| 1. Album of the Year |
| 2. Night & Day |
| 3. Under a Honeymoon |
| 4. You're No Fool |
| 5. Notes in His Pockets |
| 6. You're Not You |
| 7. October Leaves |
| 8. Lovers Need Lawyers |
| 9. Inmates |
| 10. Needy |
| 11. New Friend, A |
| 12. Two Years This Month |
Editorial Reviews
Product Description
The band's sound has evolved from the refined, quiet pop of the first full-length, "Novena On A Nocturn", to the moody hooks of 2002's "Black Out" to the anthems of divorce and disillusionment found on the recent "Lovers Need Lawyers" EP. The sum of these parts is found on "Album Of The Year". Catchy, moody, pop rock that fluctuates between the all-ages club and the smoky cabaret, right alongside sing-along crescendos that spin into cinematic bursts.
And that is how I remember them: the atmosphere of the small sea-towns, an aura of Casablanca movie in the title song, the semi-gay voice of Al Stewart sounds like one of a spoiled, honest child, hungry for adventures, nice girls and harmless "noir" adventures.
Today,it still sounds just the same; perfect for beach-caffe s with margaritas and a sunset. White mornings after the one-night stands with satin-ladies, gauloise before entering the exotic marketplaces in Maroco or Spain. Good for people over 35, or maybe younger romantics.
Not for hip-hop lovers.
Brilliant production,fresh as it was 30 years ago.
Very highest recommendation.
Bordin (drummer, founder) has an obvious love of dark, Sabbath-esque metal, and is a big part of FNM'S "heavy" sound. But the true genius in this band has to be Mike Patton. His vocals are genuinely odd. He seems to be able to do just about anything he wants with his voice, from whispy to gutteral, maniacal to soulful. Patton is the only singer who can pull off what he does, so much so that I often think of him as metal's Freddie Mercury.
Album of the Year isn't Faith No More's best work, but there are a handful of "best-of moments." Last Cup of Sorrow causes shivers, as do Naked In Front of the Computer, Mouth to Mouth, and She Loves Me Not. And like all Faith No More's work, the songs that don't seem so strong at first listen, start to grow and grow on you, and eventually your raving mad about everything they've ever committed to tape.
Strongly recommend this album, even if it's an ambitious title. It almost lives up to it.
This album as a whole has a very plodding, exhausted feel to it. One can ascertain the general feeling that these guys are sick of each other (Mike Patton didn't even rehearse with the band, instead turning in his vocal tracks by mail while working on Mr. Bungle's spectacular 1999 release California) and that they know this is the last straw. The songs still stand up on their own, for the most part, and it is still light years more coherent and cohesive than the lackluster 1994 release King For A Day, Fool For a Lifetime. The whole album lends a feeling of distance, of space, a stunning shift from their previous walls-of-sound performances Angel Dust and The Real Thing. Jon Hudson's guitar work is mediocre, yet there are moments (Ashes to Ashes being the most prominent) where his simplistic efforts really enhance, rather than detract, from the material. For a hardcore FNM fan, this is nowhere near their finest material, but for the rest of the industry, it stands head and shoulders above what was available at the time, and in fact still stands taller than most of the material released in the 8 years following.
The album begins with a bone-jarring syncopated semi-trash number, Collision. While fully loaded with raw power, the overall emotive value of this piece wears off quickly once the initial headbanging is over. No notable lyric here, it's a very sparse hint at a book and movie done a short time before. Stripsearch is a powerful bounceback, both lyrically and musically. Flowing, ethereal textures and incredibly emotive vocal passages, with lines such as "In these days - I'm breathing stone - crying stone - I'll win this race - I'll leave alone - arrive alone" place this piece among the best this band has ever produced. The radio-ready "Last Cup of Sorrow" is a flop. Dead, lifeless, unimaginative, boring - frankly I was shocked such a great band could produce such a piece of crap, and then have the gall to release it as a single over some of the real gems on this record. Chalk that one up to the industry pushing a band to re-write its big hit over and over again, as if forcing the same sound down people's throats repeatedly will make them love you. "Naked in Front of the Computer" brings back the dark humour that has been such a beloved component of this band's sound for years. Jon's opening riff is lackluster, but the song ignores it and moves on into a frantic, aggressive underpinning for some very tasty lyrical gems such as "In how many ways - and words - can you say nothing - millions of ways - and words - to say nothing" - all a sarcastic stab at the internet revolution and its evolving into what is essentially a forum for dolts such as myself to foam at the mouth to whoever will listen. "Helpless" is a spectacular quasi-ballad piece with dreamy synth passages, although again weighed down by Hudson's lack of imagination and skill. Quips like "For every wish, I wonder why - Why all I want is something beautiful - A place to rest" toss the listener rather casually into serious depression, while the eerie whistling and other sound effects hint that the band is laughing at your pain all along. "Mouth to Mouth" brings more tongue-in-cheek silliness and a brilliant hook "I can dress up the dead man - but I can't bring him back to life." Too bad they didn't drop this surefire hit on the general public. "Ashes to Ashes" is definitely another T-10 alltime FNM piece. Patton's soaring vocals interplay beautifully with Roddy's boards, and Hudson's 14 note guitar solo actually makes for a perfect interlude between segments. The hook is stellar - "Smiling with the mouth of the ocean - and I'll wave to you with the arms of the mountain - I'll see you" and passionate, one of the few genuinely emotional pieces on the album. "She Loves Me Not" is a forgettable effort at a show-tune, with Roddy masturbating on a his grand piano patch and Mike desperately trying to bail the song out with some mindbending vocal texturing. "Got That Feeling" is an ambitious compound time-signature nu-metal piece, which is great if you're a nu-metal band, but rather unfortunate if you're the band who wrote one song that started the whole bloody genre. "Paths Of Glory" is powerful, grandiose piece with a surprisingly strong hook riff from Hudson and some stunning lyric to support another soaring, intense vocal performance from Patton, with shreds like "Is this the only path of glory - If so then I won't go alone - Follow the trail" grabbing the listener by the throat and demanding attention. "Home Sick Home" is a grand little dark-flavored swing piece that could be likened to a Charles Manson comedy tour. Ponder that visual for a minute. "Pristina" is a beautifully sparse final movement for the album, evoking precisely what I have to believe the band intended - this is it, folks, it's over, we're done. "In every dark land - in every flower bed - in every marraige bed - I'll be with you - I'm watching you" - what's left to be said?
