| 1. Be With You |
| 2. Rise |
| 3. She's The One |
| 4. Dude |
| 5. Down |
| 6. Matriarch |
| 7. Undone |
| 8. The Hard Way |
| 9. Dirty Bird |
| 10. Rainy Day People |
Editorial Reviews
Michael Moses, Rolling Stone, April 8, 1999
"Beatles-esque balladry and magnetic pop hooks"
Product Description
Hailing from Alabama, Owsley has been nurturing and honing his own unique and virally-infectious melodies for some time. His debut album Owsley received huge praise from the media. People Magazine heralded him "poised for overnight success," while Rolling Stone trumpeted "Beatle-esque balladry and magnetic pop hooks." His latest release "The Hard Way" continues his road to perfection. Sultry love songs rub against the hookiest pop south of Canada. Check out why his legion of fans are growing by the minute. This is a true masterpeice of pop craftsmanship.
The main theme is a powerful 7-note anthem which tends to build its way up each time, as in "A Way of Life", "Spectres in the Fog", "Idyll's End", and "Safe Passage". You can tell it is a Zimmer theme just by its sound, but with the oriental flavor thrown in, it really adds to the mix.
The action music in the score is exciting with energetic Taiko drums keeping the pulse moving. They do not get tiresome, as you might think because Zimmer uses them more like a heartbeat, not a heart attack! "Red Warrior" is a powerful anthem, consisting of japanese warrior chants, which really add to the scope of the sound. Other noteworthy tracks are "Ronin" and "The Way of the Sword", which are enjoyable pieces of music.
I was pleased of the results of Zimmer's work here. It showcases Zimmer's diversity with his music. I hope he gets the opportunity to write more diverse scores such as this. The Da Vinci Code is certainly one of them!
UPDATE UPDATE UPDATE UPDATE******************
Apparently this reissue was initially released using a set of incorrectly marked master tapes. The reissuing company has now found the correct masters, have cut a new digital remaster and is now circulating the corrected issue of this record.
The biggest song here "Turn to Stone" would show up again in a slightly inferior version on "So What?" but the original primordial monster is here. Featuring crunchy a guitar lick and a stunning guitar solo Walsh never got this experimental again. The album closes out with the acoustic guitar/haronica driven "Comin' Down" which provides a tranquil close to a magical album.
Like the 2005 Japanese re-release the magical sound qualty of the original recording has been retained. This is, in fact, the best the album has ever sounded (although honestly I can't compare it to the original Mobile Fidelity release since I never had it but have had the other import versions). Walsh never got better as a songwriter than here (although he came close with another couple of strong albums such as "The Smoker You Drink, the Player You Get"). A marvelous reissue, this classic album only lacks bonus tracks and outtakes which would have made this classy package complete.
"Billy Austin" is one of the hardest songs I've ever heard. Earle can write and sing from the point of view of an outlaw better than almost anyone I've heard. "Justice in Ontario" continues that theme. Ironic Earle himself followed this CD with time in prison.
This CD's labeled country, but I'm seeing too many rock elements to leave it strictly at that.
Different from his first offerings, in that pedal steel prominence has been replaced with authoritative six strings attacked with more than a nod to the arm flailing of a Pete Townsend, The Hard Way brings us straight ahead rock and roll. Borrowing a crunch from fellow Texan Billy Gibbons, "This Highway" starts out with a blues rock riff and a narrative that warns of danger and salvation at the same time only to resurface in the apt titled, "West Nashville Boogie". "Country Girl" takes us back to a honkey tonk setting and then he hints at the forebearer of his Celtic fascinations to come, Regular Guy. Earle picks up whatever instrument serves his purpose and cares not one iota if it fits any notion of formula.
An epic in terms of dramatic pacing and tempo, Steve Earle arrives near the top of America's song writing precipace and gives us a look over the edge. A "must have" collection for anyone who is serious about whats behind the music.
Very good value.
I'm a big fan of this soundtrack music and will be looking for more CD's like this.
Hopefully, we can see that version on a future release. Maybe they could get "Little Ballerina Blue" on one while they're at it.
Still, some great stuff here.
In all, there are some brilliant interpretations of Weill here. I am a fan of Cave's "Mack the Knife" and David Johansen's "Alabama Song," and how can someone NOT like Lotte Lenya herself on "Pirate Jenny" and the drolling of the immortal William S. Burroughs talking through "What Keeps Mankind Alive?"
But other tracks feel to be just too short of brilliance. I love that Lou Reed tries to turn "September Song" into a kind of rock ballad, almost a VU "It Was a Pretty Good Year," but the rendition seems a little short of energy and falls flat after a while. Elvis Costello, though magnificent as an overall artist, just doesn't bring new life to "Lost in the Stars."
Perhaps the problem in the end that the choices were a little too much of the Top 40 Weill (if there really can be such a term). These are songs that have for a long time been regarded as the best of Weill, and it might have furthered the purpose of his music to find new gems and bring them into the sunlight.
Sonny was one of the big innovators of the saxophone trio format -- saxophone, bass, drums -- and this was his first recording with such a lineup. Getting rid of the piano has several implications. The first is that the harmonies become a lot less obvious to the listener without the piano banging out the chords every few seconds. The second is that there's a lot more pressure on the musicians --- particularly the saxophonist, but also the bassist -- to generate interest without using piano solos as a crutch. There's a lot more space to be filled in, and in the hands of lesser musicians this space would turn into gaping holes.
Fortunately, Sonny Rollins is one of jazz's greatest improvisers. The fact that he doesn't have to share solo space with a pianist on this recordings means he can let loose some brilliant, unfettered and uninterrupted improvisations. There's a LOT of Sonny's playing on this album. Sonny's notorious for the humor/wit in his playing and there's a ton of that here.
Sonny's companions on this date for Contemporary Records were bassist Ray Brown and drummer Shelly Manne. Manne was one of the premier drummers on the west coast and appeared on a lot of Contemporary sessions. Manne wasn't a "power drummer" like most of the drummers that appeared on Sonny's east coast recordings (Philly Joe Jones, Art Blakey, Elvin Jones, and Max Roach). That means that he's content to be an accompanist rather than an almost equal partner a la Max Roach.
The compositions offer a nice amount of variety. "I'm an Old Cowhand" is the kind of semi-cheesy tune that Sonny specializes at transforming and gives the album a great start. "Come, Gone" is just straight-up fast bebop. "Solitude" and "There Is No Greater Love" are intense ballad performances. "Wagon Wheels" is a medium-tempo jam, and "Way Out West" closes the album on a jaunty note. The overall mood is more mellow and introverted than Saxophone Colossus; the album was recorded in the middle of the night, so this is not surprising.
One annoying thing about some versions of this album is that the alternate takes are placed in the middle of the album (immediately following the masters), destroying the album's original sequence. I recommend looking for the now-out-of-print 20 bit remaster or any other version that places the alternates at the end of the album, where they belong. The alternate takes are actually fascinating to explore once you get to know the original album, as two of the tunes are given much longer explorations.
