Vile [Clean]

Vile [Clean]

Track Listings

1. Devoured by Vermin

2. Mummified in Barbed Wire

3. Preverse Suffering

4. Disfigured

5. Bloodlands

6. Puncture Wound Massacre

7. Relentless Beating

8. Absolute Hatred

9. Eaten from Inside

10. Orgasm Through Torture

11. Monolith

Tracks:

Devoured By Vermin
Mummified In Barb Wire
Perverse Suffering
Disfigured
Bloodlands
Puncture Wound Massacre
Relentless Beating
Absolute Hatred
Eaten From Inside
Orgasm Through Torture
Monolith

Customer Reviews:

Worse of humanity.......2007-06-19

You'd get the same effect by farting and belching into a microphone. Hey adolescents of the world, wouldn't THAT be extreme? Utter garbage from start to finish. No musical quality at all. Talentless hacks.

Cannibal Corpse prove they have nothing to prove.......2007-01-25

When Cannibal Corpse fired original vocalist Chris Barnes in 1994 (who went on to front Six Feet Under full time), some fans were skeptical that the remaining band members would persevere and make another good album. But CC pulled through with Monstrosity singer George "Corpsegrinder" Fisher, and released the very solid "Vile" in 1996. This would be the first time any other band member (aside from Barnes) would write the lyrics, but one should be able to tell just by looking at these songs' titles (see #10) that the band are just as gruesome and malevolent as they've ever been. The music is equally as brutal, too. "Vile" is chock full of constant, almost frothing intensity, visceral anger, big, steamrolling rhythms, scorching, darkly catchy riffs, and fast, hard-hitting drums. The change of vocalists is clearly evident, but it doesn't hinder the sound at all. "Corpsegrinder" doesn't use the "Cookie Monster" style as much, but his vocals are still very deep and fast (plus he shrieks more than Chris ever did.) And, whether opting for mid-tempo songs (see the sluggish, pounding "Mummified In Barbed Wire") or fast ones (i.e. the surging beat and speedy, shredding guitars in "Absolute Hatred"), "Vile" always retains an equal level of crushing heaviness. Songs like "Devoured By Vermin" and "Disfigured" are onslaughts of furious guitars and insistent, machine gun blast beats; and "Perverse Suffering" and "Eaten From Inside" have grinding, jackhammer riffs. Two of the record's other best tracks are "Bloodlands," which builds from a slowly churning tempo to a blinding buzzsaw rhythm, and the blistering, two-minute instrumental centerpiece, "Relentless Beating." "Vile" is a very enjoyable listen which is surprisingly easy to digest; it easily takes its place next to Cannibal Corpse's best material, and any death metal fan would be glad to have it.

I loved it, now I hate it...........2007-01-07

Alright, I've already reviewed "The Bleeding," but I'm just going to go ahead and review another CC album (I might review them all; this is too much fun!). Many people say that CC is "the most brutal thing in existance" or "da moos br00tul tang eva!!11!" when I bet they haven't even heard of Suffocation, Death, Napalm Death, Cryptospy, or any band like that that is LIGHT YEARS better than this band.

True, I used to love this band, and I do think that their latest is worth the listen, but really, this gets boring after the second listen. Corpsegrinder makes his debut on this CD, and he is no better than Barnes (who was horrible to start with!). The music is still decent, but it hasn't gotten any better. The guitars don't do anything but pick an open E-tuned-to-C at the speed of light with a fret pressed down at one point (which is challenging to do, but compare that to the likes of Slayer). The bass sucks, and the drummer has nothing on Flo Mounier or Dave Lombardo.

For CC at their only best, get "Kill." For better death metal, try your hands at Death, Cryptopsy, Suffocation, Nile, Atheist, and Napalm Death.

For those that write reviews bashing mine, whatever. It's my opinion, anyways!

Buy it.....and be "Devoured by Vermin".......2006-12-13

I would have to say this and Kill are the best albums with Corpsegrinder as the lead singer. This album is just a relentless axe-chop to the face. Its that brutal boys and girls. The music is very well written for the band's 6th outing (5th if you don't include hammer smashed face). The lyrics, as always, are fun and over the top. If you want to experience a listen of pure brutality, please go pick up a copy of this album.

Awesome album.......2006-07-06

This album dispels any rumors that CC was gonna get worse after Chris Barnes left. George "Corpsegrinder" Fisher (who came over from Monstrosity) does a very good job in the absence of Chris Barnes (the grandfather of death metal). While Barnes is clearly the better vocalist, Cannibal Corpse's later work is better than the earlier work overall making Fisher appear to be the better vocalist. Anyway, this album is replete with chugging riffs, fast drumming, and insane bass playing by Alex Webster. Personally, I think you should check out CC's work from the Fisher era (from Vile onward). Then give their earlier stuff a listen after you've become familiar with the band. And to the W.A.M.I. guy : shut up! We death metal fans who actually know what we're talking about don't wanna hear you falsely call bands like Children of Bodom death metal. If you like 80's metal like Iron Maiden, then why did you buy CC's CD? Don't buy something you don't like and then put it down. And quit calling people idiots when you're the only idiot here.

Average customer rating:

One of the definitive tech death albums
greatest death album ever
I don't get it
Nice and brutal
And to think Americans make fun of the French! HAH!