Overall, a fine coda to a spectacular career for this band. It's completely unfair, really, to hold it up to the standard of Angel Dust - no band in the history of heavy rock has ever managed to eclipse their masterwork ex post facto, why should we expect FNM to have been any different? Still, it stands up on its own and demands to be accounted for in the annals of alt-rock history.
This stuff is funny and I like hearing it again, say once a year on average. Sorta like watching a good movie again. There's hardly any klinkers on this album, maybe none.
I'm just glad they've done several of these albums. The idea is sound and Reiner and Brooks play perfectly off each other. Reiner is just barely not too stuffy enough to be a good straight man to Brooks who just barely is able to keep from totally unraveling. In fact, I think it's Reiner who keeps Brooks reined in and Brooks who keeps Reiner from getting too stiff. Funny stuff kids. A gotta own album. chrisbct@hotmail.com
Needless to say it's not a very upbeat record, and yet there's an elegant beauty in this depressing vision that belies it's darker side. Sad though it is it never wallows in bitterness, and it captures the emotions of these songs with such clarity that they come alive in rich tones of sepia and black so that you can literally feel them in all their heart-wrenching despair. It's poetry for the soul. But then that's pretty much what you come to expect with the best of Neil Young. What also makes this collection of live music so unique is the song selection. Danger Bird, Human Highway, and Barstool Blues have never sounded better, and while Pocahontis has always been one of my favorite Young songs, it's never been done as well as it is here, nor has it ever captured the emotions of the song quite so vividly. And while Mr. Soul has certainly been done in a different way before, this version is one of the best. Here it sounds like a haunted train that comes whistling out of the darkest of places before intruding into the light of day with its engineer moaning his feelings to people only half aware of him as they go about their busy lives.
While I'm not one who embraces these types of emotions as the only kind valid in art, when they are done this well I can't help but be seduced by their melancholic attraction.
Unfortunately, I cannot give this otherwise excellent CD the same high marks. If they wanted to release a "best of Cambridge Christmas" CD, this would not be it. It does a few of the absolute best Christmas selections, including Sweelinck's "Hodie", Willcocks's breathtaking arrangement of "The Infant King", and Rutter's own quirky reading of "Personent Hodie". And it does contain a few tracks not previously released.
However, if you want the best of Cambridge and Christmas, start with "Christmas Night", which is always the first CD I pull out the day after Thanksgiving. The sound of the famliar Persall setting of "In Dulci Jubilo" sets my holiday in motion. And that CD also has Rutter's own magical "There is a flower". After that CD, get "Christmas with the Cambridge Singers", which has "The Infant King" and some other treasures.
So, you can't really go wrong with this CD, especially if you just want an introduction to how this fine ensemble addresses the most choir-friendly holiday of all. But if you're serious about getting all the good stuff, start with the other two mentioned above, then add "Christmas Day in the Morning" and the early "Christmas Star".
But, most of these songs were already available on other albums. Most of them are on either Europe 72 or Grateful Dead (Skull and Roses). The versions done here are not much different than what was previously done. For instance, Me and Uncle is also on Skull and Roses. On Hundred Year Hall you get Keith Godcheaux playing piano in the background, but it doeesn't really add that much to the song.
The sound quality is very good. Plus, the audience noise has been held to a minimum. There ia s little cheering at the beginnning and end of the songs, but you don't hear the audience while the song is being played. Many new live CD's are ruined by the audience noise being mixed in way too loud. Even some the of the Grateful Dead live CD's suffer from this.
The performance on the songs is very good and the band is very tight. There isn't a bad track on album. However, Bob Weir does mess up the lyrics on Truckin' twice. The band always seems to have problems getting this song right.
I normally don't like full concert CD's. The Grateful Dead classic live albums (Live/Dead, Skull and Roses and Europe 72) all came from a number of different shows. The best performances from each of the shows were included on the album so you end up with some truly fantastic music.
Plus, on all the classic Grateful Dead live albums, the audience noise is kept to a bare minimum so it doesn't interfere with the enjoyment of the music. I want to hear the band, not a bunch of drunk idiots yelling stuff and whistling.
There have been a ton of Dead shows released, with Dick's Picks, From the Vault and other offerings. Most of them don't come close to the quality of the classic Dead live albums. There are always some weak tracks. The sound quality is not is good, and the audience noise is sometimes mixed too loud.
Especially in the later years, the first set of a Dead show could be less than stellar. It always took a couple of songs for the band to get in sync and play well together. Also, the it took a few songs for the engineers to get the sound right.
But, Hundred Year Hall is different from the other full show CD's. The band starts out playing songs it knows and is tight and in sync from the beginning.
Of special interest is a 19 minute Turn On Your Lovelight that is more a guitar jam than any other version I have heard. There is very little of the usual Pigpen vocals. Then there is a very spacy 38 minute The Other One (incorrectly titled Cryptic Evelopment).
I know a lot of people love the complete concerts, to make it feel as if you there. But, is it really necessary to include the whole concert? Grateful Dead's 69 even includes a 3 minute break of nearly silence as a guitar string is being changed.
That aside, this is a great abbreviated version of this show from what many consider their best tour. An all-time Dead highlight is the jam from "Lovelight" to "Goin' Down the Road." It is absolutely stellar, touching on "Not Fade Away" before finally settling into GDTRFB.