This album is highly recommended and an essential part of any collection. If you like Sonny in a trio format, other albums to check out are A Night at the Village Vanguard (Blue Note), The Freedom Suite (Riverside/OJC), and East Broadway Rundown (Impulse!). I'm probably forgetting some others. And of course, if you haven't heard Saxophone Colossus, be sure to pick that one up.
The uncanny sense of space and the Western mood created by the trio make the cd great listening.
I am a big fan of Sonny Rollins and his happy, muscular, witty, rich and edgy sound. This album sees all three musicians in marvellous form, with the rhythm section brilliantly creating the illusion of movement.
I would recommend this as THE album to buy to begin a Sonny Rollins collection.
No words can adequately describe the treat that awaits you; however some may point in the right direction. They are; lyrical, witty, warm and imaginative. Way Out West is most original and is one of my favourite cds.
'I'm An Old Cowhand';it was brilliant on the first take...and the second..
With that out of the way, onto the music itself: "Way Out West" was recorded in 1957 and finds Rollins playing in a piano-less trio backed only by bassist Ray Brown and drummer Shelly Manne. The liner notes to the album state that the three musicians hadn't played together before until this recording session. You'd never know it by listening to this album though. Rollins, Brown and Manne play off each other effortlessly and are like six hands in a glove. It's as if they'd played together for years.
On the upbeat tracks, "I'm an Old Cowhand", "Come Gone" and the title track, Rollins and his trio really swing and leave plenty of space for improvisation and soloing. "Come Gone" is an especially prime example of this.
The same can be said for the slower ballad-oriented pieces. Sonny's take on Duke Ellington's "Solitude" is superb and soothing and is a real standout. "Wagon Wheels", while not neccesarily a ballad, is also a standout with its mid-tempo blues-like runs.
Besides the original tracks that made up the album, there are also three alternate takes tacked on as bonus tracks. The alternate version of "I'm An Old Cowhand" is arguably stronger than its master take and is also twice as long running at 10 minutes rather than five and a half. The alternates of "Come Gone" and the title track are performed in such a way that they almost become different pieces of music altogether. Rollins solo in the alternate "Come Gone" is more raspy and edgy which gives the impression that this take was recorded live in a club rather than a studio. It's fabulous too.
With that said, "Way Out West" is an excellent first choice for the emerging Sonny Rollins fan. The playing is excellent and the musicianship is flawless. The only minor complaint is that the bonus alternate takes are presented on the CD after their master take counterparts (example: The master take of I'm An Old Cowhand is immediately followed by its alternate take as is "Come, Gone" and "Way Out West"). They should have been sequenced at the end of the disc following the original album tracks. Apart from that, who really cares? This is a great album with great music on it.
Essential!!
fhc
Forget about the film sountrack. Get this CD set. And it's far better than the original cast recording which goes lacking. More songs and more everything that makes a live performance just what it is. Live (compared to film where anything can be done to enhance a performance!) -- the energy, the excitement and the performances make this a rare treat for anyone wanting to share in the real DREAM experience.
Isn't a full Broadway revival long over due. But wait: I've heard rumors that a rvial may be "in the works. I certainly hope so. Maybe this time it will receive the Tony award it deserved in the first place.
There is a DVD of these 2003 Beacon Theatre shows and some reviewers have already pointed out that there are some differences in track listings/performances between the DVD and this CD.
The highlight on this CD for me, is a stellar version of Good Morning Little Schoolgirl, not appearing on the DVD. I've never been all that keen on interpretations of that song by The Yardbirds or Johnny Winter. But this version is such a wonderful interpretation; like Cream meets the Band of Gypsies in the delta.
I read somewhere that Warren Haynes is listed in the top 20 guitarists in the world today. I'd have him in the top 10. A super player (and decent singer) and a throw-back to the great players of the 60's & 70's. Just born too late. And drummer Butch Truck's nephew, Derek, is no slouch on guitar either! His slide work in particular is masterful. Derek is currently touring with Eric Clapton and one would assume performing the slide-work on Layla, which was originally performed by the great Duane Allman.
I like the way the CD liner notes indicate that Derek's guitar is in the left channel and Warren's is in the right channel. I like to know stuff like that. Similarly, Jaimoe's drums are in the left channel and Butch's in the right.
There are a couple of negatives from time to time. You'll need to be forgiving of Gregg's voice, which is not what it once was. Also, the opening version of Statesboro Blues, is kind of soggy and disappointing compared to the famous Live at Fillmore East version; but listen to them stretch out on the lengthy Instrumental Illness and you'll be stunned by the musical talent in this band.
I highly recommend that you buy this CD as well as the DVD of the same Beacon Theatre shows.
After Duane Allman died in '71, and Berry Oakley in '72, the original band understandably lost more than a bit of the magic that it had in it by the time of the Fillmore East album. And it was exactly at that time in rock history that the old days of the great bands living gig to gig had finally ended: just after the deaths of Duane and Berry, the ABB entered into the age of multi-million dollar stadium concert tours (yes, Elvis and the Beatles had been there before, but it wasn't until the early 70s that the entertainment industry figured out how to make that into the norm). So Gregg alienated himself from the rest of the group, going on a star trip and maintaining an absolutely staggering intake of drugs and alcohol (why is it that Keith Richards gets all the credit for that?), the band's formerly VERY high standards collapsed, and the Brothers broke up by '76. They attempted to reform the band for a few years at around the start of the 80s, but the effort was basically a failure. Then in '89 they tried it again, and musically speaking things worked reasonably well through the 90s (though they probably didn't attain even to half of what the Fillmore East band had been capable of). As the 90s drew to a close, though, a great deal of animosity had developed between Dickey Betts and the other band members. Anyone who saw their shows from those days will remember it: they didn't smile on stage, they seemed stiff and uncomfortable playing with each other, Betts seemed a mean, angry taskmaster. And so, in a real heartbreaker for Allmans fans, they fired Dickey Betts (not exactly, but de facto that's what happened) in '00. Derek Trucks took his place, rounding out the band's current roster. With Betts gone the Brothers had a workable personal environment again, Gregg had sobered up by that time, and as a result of all this the music started to get steadily better and better, to the point that by around '03, the old band's magic began to shine again. They released Hittin' the Note, the studio album that provides the new material for this live show, in March of that year, and recorded this show during the Beacon run in March of '04.
I still think that the original band, at its very, very best, could still just barely outdo the current Allman Brothers. When a thing is being created for the first time there can be a spark of magic in it that can't be duplicated later, after it's become something to maintain; the work becomes less creative, more derivative. But we're talking about a narrow margin. If Rockin' Horse isn't quite the tune that Blue Sky was, if Instrumental Illness isn't quite the jam that Mountain Jam was back at the Fillmore, then they only just miss that mark. One Way Out is absolutely magnificent, and I will tell you without apology that no other rock band has ever come within shouting distance of it in this kind of music.
But I beg you, get this one as well.
After my first listen i said 'Dicky who?' For the newbie, I am referring to the ousted original member Dicky Betts. Derek Trucks proves to be more than a replacement. I could write 1,000 words on this talent alone. The perfect foil to the hardest working man (no, not James Brown) in music today, Warren Haynes. Do I miss Dicky's songs? of course I do. I so wanted desperately to hear Seven Turns and Ramblin' Man here, but alas I must take the bad with the good. So many gems here, Come and Go Blues, Worried down with the blues, and Desdemona stand out. But honestly I can't find a weak one here. This is Allmans at their prime: post-alcoholism Gregg and post-burnout Dicky. This is one of the few occasions where a band gets better with every year, like a fine wine. Get it and bask in some of the glory that the Beacon in NYC sees every March.