None So Vile
Cryptopsy
Manufacturer: Century Media
ProductGroup: Music
Binding: Audio CD

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General | Hard Rock & Metal | Styles | Music

Whisper Supremacy
Blasphemy Made Flesh
Epitaph
And Then You'll Beg
Amongst the Catacombs of Nephren-Ka

ASIN: B00005BC67
Release Date: 2001-04-17

Tracks:

Crown Of Horns
Slit Your Guts
Graves Of The Fathers
Dead And Dripping
Benedictine Convulsions
Phobophile
Lichmistress
Orgiastic Disembowelment

Customer Reviews:

One of the definitive tech death albums.......2007-04-28

I haven't reviewed this yet?! Anyways, if you are a fan of death metal, you more than likely know who Cryptopsy is. This album is heavy, brutal, and crushing, but it is even more technical. This album will have you crawling back for more. Lord Worm is very creative as a death metal vocalist. His screams, gurgles, and growls sound very demonic and tortured. Levausser's guitar playing is awesome. His riffs are very complex, yet catchy at the same time. He also plays plenty of Chuck Schuldiner-esque solos. Langolis' bass playing is unique, since he uses slap bass, which is different in death metal. Last, but certainly not least, is what I any many other metalheads consider to be the greatest drummer of all time: Flo Mounier. Sometimes I wonder if this man is even human. His spastic time and tempo changes, technical fills, and skull-crushing blasts leave me in awe every time. My favorite songs are Crown of Worms, Slit Your Guts, Orgiastic Disembowelment, and Phobophile. An excellent tech-death album.

greatest death album ever.......2007-02-04

i've already said it, greatest death metal album ever. it doesn't get much better than slit your guts! long live lord worm!

I don't get it.......2007-01-20

What makes this album so great? To me it is boring. Lord Worm sounds awesome at first, but there is no variation and the same noise repeated over and over becomes boring and monotonous. So it is technical, so what? I think Blasphemy and Whisper are more interesting as music. I just can't get into this one.

Nice and brutal.......2007-01-18

This album is killer, brutal and a little catchy. The only flaw is the production quality could be a little better.

And to think Americans make fun of the French! HAH!.......2006-12-08

Wow dudes, if all of the people in this country heard this album I think they'd stop dead in their tracks about they make fun of the French and also Canadians for that matter! I don't even know why people make fun of Canada as if it's a lesser country, in fact I think Canada is very underrated. Think about it, there's way better health care systems, it seems like they actually are a little more "about the people", they're more relaxed about weed (so I've heard) and there's a lot less violence.

Anyway besides all that Canada has given us something else much more sinister... and I'm talking about Cryptopsy. Since I've always been more of a simpler guy in my music I've tended to think this whole tech metal thing was pretty damn overrated but these past couple of months have made me see the light. I'm starting to really dig this s**t, I still say it's maybe a tad overrated but it's still amazing.

So musically how does this measure up? Well like everyone says this is pretty friggin brutal, FAST, and of course technical. The guitar tone is atonal and sharp but very clean sounding, it's very cool. Levasseur writes some off-the-wall riffs and his solos are very Chuck Schuldiner inspired therefore they're great. I know I'll sound redundant on this topic but the drums...THE DRUMS! Even when I thought this album was really overrated I always loved the drumming, I might even say this Flo guy is the best drummer ever, but then again I kind of like Mike Smith of Suffocation a bit more. What I find the most impressive about Flo is not necessarily his technicality but that he has creative fills throughout the album and doesn't really overuse the blast beat thus making it far more effective. Songwise I have to say that Phobophile is hands-down my fave, it just has the best and catchiest riffs plus it has that nasty part towards the beginning where the hyper blast beats, thick bass, and sweet chugging riff all come together into a synergistic explosion! Yeah you know what I'm talkin' about, it's very reminscent of other explosive parts in Entombed's Abnormally Deceased and Morbid Angel's Maze of Torment (two of my favorite DM songs ever).

I do, however, have several criticisms of the album. One is the twangy bass... twangy bass in DEATH METAL? Ok I'll give Langolis originality points but they'd be much more appropriate on a Primus album as opposed to a death metal one. Other than that the bass is great when it's audible. Most imporantly my main complaint is actually of Lord Worm. I think he's a very overrated vocalist period. This may sound like an oxymoron but I'd describe him as simultaneously intense and boring. His grunts lack variety (he reminds me of a caveman) and his screams are sort of cool but people like Chuck Schuldiner and LG Petrov destroy him in that department. I also think his grunting is TOO unintelligable. At least Frank Mullen (of Suffocation) and others you know they're trying to say SOMETHING. Honestly, I don't even know why he bothered to write lyrics and it's too bad you can't understand him at all because they're not that bad. I will give the man credit on his uncanny ability to hold a note, he does that better than anyone else in DM. Thankfully all the other instruments drown him out.

So is this the best DM album ever? Nah. I'd still say that's Seven Churches or Left Hand Path. Will it rip your face off? YES IT WILL! And that's what's the most important thing to me, not technicality or anything like that. Overall this is DEFINITELY a work of art seamlessly taking together extremity and creativity. So far my tech DM collection is small but I plan on increasing it in the near future.

Highlights - Crown of Horns, Benedictine Convulsions, and of course PHOBOPHILE!

Average customer rating:

Fine reissue of a classic set

Purcell: Theatre Music

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Odes | Vocal Non-Opera | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Cantatas for Solo Countertenor
Purcell: The Fairy Queen
Purcell: Songs & Airs / Argenta, North, Boothby, Nicholson, Toll
Monteverdi - Madrigali guerrieri ed amorosi / Concerto Köln, Jacobs
Lawes: The Consort Setts for 5 & 7 viols and organ

ASIN: B0001Y4JHA
Release Date: 2004-10-12

Customer Reviews:

Fine reissue of a classic set.......2006-05-24

Think about the stupidest, most formulaic Hollywood movies you can think of: cheesy action pictures, fluffy, unfunny comedies, big but stiff epics. Now imagine that one of the greatest living composers was working in Hollywood, turning out astonishing, hauntingly beautiful and stirring musical scores for these throwaway movies. That's what you get with this set: music Henry Purcell composed for some two dozen often utterly forgettable plays (trust me--I've read a number of them!) Occasionally, when he teams up with a playwright worthy of his stature, such as John Dryden, Aphra Behn, or William Congreve, the results are even better, but for the most part you can enjoy the music here without knowing anything about the original plays.