Today, nearly 10 years later, I'm amazed that I didn't like Hundred Year Hall. I guess my taste in music has changed a great deal over the years. Thank heavens!
Now, I'm into jam bands, progressive rock and other long-form music of high quality.
So, naturally, when I recently got into the Grateful Dead I started buying everything I could get my hands on -- especially their live material -- because I was blown away by the musicianship and "vibe" of it all.
Of all the Grateful Dead live CDs I own, I think Hundred Year Hall ranks in the top five. Perhaps even in the top three. The sound quality (on this remastered HDCD Rhino release from 2004) is astounding. But more than that, this is a smokin' live set that never lets up. It's one fantastic song after another, played by musicians at the top of their game.
My favorite song on this set is "I Know You Rider." They do this many times, on many of their lives CDs, but it's this version that I can put on "repeat" and listen to all day long.
Other standout tracks include "China Cat Sunflower," "Goin' Down the Road Feeling Bad," "Truckin'," and of course, the 36 minute "Cryptical Envelopment."
This is a very solid performance from the Grateful Dead from (I think) a 1972 show. Every song is great. Not a weak one in the bunch. And the sound quality -- thanks to Rhino's meticulous remastering -- has never been better.
With all of the Grateful Dead live releases out there (especially now with Dick's Picks), it's possible to overlook this CD. But do yourself a favor and don't. Buy Hundred Year Hall and enjoy one of the best concerts the Grateful Dead ever recorded.
But, most of these songs were already available on other albums. Most of them are on either Europe 72 or Grateful Dead (Skull and Roses). The versions done here are not much different than what was previously done. For instance, Me and Uncle is also on Skull and Roses. On Hundred Year Hall you get Keith Godcheaux playing piano in the background, but it doeesn't really add that much to the song.
The sound quality is very good. Plus, the audience noise has been held to a minimum. There ia s little cheering at the beginnning and end of the songs, but you don't hear the audience while the song is being played. Many new live CD's are ruined by the audience noise being mixed in way too loud. Even some the of the Grateful Dead live CD's suffer from this.
The performance on the songs is very good and the band is very tight. There isn't a bad track on album. However, Bob Weir does mess up the lyrics on Truckin' twice. The band always seems to have problems getting this song right.
I normally don't like full concert CD's. The Grateful Dead classic live albums (Live/Dead, Skull and Roses and Europe 72) all came from a number of different shows. The best performances from each of the shows were included on the album so you end up with some truly fantastic music.
Plus, on all the classic Grateful Dead live albums, the audience noise is kept to a bare minimum so it doesn't interfere with the enjoyment of the music. I want to hear the band, not a bunch of drunk idiots yelling stuff and whistling.
There have been a ton of Dead shows released, with Dick's Picks, From the Vault and other offerings. Most of them don't come close to the quality of the classic Dead live albums. There are always some weak tracks. The sound quality is not is good, and the audience noise is sometimes mixed too loud.
Especially in the later years, the first set of a Dead show could be less than stellar. It always took a couple of songs for the band to get in sync and play well together. Also, the it took a few songs for the engineers to get the sound right.
But, Hundred Year Hall is different from the other full show CD's. The band starts out playing songs it knows and is tight and in sync from the beginning.
Of special interest is a 19 minute Turn On Your Lovelight that is more a guitar jam than any other version I have heard. There is very little of the usual Pigpen vocals. Then there is a very spacy 38 minute The Other One (incorrectly titled Cryptic Evelopment).
I know a lot of people love the complete concerts, to make it feel as if you there. But, is it really necessary to include the whole concert? Grateful Dead's 69 even includes a 3 minute break of nearly silence as a guitar string is being changed.
Folks even with it's flaws this is a great document of an excellent show. Its a solid five star performance with the best first set playing of the Europe '72 tour and possibly for the entire year. Until the Dead release the four shows done at the Lyceum in London at tours' end, the Tivolis Koncertsal show from Copenhagen, or the Wembley Empire Pool show from April 8th, this is the best official release of the Dead during the Europe '72 tour we've got. Also recommended is Rockin' The Rhein which is an excellent recording of the complete Rheinhalle show from April 24.
jam on CD 2: Cryptical Envelopment. This jam is a top-notch
example of Grateful jamming at its absolute best. It has all
the subtle nuances of a Dark Star Jam...and minimal vocals.
Indeed, one of the very best jams ever by the Dead.
The "Comes A Time" that follows is a bit different than the
totally exquisite version on "Stepping Out," but it's better
than very good. Playing In The Band on CD 1 is swell as well.
In sum, the Cryptical Enveloment jam on CD 2 is WELL worth the
price of admission. If you love Dead jams, don't hesitate an
instant if you're wondering whether to acquire 100 Year Hall.
The band's sound has evolved from the refined, quiet pop of the first full-length, "Novena On A Nocturn", to the moody hooks of 2002's "Black Out" to the anthems of divorce and disillusionment found on the recent "Lovers Need Lawyers" EP. The sum of these parts is found on "Album Of The Year". Catchy, moody, pop rock that fluctuates between the all-ages club and the smoky cabaret, right alongside sing-along crescendos that spin into cinematic bursts.
Album of the Year,The Good Life,Saddle Creek,Indie Rock,Pop,Rock,Rock/Pop
Album of the Year
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Year of the Cat
Al Stewart Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD  General
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ASIN: B0001XAS1W Release Date: 2004-04-27 |
Tracks:
- Lord Grenville
- On The Border
- Midas Shadow
- Sand In Your Shoes
- If It Doesn't Come Naturally, Leave It
- Flying Sorcery
- Broadway Hotel
- One Stage Before
- Year Of The Cat
Customer Reviews:
Sounds of a happy times.......2007-07-19
And that is how I remember them: the atmosphere of the small sea-towns, an aura of Casablanca movie in the title song, the semi-gay voice of Al Stewart sounds like one of a spoiled, honest child, hungry for adventures, nice girls and harmless "noir" adventures.