The music contained on this live set is similar to what you hear when you see the Allman Brothers perform in person. Similar, because it includes only a few well-known, classic tunes mixed together with many songs that will not likely be recognized by most listeners. I have seen the Allman Brothers in concert more times than any other band and their song list follows the same formula every time. They always play at least a few popular songs, but they never attempt to play all or even most of their popular tunes at any one show. They keep the audience anticipating which popular songs will be played and they fill the rest of the show with songs that are good, but less well- known. The same formula is followed on One Way Out. It offers classics like Statesboro Blues, Midnight Rider, Trouble no More, Dreams, and Whipping Post, combined together with thirteen other songs that many listeners will not recognize.
The production on this album is solid and the music is crisp and clean. You cannot hear much noise from the audience at all except between tunes and even then, the contributions from the audience are minimal. There isn't much verbal input from Gregg Allman and Company either. Except for the occasional "How are you doin'?" or "Thank You", Allman doesn't say much at all, preferring instead to let the music speak for itself.
One Way Out offers a lengthy amount of music. Eighteen tracks may not seem like a number so great that it would warrant two disks. But this is the Allman Brothers, and if you have seen them live then you know that eighteen songs for them is like thirty- six for most other artists in terms of total time. Adding everything together, there is almost 149 minutes of music in this set- nearly 2.5 hours or roughly 8.25 minutes per song. Looking at the lengths of each track, Midnight Rider is the shortest, clocking in at 3:16 and Instrumental Illness is the longest, at 16:42. Five of the songs are more than ten minutes in length. These longer songs offer many minutes of instrumentals and this may or may not be to everyone's liking.
Is there anything negative to say about One Way Out? I can only think of one small criticism: The similar sound between many of the tunes. The Allman Brothers like to keep the music simple most of the time, with only guitars, bass, keyboard, and drums supplying the sound. There are a couple of songs on this set with congas and various percussion instruments but there is no brass, no harmonica, or anything else. This is why several of the songs, like Come and Go Blues, Woman Across the River, and Rockin' Horse are difficult to tell apart. Even someone like myself, who has seen the Allman Brothers in concert many times, would have difficulty naming the tune if a small segment (say, 20 seconds or so) was played from any of these similar- sounding songs.
Overall, "One Way Out" is still a solid live offering from the Allman Brothers. It offers some classic Allman Brothers tunes combined with some lesser known material for a listening experience that is very much what one would expect who has seen the band perform live. Some songs sound very similar to each other but the slick production and the bluesy rock and roll make One Way Out an enjoyable live set.
"Beatles-esque balladry and magnetic pop hooks"
Product Description
Hailing from Alabama, Owsley has been nurturing and honing his own unique and virally-infectious melodies for some time. His debut album Owsley received huge praise from the media. People Magazine heralded him "poised for overnight success," while Rolling Stone trumpeted "Beatle-esque balladry and magnetic pop hooks." His latest release "The Hard Way" continues his road to perfection. Sultry love songs rub against the hookiest pop south of Canada. Check out why his legion of fans are growing by the minute. This is a true masterpeice of pop craftsmanship.
Band Members: Will Owsley-Electric guitars on all songs, acoustic guitar on track 3 and 8, piano on track 6 and 7, pass guitar on track 5, 6 and 8, vocals and background vocals on all songs Chris McHugh-Drums and percussion on all songs Michael Rhodes-Bass guitar on track 3,9 and 10 Jimmie Lee Sloas-Bass guitar on track 1 and 7 Millard Powers-Bass guitar on track 4 Jonathon Hamby-all Hammond B3 organ, piano on track 4, Chamberlin strings on track 5 and synthesizer on track 9 Keith Thomas-Strings on track 1 and 6 John Painter-Chamberlin strings on track 2 Gordon Kennedy-Electric guitar and background vocals on track 7 Tom Bukovac-Electric and acoustic guitar on track 1, bass guitar on track 2 Rebecca Walker-Background vocals on track 10 Simon Petty-Harmonica on track 8 (Appears courtesy of Foodchain Records) James Michael-Vocal production on track 8
The Hard Way
The Hard Way,Owsley,Lakeview Entertainment,Pop,Relentlessly catchy, hook-laden, guitar based power pop. Sonically lush and lyrically heartfelt.,Rock,Rock/Pop
The Hard Way
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The Last Samurai
Hans Zimmer Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD  Movie Scores
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ASIN: B0000DZTIW Release Date: 2003-11-25 |
Tracks:
- A Way Of Life
- Spectres In The Fog
- Taken
- A Hard Teacher
- To Know My Enemy
- Idyll's End
- Safe Passage
- Ronin
- Red Warrior
- The Way Of The Sword
- A Small Measure Of Peace
Amazon.com
Whether Tom Cruise's portrayal of a 19th century American soldier cum samurai warrior will be remembered with the same pangs of pop-cultural bemusement that befell John Wayne playing Genghis Khan remains to be seen. But its musical soundtrack does mark an auspicious occasion: pop musician-turned-composer Hans Zimmer's 100th score since beginning his film career in 1988. A pioneer of fusing both the electronic and orchestral and the Westernized with the indigenous, Zimmer does both here with skill, drawing heavily on samples of the traditional Taiko (a massive Japanese drum) for its rhythmic action sequences, while constructing a melodic Western motif for Cruise's character that's both centerpiece and counterpoint for the score's transcultural intent. Aside from the brief, ominous thunder of the expected action/suspense boilerplate, Zimmer has constructed passages of gentle, Asian-inflected pastoralism that have parallels with much of his evocative work on The Thin Red Line. Those cues are the score's very soul, a canvas against which his more traditional themes reverberate all the stronger. --Jerry McCulleyCustomer Reviews:
The power of faith .......2007-05-29
This soundtrack...........2007-04-24
Dances With Wolves in Japan.......2007-04-10
A Diverse Score from the Land of the Rising Sun.......2007-03-02
The main theme is a powerful 7-note anthem which tends to build its way up each time, as in "A Way of Life", "Spectres in the Fog", "Idyll's End", and "Safe Passage". You can tell it is a Zimmer theme just by its sound, but with the oriental flavor thrown in, it really adds to the mix.
The action music in the score is exciting with energetic Taiko drums keeping the pulse moving. They do not get tiresome, as you might think because Zimmer uses them more like a heartbeat, not a heart attack! "Red Warrior" is a powerful anthem, consisting of japanese warrior chants, which really add to the scope of the sound. Other noteworthy tracks are "Ronin" and "The Way of the Sword", which are enjoyable pieces of music.
I was pleased of the results of Zimmer's work here. It showcases Zimmer's diversity with his music. I hope he gets the opportunity to write more diverse scores such as this. The Da Vinci Code is certainly one of them!