This set originally appeared as separate LPs in the 70s and 80s, and has been long out of print. That's a pity, since Purcell spent a good deal of his short professional life in the theatre, either writing the incidental music contained on these CDs, or the music for his larger works, the semi-operas (King Arthur, The Fairy Queen, and the like). Almost all of these works are enjoyable gems; certainly, they represent a pinnacle of English 17th century music. Purcell had a genius for spinning musical gold out of the most leaden lyrics (check out his Odes and Welcome Songs on Hyperion if you don't believe me), and he does the same with the song texts in these plays.

Hogwood and the AAM offer clean, listenable performances, and the sound on these old analog discs has been cleaned up and brightened--although they were pretty good, even in the late 70s. As with most Hogwood, emotional extremes are kept to a minimum, so the "otherworldly" nature of late 17th century music, so often emphasised in more recent Baroque performances, doesn't come across here. It would be interesting to see what a group like The King's Consort would do with this music, but this set fills the major gap in the Purcell canon quite nicely.

My only beef with the reissue, as with many reissues, is that the liner notes are rather thin for a 6-cd set--the lyrics to the songs, for example, are especially missed. Still, it's a worthwhile set, and a must for fans of Purcell, English Baroque music, or anyone who just wants to experience a taste of the last days of the Restoration stage.

Average customer rating:

cannibal corpse vile
if you don't have the Vile album then by all means get this release
The Vile just keep comming

Vile
Cannibal Corpse
Manufacturer: Metal Blade
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

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Death Metal | Hard Rock & Metal | Styles | Music

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Similar Items:

The Bleeding
Commandment
War of Attrition
Icons of Evil
In Sorte Diaboli

ASIN: B000MMLPAK
Release Date: 2007-03-06

Tracks:

Devoured By Vermin
Mummified In Barbed Wire
Perverse Suffering
Disfigured
Bloodlands
Puncture Wound Massacre
Relentless Beating
Absolute Hatred
Eaten From Inside
O****m Through Torture
Monolith

Tracks:

Perverse Suffering (Live @ Berkeley Square, 2/3/97)
Stripped, Raped and Strangled (Live @ Berkeley Square, 2/3/97)
Covered With Sores (Live @ Berkeley Square, 2/3/97)
Monolith (Live @ Berkeley Square, 2/3/97)
Addicted To V*****l Skin (Live @ Berkeley Square, 2/3/97)
Force Fed Broken Glass (Live @ Berkeley Square, 2/3/97)
F***** With A Knife (Live @ Berkeley Square, 2/3/97)
Gutted (Live @ Berkeley Square, 2/3/97)
Bloodlands (Live @ Berkeley Square, 2/3/97)
Shredded Humans (Live @ Berkeley Square, 2/3/97)
Staring Through The Eyes Of The Dead (Live @ Berkeley Square, 2/3/97)
A Skull Full Of Maggots (Live @ Berkeley Square, 2/3/97)
Devoured By Vermin (Live @ Berkeley Square, 2/3/97)
Hammer Smashed Face (Live @ Berkeley Square, 2/3/97)
Pulverized (Live @ Berkeley Square, 2/4/97)
Puncture Wound Massacre (Live @ Berkeley Square, 2/4/97)
Mummified In Barbed Wire (Live @ Berkeley Square, 2/4/97)
O****m Through Torture (Live @ Berkeley Square, 2/4/97)

Album Description

METAL BLADE RECORDS 25th Anniversary Edition Series

To commemorate 25 years of the LOUDEST, HARDEST, HEAVIEST and the very best HEAVY METAL on the planet, METAL BLADE RECORDS has re-released seminal Metal albums from artists that have and continue to shape and influence the genre. The 25th Anniversary Editions will be released throughout 2007 and will include unreleased bonus tracks, DVD's of behind the scenes or live footage and additional liner notes from the artists themselves. From a garage in a Los Angeles suburb in 1982 to becoming the leading true INDEPENDENT Heavy Metal record label in the world, METAL BLADE RECORDS continues to lead the way in introducing artists to the Heavy Metal world, which we have continually defined. DVD Content Live at the BERKELEY SQUARE February 3rd & 4th, 1997 Captured live in concert on CANNIBAL CORPSE's first U.S. tour with new vocalist George "Corpsegrinder" Fisher. Includes nineteen tracks recorded over two SOLD OUT shows at San Francisco's BERKELEY SQUARE. EXCLUSIVE UNRELEASED concert footage

Customer Reviews:

cannibal corpse vile.......2007-06-08

if you are a big fan of metal and cannibal corpse then you need to got this album to complete your cannibalisam life style as a fan.

if you don't have the Vile album then by all means get this release.......2007-05-06

The album is awesome, probably alot of you know this so I won't go into it.
But the DVD is mostly crap because of the low audio quality: it was recorded over 2 nights, and the first night, which comprises 90% of the DVD, YOU CAN"T HARDLY EVEN HEAR CORPSEGRINDER!!!! not to mention the muddy quality of the music. The saving grace of the DVD is the 4 "bonus material" songs which were recorded on the second night at the same venue, in which you can now hear Corpsegrinder clearly in the mix, and there is some great "audience participation" going on, such as some humorous give-and-take between the audience and the band, and at one point Corpsegrinder lets an audience member do the growls for a second.

Overall, I would say that if you are rolling in dough, or just don't care, and want to know what it is like to be at a Cannibal Corpse show, and you want a deeper insight into the band as people, then the DVD is worth it. I'm glad I have the DVD because it is the first time I've seen the Corpse perform. And I love the bonus material 2nd night stuff.

The Vile just keep comming.......2007-04-11

This album is awesome, the opening song, Devoured By Vermin just Knocks you off your feet, then your not exactly let up again.

