date: 2000-04-25

Average customer rating:

National Anthems of the World

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00027JZ6G
Release Date: 2004-05-25

Tracks:

Star Spangled Banner
Oh! Canada
Marseillaise
Inno de Mameli
God Save the Queen
Patriotic Song
Patriotic Song
Marcha Real
Kimigayo
Hatikvoh
National Anthem
Deutchesland Lied
National Anthem
Hino Nacional
Advance, Australia Fair
Diestem Van Suid Afrika
Libertad!
Himnusz
Ja VI Elsker Dette Landet
Ukraine Is Still Alive
Gloria Al Bravo Pueblo
Brabanne
Wilhelmus Van Nassouwe
Still Alive
Land Der Berge
Himmo Nacional
Imnul de Stat
Kde Domov Nuj?
Bjorn Bjornson
Dear Fatherland
Mamme
Kong Kristian
Independence March

Average customer rating:

Canadian new wave band still sounds great
Discovered this band through a canadian movie
Where to get "Sister Radio"--the reason people are disappointed with this disc
A Key Track Is Missing
"She Controls Me" makes it worthwhile

Over 60 Minutes With
Strange Advance
Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

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Release Date: 1995-04-21

Tracks:

World's Away
Love Games
Kiss in the Dark
Hold on to the Nite
Second That I Saw You
She Controls Me
We Run
Running Away
Prelude
Home of the Brave
Automatic Sighs
Blue Fire
Prisoner
Lost in Your Eyes
We Run [Advanced Mix]
Reprise: World's Away

Customer Reviews:

Canadian new wave band still sounds great.......2006-12-18

I owned many Strange Advance LPs when I was a teenager in Canada so it was great listening to this collection of their best songs on CD. If you enjoy 80s music, especially new wave music, this is worth getting. Many Canadian bands were relatively unknown in the U.S. but did very well in Canada. I would put Strange Advance up there with any of the great British New Wave bands like OMD and Human League.

Discovered this band through a canadian movie.......2006-08-10

I had never heard of Strange Advance until I saw a canadian movie called Blue Line and fell in love with the song We Run, great 80's music.

Where to get "Sister Radio"--the reason people are disappointed with this disc.......2006-05-16

There is a Canadian greatest hits release by Strange Advance that has Sister Radio on it. The CD is called "Worlds Away & Back", and aside from having that song, it has a number of unreleased mixes, 4 tracks from their 1988 album, and songs recorded in the 90s. For some reason, the disc is not listed on amazon.com, but is still available on amazon.ca as of my posting this message.

A Key Track Is Missing.......2005-10-23

To echo the sentiments of another reviewer on this page, this "Greatest Hits" compilation would only really be complete if it contained "Sister Radio" from their first album.

They got some play in the U.S. on MTV when their first album came out, especially with "She Controls Me," but their second album was, IMHO, not nearly as strong an effort. Still, this CD is worth it for the tracks from the first album alone, as the first album itself does not appear to be on CD.

"She Controls Me" makes it worthwhile.......2005-03-25

Nothing real unique about Strange Advance, there were many similar sounding bands in the 1980s. However, the song "She Controls Me" does rate as one of the best songs of that period and pretty much makes buying this collection worthwhile. Or I suppose you could download "She Controls Me" off of a file-sharing program. A legal one of course!

Average customer rating:

my first cecil taylor. excellent stuff.
Sources and Beginnings
rsktmc should SHUTTUP
Birth of a giant.
You better not be putting down my main man!

Jazz Advance
Cecil Taylor
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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Looking Ahead!
Nefertiti, the Beautiful One Has Come
The World of Cecil Taylor
Unit Structures
Conquistador

ASIN: B000005HDR
Release Date: 1991-07-02

Tracks:

Bemsha Swing
Charge 'Em Blues
Aure
Song
You'd Be So Nice To Come Home
Rick Kick Shaw
Sweet & Lovely

Customer Reviews:

my first cecil taylor. excellent stuff........2007-03-29

mr taylor's piano playing on this recording from 1956 is unique and inventive, yet completely accessible to the listener. his quirky compositions and fresh cover versions are a joy. steve lacy adds some excellent soprano sax on 2 tracks and the rhythm section work (provided by buell neidlinger on bass and dennis charles on drums) carries along mr taylor's music just fine. recommended.