One of the best themes ever composed.......2007-02-28
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Barnstorm
Joe Walsh Manufacturer: Hip-O Select ProductGroup: Music Binding: Audio CD General
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ASIN: B000ER8TFC Release Date: 2006-11-13 |
Tracks:
- Here We Go
- Midnight Visitor
- One and One
- Giant Bohemoth
- Mother Says
- Birdcall Morning
- Home
- I'll Tell the World
- Turn to Stone
- Comin' Down
Product Description
After The James Gang and before Rocky Mountain Way, Joe Walsh moved to Colorado and formed a short-lived group called Barnstorm with bassist Kenny Passarelli and drummer Joe Vitale. The result is this remarkable and intriguing 1972 album most often referred to as Walshs debut solo effort. What it truly is, though, is a richly textured acoustic/electric album that ebbs and flows with sounds and segues ranging from spooky to sweet, plaintive to psychedelic, from melodically enticing to ballbusting organ-guitar crunch rock. Its less than 40 minutes in length, but by its end the listener feels like he/she has been taken on a musical adventure of the best kind. The album didnt produce any hits per se, but charted in the Top 100, gave the world the first version of Turn To Stone, and resulted in a uniquely barnstorming national tour, wherein Joe Walsh reconfirmed if there ever was any doubt - his stature as a premiere musician. Joe Walsh next hit with Rocky Mountain Way and in 1975 added his unique energy to The Eagles, but this landmark early album is as good as anything the rocker did before or since. 1. Here We Go 2. Midnight Visitor 3. One And One 4. Giant Bohemoth 5. Mother Says 6. Birdcall Morning 7. Home 8. I'll Tell The World About You 9. Turn To Stone 10. Comin' DownCustomer Reviews:
"Creative" editing ruins this CD.......2006-05-16
UPDATE UPDATE UPDATE UPDATE******************
Apparently this reissue was initially released using a set of incorrectly marked master tapes. The reissuing company has now found the correct masters, have cut a new digital remaster and is now circulating the corrected issue of this record.
Absolutely terrible sound quality!.......2006-04-15
Classic Walsh album finally available on CD again.......2006-03-13
The biggest song here "Turn to Stone" would show up again in a slightly inferior version on "So What?" but the original primordial monster is here. Featuring crunchy a guitar lick and a stunning guitar solo Walsh never got this experimental again. The album closes out with the acoustic guitar/haronica driven "Comin' Down" which provides a tranquil close to a magical album.
Like the 2005 Japanese re-release the magical sound qualty of the original recording has been retained. This is, in fact, the best the album has ever sounded (although honestly I can't compare it to the original Mobile Fidelity release since I never had it but have had the other import versions). Walsh never got better as a songwriter than here (although he came close with another couple of strong albums such as "The Smoker You Drink, the Player You Get"). A marvelous reissue, this classic album only lacks bonus tracks and outtakes which would have made this classy package complete.
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The Hard Way
Steve Earle & the Dukes Manufacturer: Mca Import ProductGroup: Music Binding: Audio CD Alt-Country & Americana
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ASIN: B000006YE9 Release Date: 1996-02-06 |
Tracks:
- Other Kind
- Promise You Anything
- Esmeralda's Hollywood
- Hopeless Romantics
- This Highway's Mine (Roadmaster)
- Billy Austin
- Justice in Ontario
- Have Mercy
- When the People Find Out
- Country Girl
- Regular Guy
- West Nashville Boogie
- Close Your Eyes
Album Description
Special low price import edition of his 1990 album released through MCA. 'I defend The Hard Way to the death, because I almost died in the process of making it', Steve Earle told a reporter in 2000 & he wasn't just being melodramatic. Earle's well-documented addiction to heroin & cocaine was spiraling out of control in 1990 while he was holed up in Memphis recording The Hard Way. 13 tracks in all.Customer Reviews:
Bleak and beautiful.......2007-07-06
"Billy Austin" is one of the hardest songs I've ever heard. Earle can write and sing from the point of view of an outlaw better than almost anyone I've heard. "Justice in Ontario" continues that theme. Ironic Earle himself followed this CD with time in prison.
This CD's labeled country, but I'm seeing too many rock elements to leave it strictly at that.
Hey Nashville, This aint country.......2007-01-03
Different from his first offerings, in that pedal steel prominence has been replaced with authoritative six strings attacked with more than a nod to the arm flailing of a Pete Townsend, The Hard Way brings us straight ahead rock and roll. Borrowing a crunch from fellow Texan Billy Gibbons, "This Highway" starts out with a blues rock riff and a narrative that warns of danger and salvation at the same time only to resurface in the apt titled, "West Nashville Boogie". "Country Girl" takes us back to a honkey tonk setting and then he hints at the forebearer of his Celtic fascinations to come, Regular Guy. Earle picks up whatever instrument serves his purpose and cares not one iota if it fits any notion of formula.
An epic in terms of dramatic pacing and tempo, Steve Earle arrives near the top of America's song writing precipace and gives us a look over the edge. A "must have" collection for anyone who is serious about whats behind the music.
The Best Album Ever Recorded.......2006-10-14
Great songs, too much bombast.......2006-09-30
Steve Earle - The Hard Way.......2006-08-08
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Varese Sarabande 25th Anniversary Celebration
Manufacturer: Varese Sarabande ProductGroup: Music Binding: Audio CD Elfman, Danny
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ASIN: B00008WI90 Release Date: 2003-04-22 |
Tracks:
- The Man from Snowy River (Bruce Rowland)
- The Winds of War (Bob Cobert)
- Blue Velvet (Angelo Badalamenti)
- Witness (Maurice Jarre)
- Raising Arizona (Carter Burwell)
- Pee Wees Big Adventure (Danny Elfman)
- Halloween (John Carpenter)
- A Nightmare On Elm Street (Charles Bernstein)
- The Fly (Howard Shore)
- RoboCop (Basil Poledouris)
- The Empire Strikes Back (John Williams)
- The Right Stuff (Bill Conti)
- The Final Conflict (Jerry Goldsmith)
- The Abyss (Alan Silvestri)
- Brainstorm (James Horner)
- Peggy Sue Got Married (John Barry)
- My Left Foot (Elmer Bernstein)
- The Dead (Alex North)
- Stanley & Iris (John Williams)
- The Milagro Beanfield War (Dave Grusin)
- Driving Miss Daisy (Hans Zimmer)
Tracks:
- Steel Magnolias (Georges Delerue)
- Unforgiven (Lennie Niehaus and Clint Eastwood)
- Raggedy Man (Jerry Goldsmith)
- The Grifters (Elmer Bernstein)
- Green Card (Hans Zimmer)
- City Slickers (Marc Shaiman)
- Father Of The Bride (Alan Silvestri)
- While You Were Sleeping (Randy Edelman)
- Babe (Nigel Westlake)
- The Adventures Of The Great Mouse Detective (Henry Mancini)
- The Adventures of Robin Hood (Erich Wolfgang Korngold)