I was a little disapointed with the DVD but I understand the band wanted to put a show out that best portrayed the songs and not just a well mixed and highly polished video. I already have some of the tracks on the Live Cannibalism DVD so I guess I feel a bit cheated. If your into raw camcorder footage and sound then it will be awsome.

Average customer rating:

Amazing Album
Good album, curious production
A creative and thoughtful art rock album from start to finish.
Amazing and underrated
Better Than Tool, A Perfect Circle, etc.

Giving Birth to a Stone
Peach
Manufacturer: Vile Beat Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

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Similar Items:

The Power of Beef
Tool - Schism
Tool - Parabola
Is This Room Getting Smaller
10,000 Days

ASIN: B00004WFGP
Release Date: 2000-09-26

Tracks:

Spasm
Naked
Catfood
Velvet
Dougal
Burn
Signpost In The Sea
You Lied
Don't Make Me Your God
Peach

Customer Reviews:

Amazing Album.......2006-08-08

Well this ulbam is amazing and is very different from T O O L,Its a little dissapointing that they didnt get a major deal,but if they would have there would be no chancellor in T O O L....anyways this guys have relleased a couple of ulbams but they are now called SOTT(suns of the tundra)other ulbams are
1.2004-Paper wraps stone
2.2006-Tunguska

They were amazing at the download festival.....

this ulbams are even better than giving birth to a stone,support this guys because by now you wouldnt expect this guys to be underground and tryin to sell their music on myspace,just go to their site...www.infopeach.co.uk
and listen to some of their songs, in my opinion I think their new work is even alot better than their old...i give this a 4/2 out of five..peace

Good album, curious production.......2006-07-25

Peach plays a number of styles, some becomming popular in the British musical venacular, one being Nu New Wave as heard on Track #7, Signpost in the Sea. It's an appealing update of the new wave genre with a bit more balls and nowhere as twee on the vocals..
The King Crimson cover, Catfood is an interesting choice that reminds me of something Robert Fripp might have done in his 80s solo career; the rock part, not the soundscapes.

In general there's a good deal of rock styles from the semi-tech sounds of Naked to the 90s-esque thud rock of "You Lied".
The music, performance and overall sound are very enjoyable to listen, if a bit dizzying at the shifts of eras, styles and identity, but for me that is also Peach's endearing quality. Based on these aspects the album is a solid "4".

So why a "3" for the review? In part because I was listening to some pretty intense music, Explosions in the Sky, actually, and I noticed that the production of Peach's Giving Birth to a Stone was a bit confusing and lacking in identity.
The album seems incapable of making up it's mind if it's a "lo-fi" kind of feel, which it is not by any means although it sounds decidedly dressed down on several tracks. Take "Don't Make Me Your God" followed by "Peach". It is a sonic identety crises, let alone like listening to something like Bloc Party followed by a better sounding NiN track.

As I said, it's not the change of pace or attitude, it's the production, or if not the production a questionable mastering job.
The sound of the album gets in the way for me. It calls attention to tracks, sometimes those nowhere as good, as in the example above.

That said, if you like Tool you're probably giving consideration to Peach and quite honestly, it IS a good album that perhaps I have a bit of technical issues with. It is very possible it won't be something many people pay attention to, I admit to being a snit to a degree, but when you have the resources available to a band like Peach it seems kind of wrong not to do everything 100%. Then again, I could be totally wrong about my conceptions which is why I still highly reccomend Giving Birth to a Stone.

A creative and thoughtful art rock album from start to finish........2006-05-11

It's a really wonderful thing that this album, with publicity from friends and tourmates Tool, got its chance at resurrection. Lyrically, it's as interpersonally insightful as Tool's Undertow, and the vocals work rather well as a sort of breathy alternative to the more melodic voices of other art rockers. The metallic bass lines and heavy drum beats both seem to make the comparisons between this band and Tool at least somewhat fair. Certainly, Peach share their intelligence and good taste.

From the opening track, "Spasm", this CD fights--literally--for your attention. Perhaps the best thing about Giving Birth to a Stone, though, is its odd duality from the outset: it is both lightheartedly enjoyable and easily understood, but it is also very deep and thoughtful and upon only a few listens you'll probably begin to take the lyrics very seriously if you enjoy dissecting song meanings. The King Crimson cover, "Catfood", is a good example of this trait (that King Crimson also embodies), immediately accessible for its ubiquitous bassline and darkly comic lyrics, yet very brooding and frightening upon deeper contemplation.

This CD presents something newer and deeper with each listen. A smart, thoughtful masterpiece, those of us who are latecomers to Peach should be very grateful that this ablum was brought back to the forefront, at least for a while. If you appreciate rock music that is heavy, brooding, and somewhat tongue-in-cheek, check this out.

NOTE: This listing is currently much cheaper than the identical re-release which refers to the same band under the name Peach gb for clarification purposes. Take that into account before you purchase either.

Amazing and underrated.......2005-08-28

I bought this CD because I'm a huge Tool fan. Since Justin Chancellor played in Peach before he joined Tool, I thought I'd give it a shot. I love every single song on this album. I simply love the riffs and the basslines. The lyrics are great, and you'll find som similarities to Tool/A Perfect Circle here (Both bands have covered songs from this album). The gitar is intense and soothing at the same time. I recomend this album for everyone that likes rock/heavy metal, and wants something more than a scream vocal and headbanging (not that there's anything wrong with that).

Better Than Tool, A Perfect Circle, etc........2005-06-19

Okay, Chancellor is no Maynard, but he's probably the most talented musician (musician, not singer) to become a part of the Tool project. This album proves it. It seems Tool actually dumbed him down a bit, because Peach's Giving Birth To A Stone is more excellent than anything Tool or A Perfect Circle has released. Even their cover of King Crimson's "Cat Food" is awesome.