Today,it still sounds just the same; perfect for beach-caffe s with margaritas and a sunset. White mornings after the one-night stands with satin-ladies, gauloise before entering the exotic marketplaces in Maroco or Spain. Good for people over 35, or maybe younger romantics.
Not for hip-hop lovers.
Brilliant production,fresh as it was 30 years ago.
Out Of This World.......2007-03-20
Al Stewart Enters His Best Period.......2006-12-23
Fits the definition of "classic".......2006-11-26
Very highest recommendation.
Still strong 30 years later.......2006-09-12
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Album of the Year
Faith No More Manufacturer: Reprise / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B000002NG7 Release Date: 1997-06-03 |
Tracks:
- Collision
- Stripsearch
- Last Cup Of Sorrow
- Naked In Front Of The Computer
- Helpless
- Mouth To Mouth
- Ashes To Ashes
- She Loves Me Not
- Got That Feeling
- Paths Of Glory
- Home Sick Home
- Pristina
Customer Reviews:
Fantabulous.......2007-05-20
Bordin (drummer, founder) has an obvious love of dark, Sabbath-esque metal, and is a big part of FNM'S "heavy" sound. But the true genius in this band has to be Mike Patton. His vocals are genuinely odd. He seems to be able to do just about anything he wants with his voice, from whispy to gutteral, maniacal to soulful. Patton is the only singer who can pull off what he does, so much so that I often think of him as metal's Freddie Mercury.
Album of the Year isn't Faith No More's best work, but there are a handful of "best-of moments." Last Cup of Sorrow causes shivers, as do Naked In Front of the Computer, Mouth to Mouth, and She Loves Me Not. And like all Faith No More's work, the songs that don't seem so strong at first listen, start to grow and grow on you, and eventually your raving mad about everything they've ever committed to tape.
Strongly recommend this album, even if it's an ambitious title. It almost lives up to it.
variations.......2007-05-08
A hearty last laugh..........2005-12-27
This album as a whole has a very plodding, exhausted feel to it. One can ascertain the general feeling that these guys are sick of each other (Mike Patton didn't even rehearse with the band, instead turning in his vocal tracks by mail while working on Mr. Bungle's spectacular 1999 release California) and that they know this is the last straw. The songs still stand up on their own, for the most part, and it is still light years more coherent and cohesive than the lackluster 1994 release King For A Day, Fool For a Lifetime. The whole album lends a feeling of distance, of space, a stunning shift from their previous walls-of-sound performances Angel Dust and The Real Thing. Jon Hudson's guitar work is mediocre, yet there are moments (Ashes to Ashes being the most prominent) where his simplistic efforts really enhance, rather than detract, from the material. For a hardcore FNM fan, this is nowhere near their finest material, but for the rest of the industry, it stands head and shoulders above what was available at the time, and in fact still stands taller than most of the material released in the 8 years following.
The album begins with a bone-jarring syncopated semi-trash number, Collision. While fully loaded with raw power, the overall emotive value of this piece wears off quickly once the initial headbanging is over. No notable lyric here, it's a very sparse hint at a book and movie done a short time before. Stripsearch is a powerful bounceback, both lyrically and musically. Flowing, ethereal textures and incredibly emotive vocal passages, with lines such as "In these days - I'm breathing stone - crying stone - I'll win this race - I'll leave alone - arrive alone" place this piece among the best this band has ever produced. The radio-ready "Last Cup of Sorrow" is a flop. Dead, lifeless, unimaginative, boring - frankly I was shocked such a great band could produce such a piece of crap, and then have the gall to release it as a single over some of the real gems on this record. Chalk that one up to the industry pushing a band to re-write its big hit over and over again, as if forcing the same sound down people's throats repeatedly will make them love you. "Naked in Front of the Computer" brings back the dark humour that has been such a beloved component of this band's sound for years. Jon's opening riff is lackluster, but the song ignores it and moves on into a frantic, aggressive underpinning for some very tasty lyrical gems such as "In how many ways - and words - can you say nothing - millions of ways - and words - to say nothing" - all a sarcastic stab at the internet revolution and its evolving into what is essentially a forum for dolts such as myself to foam at the mouth to whoever will listen. "Helpless" is a spectacular quasi-ballad piece with dreamy synth passages, although again weighed down by Hudson's lack of imagination and skill. Quips like "For every wish, I wonder why - Why all I want is something beautiful - A place to rest" toss the listener rather casually into serious depression, while the eerie whistling and other sound effects hint that the band is laughing at your pain all along. "Mouth to Mouth" brings more tongue-in-cheek silliness and a brilliant hook "I can dress up the dead man - but I can't bring him back to life." Too bad they didn't drop this surefire hit on the general public. "Ashes to Ashes" is definitely another T-10 alltime FNM piece. Patton's soaring vocals interplay beautifully with Roddy's boards, and Hudson's 14 note guitar solo actually makes for a perfect interlude between segments. The hook is stellar - "Smiling with the mouth of the ocean - and I'll wave to you with the arms of the mountain - I'll see you" and passionate, one of the few genuinely emotional pieces on the album. "She Loves Me Not" is a forgettable effort at a show-tune, with Roddy masturbating on a his grand piano patch and Mike desperately trying to bail the song out with some mindbending vocal texturing. "Got That Feeling" is an ambitious compound time-signature nu-metal piece, which is great if you're a nu-metal band, but rather unfortunate if you're the band who wrote one song that started the whole bloody genre. "Paths Of Glory" is powerful, grandiose piece with a surprisingly strong hook riff from Hudson and some stunning lyric to support another soaring, intense vocal performance from Patton, with shreds like "Is this the only path of glory - If so then I won't go alone - Follow the trail" grabbing the listener by the throat and demanding attention. "Home Sick Home" is a grand little dark-flavored swing piece that could be likened to a Charles Manson comedy tour. Ponder that visual for a minute. "Pristina" is a beautifully sparse final movement for the album, evoking precisely what I have to believe the band intended - this is it, folks, it's over, we're done. "In every dark land - in every flower bed - in every marraige bed - I'll be with you - I'm watching you" - what's left to be said?
Overall, a fine coda to a spectacular career for this band. It's completely unfair, really, to hold it up to the standard of Angel Dust - no band in the history of heavy rock has ever managed to eclipse their masterwork ex post facto, why should we expect FNM to have been any different? Still, it stands up on its own and demands to be accounted for in the annals of alt-rock history.
This is the End.......2005-11-29
Album of the year, say no more........2005-06-19
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The John Rutter Christmas Album
Cambridge Singers , Rutter , and City of London Sinfon Manufacturer: Collegium ProductGroup: Music Binding: Audio CD Classical
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ASIN: B00006JJ4T Release Date: 2002-09-24 |
Tracks:
- Wexford Carol
- Jesus Child
- There Is a Flower
- Donkey Carol
- Wild Wood Carol
- Angels' Carol
- Nativity Carol
- Mary's Lullaby
- Star Carol
- Candlelight Carol
- Shepherd's Pipe Carol
- Christmas Lullaby
- Dormi, Jesu
- Love Came Down at Christmas
- Sans Day Carol
- I Wonder as I Wander
- What Sweeter Music
- Joy to the World
- I Saw Three Ships
- Deck the Hall
- Very Best Time of Year
- We Wish You a Merry Christmas
- Silent Night
Album Description
Top of the British Classical Charts for 10 Weeks! Billboard Top Ten Classical Recording - December 2002! This album gathers together most of the carols I have composed over the years, plus a sprinkling of my arrangements of traditional carols, grouped to form a program which narrates, reflects upon, and celebrates the Christmas story. I have always enjoyed carols ever since I first sang them as a member of my school choir, and it was not long before I began to write carols of my own-in fact my first two published compositions were the Nativity Carol and the Shepherd's Pipe Carol. For any musician involved in choral music, Christmas is an especially joyous time, and I am indeed happy that it has played a part in my musical life for so many years- JOHN RUTTERCustomer Reviews:
Rutter Christmas Album.......2007-05-14
Unique and Beautiful!.......2007-03-09
Johh Rutter Chirstmas Album.......2007-02-19
Liked it enough to go through a lot of trouble to give it a review........2007-02-07
John Rutter and Cambridge Singers.......2007-01-18
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The 2000 Year Old Man In The Year 2000: The Album
Carl Reiner & Mel Brooks Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B00000345U Release Date: 1997-10-14 |
Tracks:
- A Re-Pleasure To See You
- See Moses Run
- Diseases And The Plagues
- Pain
- Wives And Famous Women
- Parents
- First Place You Ever Lived
- Yarmulkes Galore And The Inquisition
- Computer Sex And Self Help
- Exercise And Infomercial
- Music
- Height And Plastic Surgery
- Seven Wonders Of The World
- Famous People
- Pet Peeves And Words Of Wisdom
Customer Reviews:
Still funny, but not as funny.......2007-05-29
These Guys Are Still Funny.......2007-05-07
2000 Year-Old Man in 2000.......2006-08-12
Abdominal exercise.......2006-05-30
I gotta get all the 2000 year old man records.......2006-01-23
This stuff is funny and I like hearing it again, say once a year on average. Sorta like watching a good movie again. There's hardly any klinkers on this album, maybe none.
I'm just glad they've done several of these albums. The idea is sound and Reiner and Brooks play perfectly off each other. Reiner is just barely not too stuffy enough to be a good straight man to Brooks who just barely is able to keep from totally unraveling. In fact, I think it's Reiner who keeps Brooks reined in and Brooks who keeps Reiner from getting too stiff. Funny stuff kids. A gotta own album. chrisbct@hotmail.com
Average customer rating:
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Year of the Horse
Neil Young & Crazy Horse Manufacturer: Reprise / Wea ProductGroup: Music Binding: Audio CD Singer-Songwriters
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ASIN: B000002NGH Release Date: 1997-06-17 |
Tracks:
- When You Dance
- Barstool Blues
- When Your Lonely Heart Breaks
- Mr. Soul
- Big Time
- Pocahontas
- Human Highway
Tracks:
- Slip Away
- Scattered
- Danger Bird
- Prisoners
- Sedan Delivery
Amazon.com
Long may he run, sure, but Young and friends sound like they're in dire need of a creative refuel on this ho-hum live set. The man's clearly coasting. He knocked off the Broken Arrow studio disc without a second thought, and here the tapes roll for 83 minutes in capturing an OK performance (highlight: "Slipaway," the labyrinthine disc-two opener) that is effectively nothing more than an officially sanctioned bootleg. Let's hope he either gets inspired enough to deliver a Sleeps with Angels-style opus or finally wraps work on what should an awesome archival retrospective. --Jeff BatemanCustomer Reviews:
Simply fantastic.......2006-02-18
Not the best live one but not bad either............2005-02-14
great set, bad sound.......2004-04-20
From the mouth of the Horse..........2003-12-12
'Year of the Horse' is an underrated live set from Young, panned as lacking enthusiasm (those not familiar with Young may not realize that not every song he writes was intended as an 'ace-in-the-hole' for American Idol), or for retreading old territory by asking, "Do we really need another live version of 'When You Dance', 'Mr. Soul', 'Pocahontas', or 'Sedan Delivery'"? To even modestly addicted Neil fans, the immediate and immutable response is, "YES!". Consider that popular among the more rabid of us are web sites that attempt, with some precision, to detail every song ever performed at every concert by Young (check out the Sugar Mountain web site). Now, that's rabid. The appeal of alternate takes on any Young song becomes especially pertinent since Neil, like his chosen mentors Bob Dylan and Jimi Hendrix, so frequently reinvents his compositions. On this disc, 'Mr. Soul' is a case in point. Here we have a mid-60's souped up, fuel injected hot rod from Buffalo Springfield that has morphed into an acoustic blues romp, with Neil's 6 strings sounding loose enough to be falling off the guitar with each strum. Young's ode to Hendrix appears at the end of a high octane 'Prisoners Of Rock n' Roll', as he breaks into a psychedelic 'Star Spangled Banner'.
The set list for 'Horse' is remarkably diverse as Neil highlights such gems as 'When You Dance' from 'After the Goldrush', to 'Human Highway' from 'Comes A Time', to 'Sedan Delivery' from 'Rust Never Sleeps', to 'Big Time' and 'Slip Away' from 'Broken Arrow'. In nearly every way Young is "a little bit here and a little bit there", as he sings on 'Scattered'. He wears as many artistic hats as he does real hats these days. In giving Neil a double-disc, Time-Warner invited Young to surely make it seem like four, offering 12 songs from 8 different venues, with textures ranging from the haunting echos of 'When Your Lonely Heart Breaks' to the relentless jackhammer that is 'Sedan Delivery'.
Yet the best number on tap here is the seemingly innocuous 'Barstool Blues' from 1975's 'Zuma' album. This song sits innocently in the setlist until Neil uses it to ambush us like a Viet Cong guerilla, pulling the trigger with ferocity on 'Old Black'. Young has never been a finesse guitarist in the mold of Eric Clapton, or even Stephen Stills (making comparisons between the two rather meaningless). Instead, Neil sculpts sound from his instrument, and he's chiselin' up a storm on 'Barstool Blues'.
The only song I could have lived without is another selection from 'Zuma', 'Dangerbird'. I don't mind the song being heavy, but it's about as deep into depression as Neil goes (which is DEEP), and it's a few fathoms below my own tolerance. But everything else works, and works well, and should be pleasing to Neil fans ranging all the way from novice to completist. In fact, since Neil and the Horse are more consumable coming from the stage than the studio, a specially priced double-disc such as this is a nice way to get a representative sampling of Young's remarkable career.
I suppose if most Young fans had their pick of songs performed on the 1996 US tour, they might want to supplant the retreads with even more diverse selections, such as 'Long May You Run', 'Bite the Bullet', or 'Don't Cry No Tears', but I'm content with leaving Neil in charge and trusting his deejaying. Over the years, he's certainly earned that trust and respect.
The Dark Horse.......2002-12-16
Needless to say it's not a very upbeat record, and yet there's an elegant beauty in this depressing vision that belies it's darker side. Sad though it is it never wallows in bitterness, and it captures the emotions of these songs with such clarity that they come alive in rich tones of sepia and black so that you can literally feel them in all their heart-wrenching despair. It's poetry for the soul. But then that's pretty much what you come to expect with the best of Neil Young. What also makes this collection of live music so unique is the song selection. Danger Bird, Human Highway, and Barstool Blues have never sounded better, and while Pocahontis has always been one of my favorite Young songs, it's never been done as well as it is here, nor has it ever captured the emotions of the song quite so vividly. And while Mr. Soul has certainly been done in a different way before, this version is one of the best. Here it sounds like a haunted train that comes whistling out of the darkest of places before intruding into the light of day with its engineer moaning his feelings to people only half aware of him as they go about their busy lives.
While I'm not one who embraces these types of emotions as the only kind valid in art, when they are done this well I can't help but be seduced by their melancholic attraction.
Average customer rating:
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Cambridge Singers Christmas Album
Manufacturer: Collegium ProductGroup: Music Binding: Audio CD All Works by Berlioz
| Berlioz, Hector
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ASIN: B0000DJEOL Release Date: 2003-10-07 |
Tracks:
- The holly and the ivy (arr. H. Walford Davies)*
- Blessed be that maid Mary (arr. David Willcocks)
- Somerset Wassail (arr. John Rutter)
- Shepherds, in the fields abiding (French, arr. Willcocks)*
- The Infant King (Basque, arr. Willcocks)
- What is this lovely fragrance? (French, arr. Healey Willan)
- Gabriel's message (Basque, arr. Willcocks)*
- Still, still, still (German, arr. Rutter)
- Quittez, pasteurs (French, arr. Rutter)
- Un flambeau, Jeannette, Isabelle (French, arr. Rutter)
- Personent hodie (German, arr. Rutter)
- The shepherds' farewell (Hector Berlioz)
- O holy night (Adolphe Adam)
- O magnum mysterium (T. L. de Victoria)
- Hodie Christus natus est (J. P. Sweelinck)
- For unto us a child is born (G. F. Handel)
- In dulci jubilo (Samuel Scheidt)
- Lully, lulla, thou little tiny child (Kenneth Leighton)*
- A New Year Carol (Benjamin Britten)
- Balulalow (Peter Warlock)
- I saw a fair maiden (Peter Warlock)
- The Lamb (John Tavener)
- Fantasia on Christmas Carols (Ralph Vaughan Williams)
Album Description
Christmas Never Sounded So Good!For more than a decade, John Rutter and the Cambridge Singers have shared the Joy of Christmas with the world. The ethereal sound of perfectly blended voices, singing the most beautiful seasonal music ever composed never fails to touch the heart or lift the spirit. This year, John Rutter and the Cambridge Singers have assembled a NEW collection - compiled from the archives, including FOUR NEVER BEFORE RELEASED TRACKS! This is a holiday feast you will NOT want to miss!
Customer Reviews:
Almost angelic.......2007-01-18
Great choir, but mostly recycled material.......2005-12-16
Unfortunately, I cannot give this otherwise excellent CD the same high marks. If they wanted to release a "best of Cambridge Christmas" CD, this would not be it. It does a few of the absolute best Christmas selections, including Sweelinck's "Hodie", Willcocks's breathtaking arrangement of "The Infant King", and Rutter's own quirky reading of "Personent Hodie". And it does contain a few tracks not previously released.
However, if you want the best of Cambridge and Christmas, start with "Christmas Night", which is always the first CD I pull out the day after Thanksgiving. The sound of the famliar Persall setting of "In Dulci Jubilo" sets my holiday in motion. And that CD also has Rutter's own magical "There is a flower". After that CD, get "Christmas with the Cambridge Singers", which has "The Infant King" and some other treasures.
So, you can't really go wrong with this CD, especially if you just want an introduction to how this fine ensemble addresses the most choir-friendly holiday of all. But if you're serious about getting all the good stuff, start with the other two mentioned above, then add "Christmas Day in the Morning" and the early "Christmas Star".
Glittering Chrismas Music.......2005-11-15
The Spirit of Christmas On CD.......2005-06-02
Superb voices!.......2003-12-22
Average customer rating:
|
Hundred Year Hall: 4-26-72
Grateful Dead Manufacturer: Grateful Dead / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B0002SPPVE Release Date: 2004-08-31 |
Tracks:
- Bertha
- Me & My Uncle
- Next Time You See Me
- China Cat Sunflower
- I Know You Rider
- Jack Straw
- Big Railroad Blues
- Playing in the Band
- Turn on Your Love Light
- Going Down the Road Feelin' Bad
- One More Saturday Night
Tracks:
- Truckin'
- Cryptical Envelopment
- Comes a Time
- Sugar Magnolia
Customer Reviews:
Best Grateful Dead full concert disc I have heard.......2007-05-08
But, most of these songs were already available on other albums. Most of them are on either Europe 72 or Grateful Dead (Skull and Roses). The versions done here are not much different than what was previously done. For instance, Me and Uncle is also on Skull and Roses. On Hundred Year Hall you get Keith Godcheaux playing piano in the background, but it doeesn't really add that much to the song.
The sound quality is very good. Plus, the audience noise has been held to a minimum. There ia s little cheering at the beginnning and end of the songs, but you don't hear the audience while the song is being played. Many new live CD's are ruined by the audience noise being mixed in way too loud. Even some the of the Grateful Dead live CD's suffer from this.
The performance on the songs is very good and the band is very tight. There isn't a bad track on album. However, Bob Weir does mess up the lyrics on Truckin' twice. The band always seems to have problems getting this song right.
I normally don't like full concert CD's. The Grateful Dead classic live albums (Live/Dead, Skull and Roses and Europe 72) all came from a number of different shows. The best performances from each of the shows were included on the album so you end up with some truly fantastic music.
Plus, on all the classic Grateful Dead live albums, the audience noise is kept to a bare minimum so it doesn't interfere with the enjoyment of the music. I want to hear the band, not a bunch of drunk idiots yelling stuff and whistling.
There have been a ton of Dead shows released, with Dick's Picks, From the Vault and other offerings. Most of them don't come close to the quality of the classic Dead live albums. There are always some weak tracks. The sound quality is not is good, and the audience noise is sometimes mixed too loud.
Especially in the later years, the first set of a Dead show could be less than stellar. It always took a couple of songs for the band to get in sync and play well together. Also, the it took a few songs for the engineers to get the sound right.
But, Hundred Year Hall is different from the other full show CD's. The band starts out playing songs it knows and is tight and in sync from the beginning.
Of special interest is a 19 minute Turn On Your Lovelight that is more a guitar jam than any other version I have heard. There is very little of the usual Pigpen vocals. Then there is a very spacy 38 minute The Other One (incorrectly titled Cryptic Evelopment).
I know a lot of people love the complete concerts, to make it feel as if you there. But, is it really necessary to include the whole concert? Grateful Dead's 69 even includes a 3 minute break of nearly silence as a guitar string is being changed.
"The Other One," not "Cryptical".......2007-01-14
That aside, this is a great abbreviated version of this show from what many consider their best tour. An all-time Dead highlight is the jam from "Lovelight" to "Goin' Down the Road." It is absolutely stellar, touching on "Not Fade Away" before finally settling into GDTRFB.
More From the '72 European Tour.......2006-07-06
Astounding jams and superb sound quality -- buy this one!.......2005-08-29
Today, nearly 10 years later, I'm amazed that I didn't like Hundred Year Hall. I guess my taste in music has changed a great deal over the years. Thank heavens!
Now, I'm into jam bands, progressive rock and other long-form music of high quality.
So, naturally, when I recently got into the Grateful Dead I started buying everything I could get my hands on -- especially their live material -- because I was blown away by the musicianship and "vibe" of it all.
Of all the Grateful Dead live CDs I own, I think Hundred Year Hall ranks in the top five. Perhaps even in the top three. The sound quality (on this remastered HDCD Rhino release from 2004) is astounding. But more than that, this is a smokin' live set that never lets up. It's one fantastic song after another, played by musicians at the top of their game.
My favorite song on this set is "I Know You Rider." They do this many times, on many of their lives CDs, but it's this version that I can put on "repeat" and listen to all day long.
Other standout tracks include "China Cat Sunflower," "Goin' Down the Road Feeling Bad," "Truckin'," and of course, the 36 minute "Cryptical Envelopment."
This is a very solid performance from the Grateful Dead from (I think) a 1972 show. Every song is great. Not a weak one in the bunch. And the sound quality -- thanks to Rhino's meticulous remastering -- has never been better.
With all of the Grateful Dead live releases out there (especially now with Dick's Picks), it's possible to overlook this CD. But do yourself a favor and don't. Buy Hundred Year Hall and enjoy one of the best concerts the Grateful Dead ever recorded.
a really good set that is essential for any fan.......2005-05-31
Average customer rating:
|
Album of the Year
Art Blakey Manufacturer: Timeless Holland ProductGroup: Music Binding: Audio CD Bebop General
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ASIN: B000025XPH Release Date: 2000-01-01 |
Tracks:
- Oh, By the Way
- Duck Soup
- Cheryl
- Ms. B.C.
- In Case You Missed Me
- Little Man
- Witch Hunt
- Soulful Mr. Timmons
Customer Reviews:
Monodynamic, but excellent monodynamics.......2002-10-07
"Album of the Year" is notably -- though not significantly -- marred by the nasal bass tone: it sounds like it could be an electric upright. Whether it's a function of recording/sound engineering, or the bassist's (Charles Fambrough) gear, it sounds strange in the context of the album overall (not that there's anything wrong with electric uprights per se). Frmbrough's playing makes this a minor cause for complaint.
Since the playing is uniformly high-caliber, the high intensity is uniformly exhilerating. This makes an excellent "driving album."
Sending the Message of Jazz.......2002-04-28
Average customer rating:
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Constantly
Rev. Evans Clay & The AARC Mass Choir Manufacturer: Meek Records ProductGroup: Music Binding: Audio CD General
| Christian & Gospel
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ASIN: B00005EBKM Release Date: 2001-05-08 |
Tracks:
- All Is Well
- Thank You Lord
- Constantly
- Lord Will Make a Way
- Lord Will Make a Way (Reprise)
- Hold On, Pt. 1
- Hold On, Pt. 2
- He's My Everything
- I Won't Complain
- I Won't Complain (Reprise)
- Hallelujah
- Brand New
- Step by Step
- Constantly [Radio Edit] [Radio Edit]
Customer Reviews:
This is a beautiful CD.......2002-09-08
Average customer rating:
|
Hundred Year Hall: 4-26-72
Grateful Dead Manufacturer: Arista ProductGroup: Music Binding: Audio CD General
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ASIN: B000002VKA Release Date: 1995-09-26 |
Tracks:
- Bertha
- Me and My Uncle
- Next Time You See Me
- China Cat Sunflower
- I Know You Rider
- Jack Straw
- Big Railroad Blues
- Playing In The Band
- Turn On Your Lovelight
- Going Down The Road Feelin' Bad
- One More Saturday Night
Tracks:
- Truckin'
- Cryptical Envelopment
- Comes A Time
- Sugar Magnolia
Customer Reviews:
Best full concert CD I have heard from the Grateful Dead.......2007-05-08
But, most of these songs were already available on other albums. Most of them are on either Europe 72 or Grateful Dead (Skull and Roses). The versions done here are not much different than what was previously done. For instance, Me and Uncle is also on Skull and Roses. On Hundred Year Hall you get Keith Godcheaux playing piano in the background, but it doeesn't really add that much to the song.
The sound quality is very good. Plus, the audience noise has been held to a minimum. There ia s little cheering at the beginnning and end of the songs, but you don't hear the audience while the song is being played. Many new live CD's are ruined by the audience noise being mixed in way too loud. Even some the of the Grateful Dead live CD's suffer from this.
The performance on the songs is very good and the band is very tight. There isn't a bad track on album. However, Bob Weir does mess up the lyrics on Truckin' twice. The band always seems to have problems getting this song right.
I normally don't like full concert CD's. The Grateful Dead classic live albums (Live/Dead, Skull and Roses and Europe 72) all came from a number of different shows. The best performances from each of the shows were included on the album so you end up with some truly fantastic music.
Plus, on all the classic Grateful Dead live albums, the audience noise is kept to a bare minimum so it doesn't interfere with the enjoyment of the music. I want to hear the band, not a bunch of drunk idiots yelling stuff and whistling.
There have been a ton of Dead shows released, with Dick's Picks, From the Vault and other offerings. Most of them don't come close to the quality of the classic Dead live albums. There are always some weak tracks. The sound quality is not is good, and the audience noise is sometimes mixed too loud.
Especially in the later years, the first set of a Dead show could be less than stellar. It always took a couple of songs for the band to get in sync and play well together. Also, the it took a few songs for the engineers to get the sound right.
But, Hundred Year Hall is different from the other full show CD's. The band starts out playing songs it knows and is tight and in sync from the beginning.
Of special interest is a 19 minute Turn On Your Lovelight that is more a guitar jam than any other version I have heard. There is very little of the usual Pigpen vocals. Then there is a very spacy 38 minute The Other One (incorrectly titled Cryptic Evelopment).
I know a lot of people love the complete concerts, to make it feel as if you there. But, is it really necessary to include the whole concert? Grateful Dead's 69 even includes a 3 minute break of nearly silence as a guitar string is being changed.
Rock out with Dead.......2007-02-27
turn up Keith and Pigpen.......2006-10-13
Though incomplete, the best show officially released from the Europe '72 tour.......2006-03-25
Folks even with it's flaws this is a great document of an excellent show. Its a solid five star performance with the best first set playing of the Europe '72 tour and possibly for the entire year. Until the Dead release the four shows done at the Lyceum in London at tours' end, the Tivolis Koncertsal show from Copenhagen, or the Wembley Empire Pool show from April 8th, this is the best official release of the Dead during the Europe '72 tour we've got. Also recommended is Rockin' The Rhein which is an excellent recording of the complete Rheinhalle show from April 24.
Superlative Jam.......2006-02-21
jam on CD 2: Cryptical Envelopment. This jam is a top-notch
example of Grateful jamming at its absolute best. It has all
the subtle nuances of a Dark Star Jam...and minimal vocals.
Indeed, one of the very best jams ever by the Dead.
The "Comes A Time" that follows is a bit different than the
totally exquisite version on "Stepping Out," but it's better
than very good. Playing In The Band on CD 1 is swell as well.
In sum, the Cryptical Enveloment jam on CD 2 is WELL worth the
price of admission. If you love Dead jams, don't hesitate an
instant if you're wondering whether to acquire 100 Year Hall.
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