- The Young Indiana Jones Chronicles (Laurence Rosenthal)
- The Secret Garden (Zbigniew Preisner)
- A Little Princess (Patrick Doyle)
- Rudy (Jerry Goldsmith)
- Iron Will (Joel McNeely)
- Memphis Belle (George Fenton)
- Eye Of The Needle (Mikl)
- Total Recall (Jerry Goldsmith)
- Back To The Future Part III (Alan Silvestri)
Tracks:
- To Die For (Danny Elfman)
- The Player (Thomas Newman)
- Black Robe (Georges Delerue)
- Medicine Man (Jerry Goldsmith)
- 2001 (Alex North)
- Star Wars: Shadows Of The Empire (Joel McNeely)
- The Crow (Graeme Revell)
- Blade (Mark Isham)
- The Omen (Jerry Goldsmith)
- Vertigo (Bernard Herrmann)
- Scream (Marco Beltrami)
- The Sixth Sense (James Newton Howard)
- Xena: Warrior Princess (Joseph LoDuca)
- Air Force One (Jerry Goldsmith)
- Starship Troopers (Basil Poledouris)
- The Matrix (Don Davis)
- The Iron Giant (Michael Kamen)
- Youve Got Mail (George Fenton)
- A Little Romance (Georges Delerue)
- Pleasantville (Randy Newman)
Tracks:
- Sunset Boulevard (Franz Waxman)
- L.A. Confidential (Jerry Goldsmith)
- Rounders (Christopher Young)
- The Score (Howard Shore)
- The Replacements (John Debney)
- Gone In 60 Seconds (Trevor Rabin)
- The Bourne Identity (John Powell)
- Rush Hour 2 (Lalo Schifrin)
- XXX (Randy Edelman)
- Die Hard (Michael Kamen)
- The Last of the Mohicans (Trevor Jones)
- Moby Dick (Christopher Gordon)
- The Mists Of Avalon (Lee Holdridge)
- Cleopatra (Alex North)
- Life As A House (Mark Isham)
- Emma (Rachel Portman)
- In The Bedroom (Thomas Newman)
- Cast Away (Alan Silvestri)
- One True Thing (Cliff Eidelman)
- Unfaithful (Jan A.P. Kaczmarek)
- Far From Heaven (Elmer Bernstein)
- Ice Age (David Newman)
- Shrek (Harry Gregson-Williams and John Powell)
Customer Reviews:
A good value.......2007-05-17
The Sound Track Since Bernard Hermann.......2006-07-25
Very good value.
Good mix of film music.......2006-07-02
I'm a big fan of this soundtrack music and will be looking for more CD's like this.
A mixed collection of movie music.......2006-02-23
Uplifts your soul, takes your mind into the heavens.......2006-01-06
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Hard to Find Orchestral Instrumentals II
Manufacturer: Eric Collection ProductGroup: Music Binding: Audio CD General
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ASIN: B00008L3O0 Release Date: 2003-04-22 |
Tracks:
- Gonna Fly Now (Theme From 'Rocky') - Bill Conti
- Theme From 'Ben Casey' - Valjean
- Theme From 'The Apartment' - Ferrante & Teicher
- The Long Ships (Part 1) - Charles Albertine (mono)
- The Day The Rains Came - Raymond Lefevre (mono)
- Beautiful Obsession - Sir Chauncey
- Theme From 'The Sundowners'- Felix Slatkin
- Chariot (I Will Follow Him) - Franck Pourcel
- That's The Way With Love - Peter Soffici (mono)
- Theme From 'The Dark At The Top Of The Stairs' - Percy Faith
- Theme From 'A Man And A Woman' (from The Soundtrack) - Francis Lai
- Route 66 Theme - Nelson Riddle
- Moonglow & Theme From 'Picnic' - George Cates (mono)
- Swinging Sweethearts - Ron Goodwin (mono)
- Ringo's Theme (This Boy) - George Martin
- Song For Anna (Chanson D'Anna) - (Herb) Ohta-San
- Nadia's Theme (The Young & The Restless) - Barry Devorzon & Perry Botkinc Jr.
- Danny Boy - Sil Austin
- Trumpeter's Prayer - Tutti Camarata
- One Moment In Time - Vienna Symphonic Orchestra (VSOP)
Album Description
A spectacular follow-up to Volume One in this instrumental series featuring 15 songs that have never been on a U.S. CD before. But this set isn't just for collectors, but also for listeners. All recordings have been digitally mastered from the original master tapes & are in True Stereo wherever possible. Includes a full 8-page booklet with detailed liner notes on each song.Customer Reviews:
A Slight Innacuracy.......2007-06-13
Hopefully, we can see that version on a future release. Maybe they could get "Little Ballerina Blue" on one while they're at it.
Still, some great stuff here.
Excelente .......2007-03-22
Hard to Find Orchestral Instrumentals, Vol. 2.......2006-03-22
Not totally an instrumental.......2006-03-10
Another Collection You Wonr Find Anywhere else.......2003-05-06
Continuing their unique practice of giving us both well known hits and impossible to find rarities, Eric presents Volume 2 of "Hard to Find Orchestral Instrumentals". This one is, in my opinion, even better than the first.
First off, the sound quality of this disk is ASTOUNDING. ERIC has gotten the various reissue departments to provide them with absolute first generation mono and stereo masters and this CD proves it. The aural quality is breathtaking. The fact that Orchestral music is so beautifully suited for true stereo playback is exhibited here, as a whopping 15 of the 20 tracks are True Stereo and sound magnificent.
There are, of course, the big soundtrack hits here, like 'The Day The Rains Came" "Rocky", "Ben Casey", "Theme from The Apartment", and " Nadias Theme". All top 30 and well remembered. However, for this 43 year old fan, it was the some of the lessor known tracks, in particulatr the 1963 Colpix low level charter "Theme From The Long Ships" that really makes this collection the gem that it is. Outstanding tracks include "Theme From The Sundowners" , "The Dark At The Top of The Stairs" and "I Will Follow Him" , all tracks that will suddenly sound familiar again after first listen.
Therein lies the BEST part of this collection. When you put this on your player, you will be treated to a nostalgic feast,
a time when the magic of Orchestral music still ruled the charts, and existed in all our homes. And you'll certainly remember most of these once you hear them, which is the fun part!!
There arent enough great things I can say about this collection AND its sister CD "Hard To Find pop Instrumentals- Part 2" I personally liked this volume better, but if you dont have either yet, give yourself a musical treat, and some REAL listening enjoyment and pick these up...
Its listening the way it used to be.
MA....
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September Songs: The Music of Kurt Weill
Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
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ASIN: B0000029WM Release Date: 1997-08-19 |
Tracks:
- Mack The Knife - Nick Cave
- Ballad Of The Soldier's Wife - P.J. Harvey
- Alabama Song - David Johansen
- Youkali Tango - Teresa Stratas
- Lost In The Stars - Elvis Costello
- Pirate Jenny - Lotte Lenya
- Speak Low - Charlie Haden
- Oh, Heavenly Salvation - The Persuations
- Lonely House - Betty Carter
- Surabaya- Johnny - Teresa Stratas
- Furchte Dich Nicht - Mary Margaret O'Hara
- September Song - Lou Reed
- Mack The Knife - Bertolt Brecht
- What Keeps Mankind Alive? - William S. Burroughs
Customer Reviews:
some brilliant renditions, but can't quite all mix together.......2006-10-19
In all, there are some brilliant interpretations of Weill here. I am a fan of Cave's "Mack the Knife" and David Johansen's "Alabama Song," and how can someone NOT like Lotte Lenya herself on "Pirate Jenny" and the drolling of the immortal William S. Burroughs talking through "What Keeps Mankind Alive?"