Somehow, their music is both lighter and darker than that of Tool, and the vocals suit it well. Maynard is a great singer, but his vocals do not always suit the mood that Tool's music is trying to create. Maynard seems much more suited to A Perfect Circle, but that band lacks Chancellor's musical capability, so...

Anyhow, with all the comparisons, this band is not Tool. This band is Tool with more talent and a British accent.

Average customer rating:

Worse of humanity
Cannibal Corpse prove they have nothing to prove
I loved it, now I hate it....
Buy it.....and be "Devoured by Vermin"
Awesome album

Vile
Cannibal Corpse
Manufacturer: Metal Blade
ProductGroup: Music
Binding: Audio CD

General | Rock | Styles | Music

Death Metal | Hard Rock & Metal | Styles | Music

General | Hard Rock & Metal | Styles | Music

Gallery of Suicide
Bloodthirst
Gore Obsessed
Eaten Back to Life
The Wretched Spawn

ASIN: B000001C8Y
Release Date: 1996-05-21

Tracks:

Devoured By Vermin
Mummified In Barbed Wire
Perverse Suffering
Disfigured
Bloodlands
Puncture Wound Massacre
Relentless Beating
Absolute Hatred
Eaten From Inside
Orgasm Through Torture
Monolith

Customer Reviews:

Worse of humanity.......2007-06-19

Cannibal Corpse prove they have nothing to prove.......2007-01-25

I loved it, now I hate it...........2007-01-07

Buy it.....and be "Devoured by Vermin".......2006-12-13

Awesome album.......2006-07-06

Average customer rating:

Ma
Vile Imbeciles
Manufacturer: White Heat
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
ASIN: B000QGE7L6
Release Date: 2007-06-25

Tracks:

Who Left & Who's That Who Would Do That?
Slack Hands
Kohl Icon
Your Legs Are Dead
Licking Venom With A Reproach Muscle
Suck My Teeth
Impressions Of Sudden
Immune The Goon
Gospel Of F**K
Straight Queen
I Propose A Toast To Drivel
Coughin Thom

Album Details

Former Members of Eighties Matchbox B-line Disaster and Neils Children Make `avant Death Jazz' to Massive Critical Reaction.

Average customer rating:

review from ...girlpunk ...
one sweet band...
Lucy is a new brand of punk.

Lucy Is a Band
Lucy Loves Schroeder
Manufacturer: Vile Beat Records
ProductGroup: Music
Binding: Audio CD

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
ASIN: B00005NWN3
Release Date: 2001-09-25

Tracks:

Some Other Way
Dragon Lady
Three Months Later
What's The Story
Not Worth It
Burned Your Photograph
Miss Congeniality
Big Drag
Fairweather Friend
Back To Me
Then He Kissed Me
He's A Fox
Better Than You

Customer Reviews:

review from ...girlpunk ..........2002-03-25

Simplicity is the key when it comes to this Dallas, TX band. Lucy Loves Schroeder isn't breaking any new ground in terms of pop-punk music, but what the band lacks in originality they make up for in an addictive energy that is full of catchy hooks and sweet melodies. Frontwoman Sara Radle demonstrates her vocal range by switching back and forth from sneering growls to girly high pitched "oh-oh-ohs". Accompaning Miss Radle (who also provides talent on the guitar and keyboards) are Andrew Binovi (bass) and Rob Schumacher (drums, percussion) who help pound out 13 garage rock tunes on this release. The trio draws influences from such bands as The Ramones and The Muffs which is exactly what you get, sugary sweet pop colliding with rough and tough punk rock.

The cd grabs listeners from the get-go with the high energy "Some Other Way" (it's better than a cup full of sugar!). In fact most of the band's music falls into the "bouncing off the walls" type of energy...and this is a great thing because you can't help but feel anything but good when you listen to this release. The band manages to throw a bit of diversity into their pattern with the somewhat mellower sounds of "Fairweather Friend" (The Muff's influence is detectable here more than on any other song), and the soul-baring acoustic number titled "Better Than You". Songs like "Not Worth It" and "Burned Your Photograph" are among my favorite, full of attitude and straightforward. Although it is Sara's sweet voice that will invade your ears for a great deal of the album, Andrew provides a nice contrast with his somewhat throaty male backing vocals and as he takes over the role of lead vocalist on "What's The Story" and "Back To Me". And because no punk release is complete without a cover song, the band does a nice little rendition of "Then He Kissed Me" (which was originally by The Crystals for you youngin's!). If Lucy Is A Band is just a hint of what to come from this band. I can't wait to hear more.

one sweet band..........2001-11-02

I had an opportunity to see this band last night (Halloween 2001) playing at FN Music in Muncie, IN. I have to say that there were, by far, one of the best indie/punk/emo bands I've EVER seen.

Playing songs like "Someday" and "Zermatt" (I'm not afraid of you/I'm not afraid/I'm not ashamed of you/I'm not ashamed), the band was really showing it's chops of emo writing and punk playing... and when they hit their cover of The Crystal's "And Then He Kissed Me," the crowd went spastic.

I highly recommend this band (...) -- if they're heading to your area, go give 'em a listen... you won't be disappointed.

Lucy is a new brand of punk........2001-10-09

This album blows by with a massive attack of rocking guitars and sweet as silk harmonies. The lead vocals are probably the most original female punk rock vocals i've heard in years. Coupled with the as always amazingly different production of the unstopable John Congelton (who seems to give an unexpected edge to Lucy is a Band) this album is a must for fans of new pop punk.