Sources and Beginnings .......2007-01-15

This is good music played by real greats, but to me feels a bit stiff when compared the music that would come later. This was my 1st cecil taylor disc and it did not really resonate until I heard his later, more unique work like "Silent Tounges" and "Unit Structures."

For those coming to this music with a real love of Ornette coleman, Steve Lacy or especially Ellington or Monk, this disc would be a good start, and all established Taylor fans should at least hear this. But in it's nature as a document of an essentially formative music, it presents the listener with a unique set of challenges which don't seem to be present on his later albums, even if they are perhaps superficially more "dissonant." This music feels hybridized in a way later work feels complete and fully concieved.

This disc shows his early roots,and it would not be my advice you start here, but rather go for "Looking Ahead" (with a same-ish group 1 year later) or "Silent Tounges" (stunning solo concert from the 70's) to get a better sense of what Taylor's mature style is really about. Then dip into the denser ensembles on Unit Sturctures or Student Studies.... and then hear this disc as to understand a musician whose work you care about, rather than using this disc as a test to ask "Do I want to care about this music?"

rsktmc should SHUTTUP.......2006-02-24

The person rsktmc is a tasteless idiot. "Not for the squeamish" he says. I say "Not for worthless idiots like rsktmc who most likely like smooth jazz." This CD is awesome, just a little bit further out than Monk but not too far out there.

Birth of a giant........2005-06-21

History has a way of making the radical seem conservative, and certainly within the context of Cecil Taylor's music, his debut album, "Jazz Advance" is rather conservative. Taylor, known for his relentless, dense music, did not emerge fully formed (although even at this early date, his music is far removed from his hard bop contemporaries), but developed over time. For those of us who enjoy Taylor's music, this record is a historical curiosity, for anyone else, its either going to sound as one permutation further from the early Ornette Coleman idiom (indeed, this music is far closer to Coleman's sound than anything Taylor would be doing in the '60s or later). My understanding is that when this was first released, it raised quite a stir. Its a bit difficult to see why.

Taylor is largely melodic-- performing pieces with coherent themes-- his experimentations seem to be in the use of block chords, odd inversions, and in soloing underneath the primary voice at this point. The record is four originals and four standards, and as one would suspect, Taylor largely breathes on his own compositions. He is backed by nearly inaudible bassist Buell Neidlinger and drummer Dennis Charles, with soprano sax player Steve Lacy on two tracks. Neidlinger and Charles are far closer in the hard bop idiom-- their performances swing, Charles in particular is playing way inside hard bop. This puts them a bit at odds with Taylor, who, while he gives more space than he would on his later work, is still more of a neoclassical improvising pianist than a jazz pianist. When Lacy plays, Taylor's form of comping doesn't seem fully formed, or Lacy doesn't seem quite prepared to play inside Taylor's environment, and as a result he sounds somewhat detached from the pianist.

The sounds of the future can clearly be heard on several tracks, "Bemsha Swing" features many of Taylor's clustered chords and runs, solo piano take on "You'd Be So Nice to Come Home To" presents the theme in a barely recognizable fashion and is as close to his future organized chaos as he'd get, and while original "Rick Kick Shaw" is far away from where he'd end up, its the first sign of the short of aggression that Taylor would harness in the future. The music is enjoyable enough, but Taylor would reach such heights that its hard to not listen to this without comparing it to his future works. The other complaint is the sound-- this issue is from 1991 and is in desparate need of remastering.

In the end, this is an album of historical value. If you're looking for an introduction to Taylor's music and aren't ready to dive head first into his methods, try "Looking Ahead!", its a far superior album by which point Neidlinger and Charles (who reprise their roles) were far more closely integrated with Taylor's music.

You better not be putting down my main man!.......2005-06-12

Just a second,Christopher Forbes "weirdears." Don't be putting down my main man Denis Charles! He swings daddy-o, and don't you forget it! Weak link? Your taste is weak! Anything Mr. Charles plays on deserves 5 stars. It's not a matter of opinion. It's a matter of fact!

Average customer rating:

Music from the Once Festival 1961-1966

Manufacturer: New World Records
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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ASIN: B0000C7PVT
Release Date: 2003-09-23

Tracks:

Sonata - Robert Ashley
Groups For Piano - Robert Ashley
String Trio - Edith Perrow
Epigram And Evolution - Robert Ashley
Sinfonia For 12 Instruments And Magnetic Tape - Once Chamber Orchestra
In The Autum Mountains - Shirley Zaft
Two Pieces For Piano And Chamber Group - Bruce Wise
The Fourth Of July - Robert Ashley

Tracks:

Matrix For Clarinetist - John Morgan
Wedge - Once Chamber Orchestra
Meanwhile, A Twopiece - Robert Ashley
Sounds For Eleven - Once Chamber Orchestra
Gestures II - Robert Ashley
Bestiary I: Eingang - Once Chamber Orchestra
Details (2b) - Robert Ashley
Ballad - Philip Krumm

Tracks:

Large Size Mograph - Larry Leitch
Fives - David Maves
A Quarter Of Fourpiece - Hartt Chamber Players
Two Worlds - Bob James
Mosaic - Bob James
Pianopiece I - Donald Bohlen
Cassiopeia - Donald Bohlen
Pianopieces II - Donald Bohlen
A Portrait For Vanzetti - David Maves
Greys - Gordon Mumma

Tracks:

Music For Clocks - Philip Krumm
Diotima - Anne Aitchison
7PTPC - Larry Leitch
Landscape Journey - John Morgan
Advance Of The Fungi - William Albright
In Memoriam...Crazy Horse - ONCE Festival Orchestra

Tracks:

Music For Three - Robert Ashley
Time On Time In Miracles - ONCE Chamber Players
Track - ONCE Chamber Ensemble
Apple Box Concerto - Pauline Oliveros
Quartet - William Albright

Album Description

Ann Arbor, Michigan, seems an unlikely site for the establishment of a major avant-garde festival that would shake the new-music community. Tucked away in America's heartland, the city is equally removed from the Eastern metropolises whose artists pride themselves on sensing the pulse of the times, and from the nonconformist West Coast. Yet during the 1960s Ann Arbor played host to one of the most extraordinary adventures in American music history: the annual ONCE Festival and its nexus of related activities.

The primary aim of ONCE's founders--Robert Ashley, Gordon Mumma, George Cacioppo, Roger Reynolds, and Donald Scavarda--was to create a forum for the presentation of cutting-edge music. To this end they were phenomenally successful. Performers and composers--whether little-known or renowned--embraced the endeavor, demanding almost nothing in return. Perhaps most important, however, ONCE acted as a creative stimulus for its organizers. Scavarda describes the adventure as an explosion of pent-up energy: "Suddenly we could write anything we wanted and have it heard." And they did. The ONCE composers--and many guest artists--wrote a host of new works, some experimental, others more traditional.

What united the ONCE composers was their exploration of sound, whether through the medium of extended techniques on traditional instruments, electronic (or electronically modified) timbres, or the intersection of musical sounds with those of the environment.

A major slice of ONCE's rich musical legacy--35 works constituting six hours of music--is presented here, almost all for the first time. These pieces are as diverse in style as they are compelling in expression. This landmark set, the most comprehensive document ever released of this legendary event, is an opportunity for anyone interested in contemporary music to hear history in the making. Included in the set is a 140-page booklet with a lengthy scholarly essay by musicologist and biographer Leta Miller and numerous rare photos of ONCE personages and performances.

Advance to the Fall
Average customer rating:
Advance to the Fall
Galneryus
Manufacturer: Vap
ProductGroup: Music
Binding: Audio CD

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Flag of Punishment

ASIN: B0007LXQ0S
Release Date: 2005-04-04