But other tracks feel to be just too short of brilliance. I love that Lou Reed tries to turn "September Song" into a kind of rock ballad, almost a VU "It Was a Pretty Good Year," but the rendition seems a little short of energy and falls flat after a while. Elvis Costello, though magnificent as an overall artist, just doesn't bring new life to "Lost in the Stars."
Perhaps the problem in the end that the choices were a little too much of the Top 40 Weill (if there really can be such a term). These are songs that have for a long time been regarded as the best of Weill, and it might have furthered the purpose of his music to find new gems and bring them into the sunlight.
Cool and Camp.......2006-08-24
September Song Music of Kurt Weill.......2006-08-22
It's a long time between January and December.......2004-06-11
Paul
Ain't we Hip?!!?.......2003-07-23
The mystery here is that there's a perfectly good compilation from the 80s, "Lost in the Stars: the Music of Kurt Weill", featuring many of the same songs--and, if I'm not mistaken some of the same performers. That's the one you want. Too bad it's OP.
Average customer rating:
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Way Out West
Sonny Rollins Manufacturer: Ojc ProductGroup: Music Binding: Audio CD Bebop General
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ASIN: B000000YIQ Release Date: 1991-07-01 |
Tracks:
- I'm An Old Cowhand
- I'm An Old Cowhand (Alternate Take)
- Solitude
- Come, Gone
- Come, Gone (Alternate Take)
- Wagon Wheels
- There Is No Greater Love
- Way Out West
- Way Out West (Alternate Take)
Amazon.com
Widely acknowledged as the most significant and accomplished tenor saxophonist in the world, Sonny Rollins's recording legacy is nothing short of extraordinary. Beginning as a sideman in the late-'40s, he worked with Charlie Parker, Fats Navarro, Bud Powell, Max Roach, Clifford Brown, Thelonious Monk, Art Blakey, and Miles Davis. Since recording his first date as a leader in 1954, Rollins has recorded dozens of albums for numerous labels, eventually settling in for a long stay on Milestone. Way Out West, recorded in 1957, is one of two superb albums cut for the small, California-based Contemporary label (the other is 1958's Sonny Rollins and the Contemporary Leaders). Although a consummate sideman, Rollins rarely seems at ease with his pianists on his own dates, and Way Out West's trio format, with bassist Ray Brown and drummer Shelly Manne, dispenses with that problem. The tenorman's playful humor is evident in the album's selections, which include such unlikely candidates as "Wagon Wheels" and "I'm an Old Cowhand"--both elevated to previously unimaginable heights. This is a remarkably confident album--relaxed, swinging, thoughtful and deeply satisfying. And just in case that's not enough, the cover photo, featuring Rollins in Stetson and holster with his horn on his hip, is about as cool as it gets. --Fred GoodmanCustomer Reviews:
Classic cover art, but the music is even better.......2007-05-21
Sonny was one of the big innovators of the saxophone trio format -- saxophone, bass, drums -- and this was his first recording with such a lineup. Getting rid of the piano has several implications. The first is that the harmonies become a lot less obvious to the listener without the piano banging out the chords every few seconds. The second is that there's a lot more pressure on the musicians --- particularly the saxophonist, but also the bassist -- to generate interest without using piano solos as a crutch. There's a lot more space to be filled in, and in the hands of lesser musicians this space would turn into gaping holes.
Fortunately, Sonny Rollins is one of jazz's greatest improvisers. The fact that he doesn't have to share solo space with a pianist on this recordings means he can let loose some brilliant, unfettered and uninterrupted improvisations. There's a LOT of Sonny's playing on this album. Sonny's notorious for the humor/wit in his playing and there's a ton of that here.
Sonny's companions on this date for Contemporary Records were bassist Ray Brown and drummer Shelly Manne. Manne was one of the premier drummers on the west coast and appeared on a lot of Contemporary sessions. Manne wasn't a "power drummer" like most of the drummers that appeared on Sonny's east coast recordings (Philly Joe Jones, Art Blakey, Elvin Jones, and Max Roach). That means that he's content to be an accompanist rather than an almost equal partner a la Max Roach.
The compositions offer a nice amount of variety. "I'm an Old Cowhand" is the kind of semi-cheesy tune that Sonny specializes at transforming and gives the album a great start. "Come, Gone" is just straight-up fast bebop. "Solitude" and "There Is No Greater Love" are intense ballad performances. "Wagon Wheels" is a medium-tempo jam, and "Way Out West" closes the album on a jaunty note. The overall mood is more mellow and introverted than Saxophone Colossus; the album was recorded in the middle of the night, so this is not surprising.
One annoying thing about some versions of this album is that the alternate takes are placed in the middle of the album (immediately following the masters), destroying the album's original sequence. I recommend looking for the now-out-of-print 20 bit remaster or any other version that places the alternates at the end of the album, where they belong. The alternate takes are actually fascinating to explore once you get to know the original album, as two of the tunes are given much longer explorations.
This album is highly recommended and an essential part of any collection. If you like Sonny in a trio format, other albums to check out are A Night at the Village Vanguard (Blue Note), The Freedom Suite (Riverside/OJC), and East Broadway Rundown (Impulse!). I'm probably forgetting some others. And of course, if you haven't heard Saxophone Colossus, be sure to pick that one up.
Saxophone, Bass and Drums make a great Trio. .......2006-10-26
The uncanny sense of space and the Western mood created by the trio make the cd great listening.
I am a big fan of Sonny Rollins and his happy, muscular, witty, rich and edgy sound. This album sees all three musicians in marvellous form, with the rhythm section brilliantly creating the illusion of movement.
I would recommend this as THE album to buy to begin a Sonny Rollins collection.
No words can adequately describe the treat that awaits you; however some may point in the right direction. They are; lyrical, witty, warm and imaginative. Way Out West is most original and is one of my favourite cds.
Perfect production........2006-08-31
Way Out;Best.......2005-12-15
'I'm An Old Cowhand';it was brilliant on the first take...and the second..
I Must Have Been Sleeping........2005-10-08
With that out of the way, onto the music itself: "Way Out West" was recorded in 1957 and finds Rollins playing in a piano-less trio backed only by bassist Ray Brown and drummer Shelly Manne. The liner notes to the album state that the three musicians hadn't played together before until this recording session. You'd never know it by listening to this album though. Rollins, Brown and Manne play off each other effortlessly and are like six hands in a glove. It's as if they'd played together for years.
On the upbeat tracks, "I'm an Old Cowhand", "Come Gone" and the title track, Rollins and his trio really swing and leave plenty of space for improvisation and soloing. "Come Gone" is an especially prime example of this.
The same can be said for the slower ballad-oriented pieces. Sonny's take on Duke Ellington's "Solitude" is superb and soothing and is a real standout. "Wagon Wheels", while not neccesarily a ballad, is also a standout with its mid-tempo blues-like runs.