Average customer rating:

Simply Great Punk/Ska
wow
Everything from surf to 80's style hardcore

Testosterosa
The Daycare Swindlers
Manufacturer: Vile Beat Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

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

General | Rock | Styles | Music
Similar Items:

New & Tasty
In Loving Memory
The Morning After
This Is No Way to Make a Living

ASIN: B00004RBXK
Release Date: 2000-04-04

Tracks:

15 Minutes
Spy Vs Spy
Dirt Nap
Captivity
She Devil Stomp
31st & M
The East Side
Jenna Jameson
Stomp Song
Too Late
Donkey Punch
Corrections Officer
Stranger Than Fiction
Egg's Revenge
1/3 Hate
American Fist
Little Pussy
Deconstruction
A.H.W.

Customer Reviews:

Simply Great Punk/Ska.......2002-08-22

I took a chance buying both Testosterosa and New and Tasty at the same time and I have not been dissapointed at all. I have listened to both at least 40 times and i still can't get enough. Lots of energy with a good fusion of punk edge and ska melody to keep you goin. Pick em up, it is worth it for sure.

wow.......2001-10-10

this is the best punk or any other kind of music band you will have ever heard or ever will... music you can get into... i highly recommend all 3 cds and im sure the nsoon to be released "Album 4" will deliver! lets see... if you liked rancid, op ivy, nofx, or any other "punk" band, youll like these guys better. and if you like the Cds, see em live!...

Everything from surf to 80's style hardcore.......2000-10-19

This is one hell of a band (and album). "Testosterosa" covers multiple genres of music, but definitely displays the band's harDCore roots throughout. The production is a little slick (a la NOFX), but the songs, musicianship and lyrics are GREAT. Favorite songs are 15 Minutes, Donkey Punch, and Deconstruction.

Average customer rating:

"It reeks of music"
Salieri was no joke
Near worthless!
FALSTAFF: a good recording of Salieri's last operas!...
FALSTAFF: a good recording of Salieri's last operas!...

Salieri: Falstaff

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

Cimarosa: L'Italiana in Londra
Farinelli

ASIN: B000005Z6S
Release Date: 1998-03-17

Tracks:

Falstaff: Overture - Allegro di controdanza
Falstaff: Act l - Scene 1 - Introduction (Falstaff, Mrs Ford, Mrs Slender, Slender, Guests) - 'Viva il comune amico' (Falstaff And Guests)
Falstaff: Act l - Scene 1 - 'Sia pur l'ultimo bicchiere' (Falstaff)
Falstaff: Act l - Scene 1 - 'Ma gia l'alba s'avvicina' (Mistress Ford)
Falstaff: Act l - Scene 2 - 'Vedete che capriccio...' (Bardolf)
Falstaff: Act l - Scene 2 - 'Non reggo piu dal sonno...' (Bardolf)
Falstaff: Act l - Scene 3 - 'Mangiar da principe...' (Bardolf) - Duet (Falstaff, Bardolf) - 'Con molta degnazione' (Falstaff)
Falstaff: Act l - Scene 3 - 'Da scrivere...' (Falstaff)
Falstaff: Act l - Scene 4 - 'Li porto o non li porto?...' (Bardolf)
Falstaff: Act l - Scene 5 - 'Vicino a rivedere' (Ford) - 'Di dubitar di lei non ho motive...' (Ford)
Falstaff: Act l - Scene 6 - 'Oh, tinozzo ambulante!...' (Mistress Slender)
Falstaff: Act l - Scene 6 - 'Vendetta, si vendetta' (Mistress Slender)
Falstaff: Act l - Scene 6 - 'Comare, in questo punto...' (Mistress Slender)
Falstaff: Act l - Scene 6 - Duet (Mistress Ford, Mistress Slender) - 'La stessa, la stessissima' (Mistress Slender)
Falstaff: Act l - Scene 6 - 'Ma parlando sul serio...' (Mistress Slender)
Falstaff: Act l - Scene 7 - 'Ho capito, ma spero che non sara poi vero...' (Slender)
Falstaff: Act l - Scene 8 - Quartet (Mistress Ford, Mistress Slender, Ford, Slender) - 'Oh, quanto vogliam ridere' (Mistress Ford)
Falstaff: Act l - Scene 9 - 'Eh! Mia moglie, compare...' (Ford)
Falstaff: Act l - Scene 9 - 'Venga, venga pure il cavaliere' (Slender)
Falstaff: Act l - Scene 10 - 'A un uom della mia sorte...' (Falstaff)
Falstaff: Act l - Scene 11 - 'Guten morgen, mein Herr...'(Mistress Ford)
Falstaff: Act l - Scene 11 - 'Oh, die Manner kenn ich schon' (Mistress Ford)
Falstaff: Act l - Scene 12 - 'E che ti par, Falstaff?...' (Falstaff)
Falstaff: Act l - Scene 12 - 'Nell'impero di Cupido' (Falstaff)
Falstaff: Act l - Scene 12 - 'Ah, vile! Ah seduttore!...' (Ford) - 'Or degli affanni i palpiti' (Ford)
Falstaff: Act l - Scene 13 - 'Restate la vicini...' (Mistress Ford)
Falstaff: Act l - Scene 14 - 'Bricconcella, alfin t'ho colta' (Falstaff)

Tracks:

Falstaff: Act l - Scene 14 - 'Si. Son geloso a torto' (Ford)
Falstaff: Act ll - Scene 1 - 'Sentite pure...' (Betty)
Falstaff: Act ll - Scene 1 - Trio (Betty, Mistress Ford, Mistress Slender) - 'Nell'acqua il buzzone' (Betty) - 'Questa a buon conto...' (Mistress Ford)
Falstaff: Act ll - Scene 2 - 'Ehi! Bardolfo! A chi dico?...' (Falstaff) - Scene 3 - 'Corpo di Satanasso!...' (Falstaff)
Falstaff: Act ll - Scene 4 - 'E preparato?...' (Falstaff) - Duet (Betty, Falstaff) - 'Ah, Signore, se sapesse' (Betty)
Falstaff: Act ll - Scene 4 - 'Si degni almen di legger questo foglio...' (Betty)
Falstaff: Act ll - Scene 4 - Trio (Betty, falstaff, Bardolf) - 'Si mi vedeste il core' (Falstaff)
Falstaff: Act ll - Scene 5 - 'E il nostro Signor Broch...' (Falstaff) - Scene 6 - 'Il Signor Broch vi attende...' (Bardolf)
Falstaff: Act ll - Scene 7 - 'Se un pranzo non vi basta...' (Ford)
Falstaff: Act ll - Scene 7 - 'Che sento!... E quando ei venne...' (Ford) - 'Or dunque quella bestia...' (Falstaff)
Falstaff: Act ll - Scene 7 - Cavatina (Falstaff, Ford) - 'Nella stanza in un cantone' (Falstaff) - 'Or, quando fui nel cesto...' (Falstaff)
Falstaff: Act ll - Scene 7 - 'Io, sotto titolo di roba sudicia' (Falstaff)
Falstaff: Act ll - Scene 7 - 'Signor, son penetrato del piu vivo dolor...' (Ford)
Falstaff: Act ll - Scene 8 - 'Stelle sogno o son desto?...' (Falstaff) - 'Furie che mi agitate' (Falstaff)
Falstaff: Act ll - Scene 9 - 'Presto Betty, che torna gia l'amico...' (Mistress Ford) - Duet (Mistress Ford, Falstaff) - 'Su, mio core, a gioir ti prepara!' (Mistress Ford)
Falstaff: Act ll - Scene 10 - 'Ma siam sicuri?...' (Falstaff) - Scene 11 - 'Ehi, comare presto!...' (Mistress Slender) - Duettino (Mistress Ford, Falstaff) - 'Pre carita, celatevi' (Mistress Ford)
Falstaff: Act ll - Scene 11 - 'Siete sola?...' (Mistress Slender)
Falstaff: Act ll - Scene 11 - Trio (Mistress Ford, Mistress Slender, Falstaff) - 'Primo ancor che Mastro venga' (Falstaff)
Falstaff: Act ll - Scene 11 - 'Ma dunque, care amiche?...' (Falstaff) - Scene 12 - 'Ha, ha! Sarebbe bella se cosi travestito...' (Mistress Ford)
Falstaff: Act ll - Scene 13 - 'Ecco, amici! Ah! Ribaldo!...' (Ford)
Falstaff: Act ll - Scene 13 - Ensemble (Betty, Mistress Ford, Mistress Slender, Ford, Slender, Friends) - 'Che vedo! Oh, me infelice!' (Mrs Ford)
Falstaff: Act ll - Scene 13 - 'Orben, colui che cerco...' (Ford)
Falstaff: Act ll - Scene 13 - Duet (Mistress Ford, Mistress Slender) - 'Benedetto quel bastone' (Tutti)
Falstaff: Act ll - Scene 14 - 'Sorte pettegola, meco la vuoi' (Falstaff)
Falstaff: Act ll - Scene 15 - 'Se in Londra si sapessero le mie delusioni...' (Falstaff)
Falstaff: Act ll - Scene 15 - 'La sua fede si gradita' (Ford)
Falstaff: Act ll - Scene 15 - 'Sorte pettegola, meco la vuoi' (Falstaff) - 'Chi dite mai?...' (Ford) - 'Sorte pettegola, meco la vuoi' (Falstaff)
Falstaff: Act ll - Scene 16 - 'Che dici?...' (Falstaff)
Falstaff: Act ll - Scene 16 - 'Consolatevi amico...' (Falstaff)
Falstaff: Act ll - Scene 17 - Aria (Slender, Echo) - 'reca in amor la gelosia' (Slender) - 'Zitto: vien qualchedun...' (Slender)
Falstaff: Act ll - Scene 17 - Finale (Mistress Ford, Mistress Slender, Falstaff, Ford, Slender, Spirits) - 'Siete gia qui' (Slender)
Falstaff: Act ll - Scene 17 - 'Fate verdi, turchine e bianche e nere' (Mistress Ford)

Amazon.com

Amadeus, a great movie, made Antonio Salieri a sort of celebrity, but in terms of his value as a composer, it was misleading. This first recording, long overdue and very welcome, should help readjust Salieri's reputation. By far the best opera based on Shakespeare's The Merry Wives of Windsor, is Verdi's Falstaff. But the lazy, cowardly, greedy, overweight, alcohol-soaked, sexually predatory, and somehow (despite everything) endearing antihero is big enough for more than one opera. Salieri's Falstaff is much simpler and smaller in scale than Verdi's, less inventive and energetic. But this is a sophisticated, funny, brightly performed treatment of Falstaff's attempt to woo two married women with identical love notes. --Joe McLellan

Customer Reviews:

"It reeks of music".......2002-05-03

Salieri's "Falstaff, ossia le tre burli" ("Falstaff, or the three hoaxes"), to a libretto by Carlo Prospero Gianfranceschi, was first performed in Vienna in 1799, making it one of his last operas. It is a "dramma giocoso"..., that is, an opera buffa with some serious elements. This is an interesting time in the history of Italian opera -- Mozart's great operas were almost a decade in the past, and Rossini's about a decade away. Stylistically, though, we are closer to the classical than the bel canto. The various ensembles (including extended finales to each of the two acts) are reminiscent of Mozart -- Salieri obviously learned much from his great contemporary. Some of the numbers, too, have an element of opera seria parody, just as we find, say, in Fiordiligi's aria "Come scoglio" in "Cosi fan tutte".

While it must be admitted that Salieri does not muster the depth of pscyhological insight into character that is a hallmark of Mozart's greatness, nor the effervescent sparkle which enlivens Rossini's comic operas, this is nonetheless a delightful work, which should give pleasure to anyone who enjoys the late classical Viennese style.