Besides the original tracks that made up the album, there are also three alternate takes tacked on as bonus tracks. The alternate version of "I'm An Old Cowhand" is arguably stronger than its master take and is also twice as long running at 10 minutes rather than five and a half. The alternates of "Come Gone" and the title track are performed in such a way that they almost become different pieces of music altogether. Rollins solo in the alternate "Come Gone" is more raspy and edgy which gives the impression that this take was recorded live in a club rather than a studio. It's fabulous too.
With that said, "Way Out West" is an excellent first choice for the emerging Sonny Rollins fan. The playing is excellent and the musicianship is flawless. The only minor complaint is that the bonus alternate takes are presented on the CD after their master take counterparts (example: The master take of I'm An Old Cowhand is immediately followed by its alternate take as is "Come, Gone" and "Way Out West"). They should have been sequenced at the end of the disc following the original album tracks. Apart from that, who really cares? This is a great album with great music on it.
Essential!!
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Tropico/Seven the Hard Way
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ASIN: B00000GWZW Release Date: 1998-12-28 |
Tracks:
- Diamond Field
- We Belong
- Painted Desert
- Temporary Heroes
- Love In The Ice Age
- Ooh Ooh Song
- The Outlaw Blues
- Suburban King
- A Crazy World Like This
- Takin' It Back
- Sex As A Weapon
- Le Bel Age
- Walking In The Underground
- Big Life
- Red Vision
- 7 Rooms Of Gloom
- Run Between The Raindrops
- Invincible (Theme From The Film 'The Legend Of Billie Jean')
- The Art Of Letting Go
Album Description
The hit vocalist's fifth & sixth studio albums together on one CD. Respectively released on Chrysalis in 1984 & 1985, the platinum 'Tropico' reached #14 & 'Seven The Hard Way' peaked at #26. The two offer a combined total of 19 tracks, including the top five 'We Belong', the top 10 'Invincible',the top 40 hits 'Sex As A Weapon' & 'Ooh Ooh Song', and the single 'Le Bel Age'. All tracks are digitally remastered from the original master tapes. Also features the original cover art of each record, plus additional sleeve notes. 1998 release.Album Details
Another Twofer Remaster.Customer Reviews:
If You're a Pat Benatar Fan, Buy This!.......2007-03-09
Two good Pat B. Lps- deserve better treatment..........2005-11-10
fhc
BGO Come on...........2005-06-30
SONGS ARE EDITED!!!!.......2005-04-16
I WANT THIS CD!.......2002-11-14
Average customer rating:
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Dreamgirls in Concert (2001 Concert Cast)
Henry Krieger , Audra McDonald , Brian Stokes Mitchell , Emily Skinner , and Darius de Haas Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD General
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ASIN: B00005Y4P4 Release Date: 2002-02-26 |
Tracks:
- I'm Looking for Something, Baby
- Goin' Downtown
- Takin' the Long Way Home
- Move (You're Steppin on My Heart)
- Scene: Fifty bucks says the Dreamettes don't win
- Fake Your Way to the Top
- Scene: It ain't working, Marty
- Cadillac Car
- Cadillac Car (On the Road)
- Cadillac Car (Recording Studio)
- Scene: I don't believe they can do that
- Steppin' to the Bad Side
- Scene: I'm working on a long shot
- Party, Party
- I Want You, Baby
- Scene: I'm a woman now
- Family
- Scene: What are you doing to that girl?
- Dreamgirls
- Press Conference
- Heavy
- Walkin' Down the Strip/Scene: Las Vegas
- It's All Over
- And I Am Telling You I'm Not Going
Tracks:
- Opening Act II: Dreams Medley
- Scene: Effie White is the best singer you're gonna find
- I Am Changing
- Vogue Sequence
- When I First Saw You
- Ain't No Party
- I Meant You No Harm
- The Rap
- I Miss You, Old Friend
- One Night Only
- One Night Only (Disco Version)
- I'm Somebody
- Hard to Say Good-bye
- Dreamgirls (Reprise)
Amazon.com
A Chorus Line may be better known, but Dreamgirls was a towering achievement for director Michael Bennett. Loosely based on the Supremes' story, the 1982 musical told a typical show-biz tale of fame, backbiting, and survival. As is often the case for one-night only events, the cast in this concert version (recorded in New York on September 24, 2001) is led by an eye-popping assortment of Broadway powerhouses: Lillias White (The Life), Audra McDonald (Ragtime, Marie Christine), and Heather Headley (Ragtime). McDonald reveals a previously undisclosed comic streak, while Headley confirms her status as a rising star. Reprising the role of Effie Melody White (created by Jennifer Holliday), White belts the classic "And I Am Telling You I'm Not Going." But the beauty of Dreamgirls is that it's so packed with catchy, Motown-influenced R&B numbers that each lead can sink her teeth into some prime material and get a turn in the spotlight. This double-CD set really makes you wish you'd been there when the show was recorded: you can hear the crowd going berserk at times, and the temptation is strong to do the same thing in the comfort of your living room. --Elisabeth VincentelliCustomer Reviews:
Dreamgirls 2001.......2007-06-27
Not the real "DREAM" experience.......2007-04-04
Forget about the film sountrack. Get this CD set. And it's far better than the original cast recording which goes lacking. More songs and more everything that makes a live performance just what it is. Live (compared to film where anything can be done to enhance a performance!) -- the energy, the excitement and the performances make this a rare treat for anyone wanting to share in the real DREAM experience.
Isn't a full Broadway revival long over due. But wait: I've heard rumors that a rvial may be "in the works. I certainly hope so. Maybe this time it will receive the Tony award it deserved in the first place.
Absolutely brilliant!.......2007-01-28
Amazing!!!!!!.......2006-12-04
One Night Only .......2006-07-19
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One Way Out
The Allman Brothers Band Manufacturer: Sanctuary Records ProductGroup: Music Binding: Audio CD General
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ASIN: B0001JXOUI Release Date: 2004-03-23 |
Tracks:
- STATESBORO BLUES
- DON'T KEEP ME WONDERING
- MIDNIGHT RIDER
- ROCKIN' HORSE
- DESDEMONA
- TROUBLE NO MORE
- WASTED WORDS
- GOOD MORNING LITTLE SCHOOLGIRL
- INSTRUMENTAL ILLNESS
- AIN'T WASTIN' TIME NO MORE - Gregg Allman
- COME & GO BLUES - Gregg Allman
- WOMAN ACROSS THE RIVER -
- OLD BEFORE MY TIME -
- EVERY HUNGRY WOMAN - Gregg Allman
- HIGH COST OF LOW LIVING -
- WORRIED DOWN WITH THE BLUES -
- DREAMS - Gregg Allman
- WHIPPIN' POST - Gregg Allman
Tracks:
- Ain't Wastin' Time No More
- Come & Go Blues
- Woman Across The River
- Old Before My Time
- Every Hungry Women
- High Cost Of Living
- Worried Down With The Blues
- Dreams
- Whippin' Post
Customer Reviews:
RICK SHAQ GOLDSTEIN SAYS: "AMEN TO THE ALLMAN BROTHERS LIVE PERFORMANCE!".......2007-02-03
Double CD of the 2003 Beacon Theatre shows. Get the DVD too........2006-10-25
There is a DVD of these 2003 Beacon Theatre shows and some reviewers have already pointed out that there are some differences in track listings/performances between the DVD and this CD.
The highlight on this CD for me, is a stellar version of Good Morning Little Schoolgirl, not appearing on the DVD. I've never been all that keen on interpretations of that song by The Yardbirds or Johnny Winter. But this version is such a wonderful interpretation; like Cream meets the Band of Gypsies in the delta.
I read somewhere that Warren Haynes is listed in the top 20 guitarists in the world today. I'd have him in the top 10. A super player (and decent singer) and a throw-back to the great players of the 60's & 70's. Just born too late. And drummer Butch Truck's nephew, Derek, is no slouch on guitar either! His slide work in particular is masterful. Derek is currently touring with Eric Clapton and one would assume performing the slide-work on Layla, which was originally performed by the great Duane Allman.
I like the way the CD liner notes indicate that Derek's guitar is in the left channel and Warren's is in the right channel. I like to know stuff like that. Similarly, Jaimoe's drums are in the left channel and Butch's in the right.
There are a couple of negatives from time to time. You'll need to be forgiving of Gregg's voice, which is not what it once was. Also, the opening version of Statesboro Blues, is kind of soggy and disappointing compared to the famous Live at Fillmore East version; but listen to them stretch out on the lengthy Instrumental Illness and you'll be stunned by the musical talent in this band.
I highly recommend that you buy this CD as well as the DVD of the same Beacon Theatre shows.
better than the original band?.......2006-07-07
After Duane Allman died in '71, and Berry Oakley in '72, the original band understandably lost more than a bit of the magic that it had in it by the time of the Fillmore East album. And it was exactly at that time in rock history that the old days of the great bands living gig to gig had finally ended: just after the deaths of Duane and Berry, the ABB entered into the age of multi-million dollar stadium concert tours (yes, Elvis and the Beatles had been there before, but it wasn't until the early 70s that the entertainment industry figured out how to make that into the norm). So Gregg alienated himself from the rest of the group, going on a star trip and maintaining an absolutely staggering intake of drugs and alcohol (why is it that Keith Richards gets all the credit for that?), the band's formerly VERY high standards collapsed, and the Brothers broke up by '76. They attempted to reform the band for a few years at around the start of the 80s, but the effort was basically a failure. Then in '89 they tried it again, and musically speaking things worked reasonably well through the 90s (though they probably didn't attain even to half of what the Fillmore East band had been capable of). As the 90s drew to a close, though, a great deal of animosity had developed between Dickey Betts and the other band members. Anyone who saw their shows from those days will remember it: they didn't smile on stage, they seemed stiff and uncomfortable playing with each other, Betts seemed a mean, angry taskmaster. And so, in a real heartbreaker for Allmans fans, they fired Dickey Betts (not exactly, but de facto that's what happened) in '00. Derek Trucks took his place, rounding out the band's current roster. With Betts gone the Brothers had a workable personal environment again, Gregg had sobered up by that time, and as a result of all this the music started to get steadily better and better, to the point that by around '03, the old band's magic began to shine again. They released Hittin' the Note, the studio album that provides the new material for this live show, in March of that year, and recorded this show during the Beacon run in March of '04.
I still think that the original band, at its very, very best, could still just barely outdo the current Allman Brothers. When a thing is being created for the first time there can be a spark of magic in it that can't be duplicated later, after it's become something to maintain; the work becomes less creative, more derivative. But we're talking about a narrow margin. If Rockin' Horse isn't quite the tune that Blue Sky was, if Instrumental Illness isn't quite the jam that Mountain Jam was back at the Fillmore, then they only just miss that mark. One Way Out is absolutely magnificent, and I will tell you without apology that no other rock band has ever come within shouting distance of it in this kind of music.
transcending brothers.......2006-07-04
But I beg you, get this one as well.
After my first listen i said 'Dicky who?' For the newbie, I am referring to the ousted original member Dicky Betts. Derek Trucks proves to be more than a replacement. I could write 1,000 words on this talent alone. The perfect foil to the hardest working man (no, not James Brown) in music today, Warren Haynes. Do I miss Dicky's songs? of course I do. I so wanted desperately to hear Seven Turns and Ramblin' Man here, but alas I must take the bad with the good. So many gems here, Come and Go Blues, Worried down with the blues, and Desdemona stand out. But honestly I can't find a weak one here. This is Allmans at their prime: post-alcoholism Gregg and post-burnout Dicky. This is one of the few occasions where a band gets better with every year, like a fine wine. Get it and bask in some of the glory that the Beacon in NYC sees every March.
Another Live Allman Brothers Album.......2006-06-10
The music contained on this live set is similar to what you hear when you see the Allman Brothers perform in person. Similar, because it includes only a few well-known, classic tunes mixed together with many songs that will not likely be recognized by most listeners. I have seen the Allman Brothers in concert more times than any other band and their song list follows the same formula every time. They always play at least a few popular songs, but they never attempt to play all or even most of their popular tunes at any one show. They keep the audience anticipating which popular songs will be played and they fill the rest of the show with songs that are good, but less well- known. The same formula is followed on One Way Out. It offers classics like Statesboro Blues, Midnight Rider, Trouble no More, Dreams, and Whipping Post, combined together with thirteen other songs that many listeners will not recognize.
The production on this album is solid and the music is crisp and clean. You cannot hear much noise from the audience at all except between tunes and even then, the contributions from the audience are minimal. There isn't much verbal input from Gregg Allman and Company either. Except for the occasional "How are you doin'?" or "Thank You", Allman doesn't say much at all, preferring instead to let the music speak for itself.
One Way Out offers a lengthy amount of music. Eighteen tracks may not seem like a number so great that it would warrant two disks. But this is the Allman Brothers, and if you have seen them live then you know that eighteen songs for them is like thirty- six for most other artists in terms of total time. Adding everything together, there is almost 149 minutes of music in this set- nearly 2.5 hours or roughly 8.25 minutes per song. Looking at the lengths of each track, Midnight Rider is the shortest, clocking in at 3:16 and Instrumental Illness is the longest, at 16:42. Five of the songs are more than ten minutes in length. These longer songs offer many minutes of instrumentals and this may or may not be to everyone's liking.
Is there anything negative to say about One Way Out? I can only think of one small criticism: The similar sound between many of the tunes. The Allman Brothers like to keep the music simple most of the time, with only guitars, bass, keyboard, and drums supplying the sound. There are a couple of songs on this set with congas and various percussion instruments but there is no brass, no harmonica, or anything else. This is why several of the songs, like Come and Go Blues, Woman Across the River, and Rockin' Horse are difficult to tell apart. Even someone like myself, who has seen the Allman Brothers in concert many times, would have difficulty naming the tune if a small segment (say, 20 seconds or so) was played from any of these similar- sounding songs.
Overall, "One Way Out" is still a solid live offering from the Allman Brothers. It offers some classic Allman Brothers tunes combined with some lesser known material for a listening experience that is very much what one would expect who has seen the band perform live. Some songs sound very similar to each other but the slick production and the bluesy rock and roll make One Way Out an enjoyable live set.
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