If you wish to sample this lovely fare, try the lively Overture, which is a rondo based on a contredanse theme, that makes prominent use of the woodwinds, and ends in a blaze of glory a la Beethoven (who was, of course, Salieri's pupil). Another highglight is Falstaff's Act I aria ("Nell'impero di Cupido"), which is somewhat reminiscent of Bartolo's Act I aria in "Figaro" and even seems to look ahead to some of Rossini's buffo patter songs (I am thinking in particular of Don Magnifico's Act III aria in "Cenerentola").

The performance here, by authentic Italian forces, does justice to the idiomatic character of classical Italian opera buffa. So much of the action takes place in secco recitatives -- those bits of quasi-sung, quasi-spoken dialogue accompanied only by basso continuo -- and it is essential, as here, that the singers impart the nuance of the Italian language to it. The wonderful ensemble is ably supported by Alberto Veronesi and his Milanese forces. (An odd feature I noticed is that the continuo instrument in the recitatives is a fortepiano, whereas in the musical numbers it is a harpsichord. Is this supposed to be an authentic touch? There is no explanation in the notes.)

I wish to single out in particular the brilliant Florentine baritone, Romano Franceschetto, who carries on the great tradition of buffo baritones such as Giuseppe Taddei, Sesto Bruscantini, and more recently Claudio Desderi, who brings an acute, agile, intelligent mind and voice to his musical numbers and who does a beautiful job in the recitatives. In fact listening to the recitatives I almost thought I was listening to Bruscantini or Taddei.

Gluck is supposed to have said of a piece of Salieri's, "Puzza di musica" -- "It reeks of music" -- and if you listen to this recording you will understand why Gluck held his disciple in such esteem. It is worth noting that Salieri held the most important musical job in Europe -- court composer to the Habsburg Imperial court -- and numbered Gluck, Haydn, and Mozart as friends and colleagues, and Beethoven, Schubert, Hummel, and Liszt as pupils. If you want to get an insight into this interesting composer, who lived at such a pivotal time in the history of music and made his small but not trivial contribution to it, forget "Amadeus", try this recording. It will have you asking for more.

Salieri was no joke.......2001-08-13

Despite our compatriot's words to the contrary, Antonio Salieri was a magnificent composer who has composed some of the most moving scenes in all of operatic music. It is unfair to compare any musician to another since each musician has his/her own way of viewing a work and approaching that work. Mozart, obviously, would have taken a different approach to Falstaff just as Handel, Bach, Beethoven, Ligeti, or even Durufle would have taken. Each composer is unique and as true music lovers we must respect this and also respect Salieri's important, yet, unfortunately, mostly forgotten gargantuan comtribution to classical music.

Near worthless!.......2000-05-10

How can one listen to this work without comparing it to those of Mozart? I couldn't, and it's like comparing sewer water to a fine red wine- there is no comparision.

This opera is completely dull, uninspiring, unimaginitve, and just plain boring! I much prefer the classical period to that of the romantic, but i also much prefer Verdi's Falstaff to this one.

While it is true Amadeus exaggerated the rivilary between Mozart and Salieri, Salieri's jealousy was very much real. He did recognize Mozart's devine talent.

Furthermore, Salieri was not the incompetent composer Amadeus made him out to be. In fact, for that time period he was very compentent and as good as almost all the other composers of his day. The problem? Mozart far exceeded anything composers of that day, or since could put out! It always amazing me that Salieri and many composers were paid twice as much as Mozart for turning out work that was half as genious, half as brilliant, have as imaginative, and have as miraculous as Mozart's music was. Furthermore, Mozart was offered commissions (many) only after Salieri first turned them down.

The Marriage of Figaro and Don Giovanni - arguably the two greatest operas ever composeed, failed in Vienna- while the operas of Salieri were smash hits! The "musical capital" of the world was totally inept when it came to recognizing great music! Most people don't know it, but the premiere of Figaro in Prague was one of the greatest triumphs in operatic history. Mozart was thrilled and wrote in symphony in honor of the people of Prague. That led to the commission of Don Giovanni, which was a triumph as well in Prague, but failed in Vienna upon it's transfer there prompting Mozart to declare, "My Praguers, they understand me."

There is a reason why Mozart is regarded as the greatest. Mozart is simply stunning beauty and perfection with no equal.

This opera is near garbage. Salieri's Axur is quite nice- but still far from the level of Mozart.

Salieri was envious of Mozart- and with good reason. And for that reason- Salieri was a smart man. In a time when Vienna tossed their great musical gift (Mozart) by the wayside, Salieri recognized it.

If you don't have all Mozart operas- get them first!

FALSTAFF: a good recording of Salieri's last operas!..........2000-03-24

A worthwhile issue of an opera composer whose dozens of works (i.e. Axur, re d'Ormus, Les Danaides, La Locandiera, etc.) are still little-known. A good recording of the Salieri's comedy, I enjoyed it. The arias are few, the ensembles many with complicated finales. However, I loved this recording wich embraces a remarkable teamwork, and is full of life and fun. It is very much an 18th-century opera buffa which takes liberties with Shakespeare's original (no Anne and Fenton; Mrs. Ford visits Falstaff disguised as a German woman - an excuse for comic mixture of German and Italian dialogue; only the Fords run any risk of marital separation) but which offers several enjoyable parodies of opera seria conventions. Falstaff, is one of Salieri's last operas (Vienna, 1799), and one of the first to derive its plot from Shakespeare's The Merry Wives of Windsor (later composers like Adolphe-Charles Adam, and Guisseppe Verdi composed operas on the same subject during the 19th century). The music of Salieri has remained forgotten (besides the fictional treatment of Salieri's supposed rivalry with Mozart in Peter Shaffer's study of jealousy, Amadeus), his name a foot-note in the lives of his pupils Beethoven and Schubert.

FALSTAFF: a good recording of Salieri's last operas!..........2000-03-24

Music Info: