![Generations [Import]](http://images.amazon.com/images/P/B000A1EDW0.01.TZZZZZZZ.jpg)
| 1. Faith in the Heartland |
| 2. Place in Your Heart |
| 3. Better Life |
| 4. Every Generation |
| 5. Butterfly (She Flies Alone) |
| 6. Believe |
| 7. Knowing That You Love Me |
| 8. Out of Harms Way |
| 9. In Self-Defense |
| 10. Better Together |
| 11. Gone Crazy |
| 12. Beyond the Clouds |
| 13. Never Too Late [Remix Version] |
| 14. Generations EPK [CD-ROM Track][*][Multimedia Track] |
Editorial Reviews
Product Description
Japanese pressing of Journey's 2005 album will include an exclusive bonus track 'It's Never Too Late'. Nexus. 2005.
To be honest, This is the first time i didn't manage to receive my good from E-commerce Portal. I totally didnt expect this happen from reputable Amazon.
Nonetheless. I must admit your friendly customer service, they are always willing to assist me to reprocess or the refund the marchant.
Please kindly review your shipping method. or perhaps let me know what had happened to my shipping address or my goods. so i could still have confident to make purchase on your website again.
-MICHAELA
The Overture Is The End Titles. Why Is That? In The Middle Of
The Overture They Used Vocals Instead Of Insturments. I Call The
Song With Vocals "The Nexus". The Main Title Has Vocals Too. I
Call It "The Bottle's Journey". "Kirk Saves The Day/Enterprise B
Was Kind Of Like The Overture. "Deck 15 Was Kind Of Sad, Because
Of Kirk's Death. But He Really Didn't Die. He Was swept into The
Nexus [Energy Ribbon]. "Outgunned" Sounded Like A TV Song, So Did "Out Of Control/The Crash". "The Nexus/A Christmas Hug" Was
Wishy-Washy. I Liked The Sound Effects To.
I have always had a weak spot for (good, or maybe even intelligent) science fiction/fantasy and film music, especially its way of evoking mystery, grandure and wide open spaces. Call it a weakness if you want. But it was maybe really kick started off, for as far as I can remember, with Star Trek. But especially Star Trek II, III and IV - essentially a trilogy - because of their very romantic but very warm, human core, set on the broadest canvasses of unlimited and mysterious outer space. But then there was the music for adding that essential extra dimension of emotion and atmosphere. I am happy that much of the music on this album is from the Star Trek series and films, often equaling or sometimes even outclassing the original recordings.
This kind of music (for the movies) should be seen as an art on its own rights with its own merits and qualities. As such, the musical sequences on these CD's are a beautifully played cross section of some of the most evoking orchestral music for science fiction/fantasy film ever created. And I very much like the nicely blended, wide and deep orchestral soundpicture with enough reverberation to evoke a sense of wide open spaces.
I am quite thrilled by tracks like the evocative music from Dune, truly transporting one to the vastly sands of Arrakis (the music is wonderful, but to my great regret I think the movie itself is a flawed masterpiece at best, alas.). And then there is the very different, goofy music for Ghostbusters (memories of childhood), the spoofy but electrifying music from Mars Attacks (lovingly parodist music, this, with not a little touch of irony) and the happily adventurous, forward driving Theme from Galaxy Quest ('Never give up, never surrender!'), now also used for the internet-based fan-series Star Trek: The Hidden Frontier. On the other side of the spectrum we have the atmospheric music for Enemy Mine (an underestimated 'little' movie), the Theme from The Right Stuff (actually science FACT, not fiction, this film, just like Apollo 13, of course), the eerily attractive music for Species, the original End Title for Alien (not used in the theatrical version of the movie, where it was replaced by music from howard Hanson's Second Symphony), the exquisitely exotic music for Stargate, the sweet and warmly sympathetic, beautifully re-orchestrated, theme for Starman, the title cue for Star Trek: TOS (much more melodiously played than the original! If only a series nowadays could continue to be as thought provoking and as original as Star Trek was during its launch, fourty years ago ...) and a truly overpowering End Titles Suite from Star Trek VI: The Undiscovered Country. I especially like the thrillingly grandiloquent rendition here of the music for Star Trek II: The Wrath of Khan. And how nice it is to hear the (thematic) similarities between James Horner's music for The Wrath of Khan, his great break-through as a film music composer, and his (two years) earlier music for Battle Beyond the Stars (which did indeed help him earn the job for writing the music for Star Trek II) ...
But on the 'down side', if one is looking for - for example - the gorgeously expansively played End Titles from Cocoon, it is not included here: one has to acquire the album that 'kicked it all off', so to say, namely 'Space and Beyond', also on Silva Screen. I was very pleased also with the inclusion on that album of some of the music from the series Star Trek: The Next Generation, namely where one of the characters, Tasha Yar, in one of the episodes (Skin of Evil) is saying goodbye to her crewmmates: sweetly sentimental and simple music which I have always wanted to own on CD. I guess that a few cues from the other two sequals ('Alien Invasion: Space and Beyond II' and 'Space3: Beyond the Final Frontier') didn't make it onto this 4 CD collection-album as well, but I guess that it would be the 'better part of the bargain' to opt to buy this 'The Science Fiction Album' instead of buying all three albums separately. Well, of course it is for yourself to ultimately decide what you really want ;-)
If I were to nitpick (which is not easy with such a marvellous project as this one), then I would say that while all music is performed with magnificent grandure and with style, some of it is not performed as crisply and as technically 'on the spot' as some of the original recordings: ensemble is a little slack and the playing somewhat stilted sometimes, losing some of the edge and the originality of the writing. ET and Star Wars spring to mind, but then the soundtracks for Star Wars are traditionally recorded with the magnificent London Symphony Orchestra, conducted by maestro John Williams himself, and these superior recordings (especially the ones for Episode I, II and III) can't really be bettered, IMHO. Likewise for the music from Star Trek: The Motion Picture, I believe that in the end one really has to resort to the ultimate reference, namely the original recording (which is true in many other instances of 'original recordings'), and then the 20th anniversay colector's edition of this soundtrack on Columbia/Legacy (truly unmissable, this veritable classic of sci-fi/film music soundtracks!).
But all in all this 4CD-collection amounts to probably being the penultimate high quality sci-fi music album collection (I certainly know of no other project that comes as close quality as well as quantity wise), with some of the most memorable musical moments from classic to modern sci-fi/fantasy film captured in lavish orchestrations.
Collection-wise: five *stars*. Playing: generally four *stars*, sometimes more. The recording quality: five *stars*. The music (qualified on its own merits as film music) and its (re)orchestrations: generally five *stars*. In the end this is all highly recommended, and certainly not to be missed by science fiction and fantasy film music fans. Klaatu barada nikto.
The moment I ripped off the shrink-wrap and popped it into my cd player was a moment of great trepidation. Believe me when I tell that I've seen my fair share of sub-par orchestral recording in my lifetime. Very often they are in those big super-packs of music, and suffer from poor direction, improper mastering, and sometime even pathetic orchestration (or worse yet have something sounding like a cheap synthesizer and a kazoo in place of a full orchestra). I needn't have worried though. This sucker is fantastic.
Many people who are not audiophiles will probably miss the point of this cd collection. It is not the original versions of the pieces. It is re-orchestrations, mostly by the phenomenal Prague Symphony Orchestra. Many of these themes didn't sound all that hot in there original versions because they were low budget films or were not recorded in high-fidelity. Here they are given the full treatment, mastered with the most loving care imaginable. Often the version found in these cds is SUPERIOR to the original.
Remember the theme from 2001: A Space Odyssey? Of course you do. But how many times have you heard a cheap imitation of the original version from the movie, starting too low in volume and ending too high (and missing the essential pipe-organ that gives it that extra oomph)? Well, this first track in the entire collection is not only everything it should be instrumental and timing-wise, but it also has been oh-so-carefully adjusted during the mastering process so that at no time is the music either too low or too high in volume (surely a benchmark for every other recording ever to be made of the piece).
Or what about the theme from the (at-the-time) uber-creepy The Black Hole? The orchestration of this piece of music goes from tiumphant to terrifying and back again, with a splendor and cleanness that I CERTAINLY don't remember being in the original recording.
Then there's the new version of the theme from Independence Day, complete with a violin solo, a far more electrifying ending climax, and a chorus so thunderous that you feel like applauding at the end. Simply indescribable. Kind of like the MIND-BLOWING rendition of the theme from The Last Star Fighter. This has been one of my favorite themes for a long time now, but I've never heard it played like this. I think the original version of the theme is something like 1 minute long, but this new version doesn't just fade out (HAHAHAHA!!!!) THIS version is THREE minutes long, goes through the main theme THREE times, with the final strains being so triumphant and joyous I could not help but feel an electrifying charge the first dozen or so times (come to think of it, I still feel that way). This is superior to the original in EVERY way. AWESOME.
And let's not forget the incredible new rendition of Stargate with it's heavy use of clarinets (for Egyptian effect!) and a triumphant new ending (completely lacking the chanting from the original version. This version is so different that for the first minute it is very hard to tell that it is in fact Stargate. But then the main theme kicks in, and then you get this incredible flute solo for my favorite part of theme (the whole thing is played slower, but arguably more powerfully than the original). My goodness. At first I found the thing so different I didn't like it. But then I listened to it again. And again. And again.
I could go on and on, talking about the fantastic new rendition of Moon Raker, the ear-popping Battlestar Galactica, the classic Star Trek (First Contact has a minute or two of the theme from Star Trek:The Motion Picture before going into the main theme), or the sweet renditions of music from the Star Wars movies (or the music from E.T.).
I have to mention though that this collection was not picked based merely on what people want, or on what is popular. No, the people who made it obviously thought a GOOD music collection was better than a popular one. That's why you get a heartbreakingly beautiful theme from A.I. instead of the main theme. It's why you get music from movies that you probably never gave a second thought to the music (because the movie was lousy). It's why you get Armageddon, Judge Dredd, and Robocop (who would have guessed their music was so COOL when there was all that crazy action and bad-acting going on on-screen).
I said it before and I'll say it again. This cd-set was mastered with tender-loving-care, and it shows BIG-TIME. High-fidelity the likes of which I have not seen since the days when cds were brand-new in the world. Dolby Surround. Perfectly balanced. BEAUTIUFL orchestrations. About the only thing that makes me scratch my head is the weird sound-effect tracks (Oooookay.....). Other than that, it's PERFECT. Obviously they could not include every sci-fi theme ever (no one can), but this collection is REALLY GOOD. A lot of great themes that got away (forgotten gems :), new versions of old favorites, and under-appreciated classics aplenty, but ALWAYS the full and complete versions with nothing cut-out (the theme from Dune is quite extended).
If you love movie music (and sci-fi movie music in particular) you MUST buy this awesome collection). It is not the original recordings. Almost always the new ones are better (if they aren't better they're just equal). This is what you have been waiting for. I for one am going to be buying quite a few cds from this company in the future. Give your ears the treat they deserve. Buy it NOW.
The recording quality varies from poor to adequate. Many of the cuts are very scratchy but on a par with the technology of the time period. The various works were recorded between 1917 and 1923.
Some illustrations: "Moonlight Blue" is played at a more stately pace. There is an orchestra of 12 persons (plus Handy as Conductor and Coronet player). The resulting sound is distinctively Handy's. No vocals. There is some nice piano playing (apparently by Charles Hillman).
"St. Louis Blues"--the musicians are unknown (except for Handy). The tune begins with some bawdy brass and the song is taken at a quick pace. It is, in effect, most infectious. Overall, the playing is pretty crisp, although is sounded to me like things got a little loose toward the middle. Nonetheless, a lot of fun to listen to, scratchy sound and acoustic technology notwithstanding.
"Yellow Dog Blues" is another sprightly paced tune. After listening to a number of cuts, one can begin to pick up what might be called the W. C. Handy "sound."
Finally, "Muscle Shoal Blues." Again, an infectious tune, well played.
This represents a useful beginning to the work of W. C. Handy. This is the first CD I have ever heard of his work, so I can't say how it compared with any other recordings. But it seems, to me, like a very nice introduction to his body of work.
Peter B. Lowry
First became aware that W.C.Handy had recorded these "big band" sides when I saw the original entry in a Columbia Records catalog from 1918. All of the sides that he recorded then are featured on this CD, plus some he recorded in the early 1920's (for another label).
Sadly, the original masters were not used - commercial copies of uneven quality were the only source material available. Considering that, this reissue is nicely done, but be advised of the scratches and wear noises.
Though I could wish for better sound quality, I am well pleased with the fact that these indespensible ragtime orchestra sides are available once again.
But to be perfectly honest, if you were to do a blind "taste test" of this album - not knowing that it was Burton playing vibes, Ozone playing keys, and a teenager not old enough to drive playing guitar - you would probably come away with little reason to listen again. There are a few notable compositions by the likes of Metheny, Mitch Foreman, and Oscar Peterson, but the arrangements are somewhat uninspired, at least by the GB standards I'm used to. Lage, the young guitar prodigy, contributes three originals and although any composition by someone so young worthy of being recited by GB is remarkable, they leave me wondering how young Pat Metheny was when he wrote Unity Village or Bright Size Life.
I know it's not fair to compare young Lage to an iconic Metheny, but for me music is all about enjoying what I'm listening to, not feelgood sub-plots or story lines. I must admit that it is somewhat fascinating to listen to a young teenager play an otherwise excellent jazz guitar along side GB, but take away that knowledge and the music left to stand by itself becomes somewhat underwhelming.
This CD is worth owning purely for the posterity value of what one day may become the next Jim Hall, but if you just want to hear great jazz music by GB, the honest truth is you'd be more satisfied with something like Face To Face or Like Minds, etc.
This CD still gets a positive rating of 3 stars because GB can do no wrong. I just won't be listening to it as much as I will his other releases.
FAITH IN THE HEARTLAND is a prime time Journey rock anthem sounding close to TO TAME A LION in Trial By Fire album. THE PLACE IN YOUR HEART is again a Journey anthem. A BETTER LIFE introduces drummer Dean Castronovo as lead vocalist. One of the best tracks. In EVERY GENERATION Jonathan Cain takes the lead. BUTTERFLY is melancholic yet superb ballad surprisingly penned not by Jonathan Cain but Steve Augeri. KNOWING THAT YOU LOVE ME is unmistakably Cain type ballad while Augeri pens another quasi-Cain style ballad BEYOND THE CLOUDS. Rock sides is better than ever particularly I love the aggressive DAMN YANKEES like wild rocker IN SELF-DEFENCE. BETTER TOGETHER has another of great tight arranged rock track. They close the album with typical Journey pop rocker NEVER TOO LATE. It's a pity only a number of lucky rock fans can ever get this well-produced album.
Verdict: Alternative vocals ploy gives the band variety.
Rating: 88 out of 100. Nearly the prime-time Journey we love.
Recommended for: Wide range of 80s pop rock fans.
IN GENERAL: For the purist looking for a "best of" compilation taken from the original soundtracks take note: this isn't that product. Rather, these are reproductions by Nic Raine conducting the City of Prague Philharmonic. That said, this is a quality group, and the general sound is professional and comes off quite well (for the most part..I'll mention a few exceptions). It is superior to the other releases I have heard from the Cincinnati Pops Orchestra.
SELECTION: The biggest advantage here is variety of sources. The Trek feature films are all represented here, as well as the various series (except for the last one, "Enterprise"). The thouroughness seems to match or excel the oher Star Trek Compilation CDs that have been released. There are a few other offbeat additions..notably a four minute suite from the videogame Star Fleet Academy. Personally, I found this bland track to be four minutes of wasted disk space. The original series has many memorable moments (listen to the Amok Time/The Doomsday Machine soundtrack) which would be be more exciting and also a better fit on this album.
Jerry Goldsmith's standard Star Trek March is heard far too often on these 2 CDs. The march itself is terrific, but it has been used so much it has become the franchise's major theme and the album's producers rely on it by representing many movies by their "End Titles". Unfortunately, Goldsmith's end titles consistently use a three-section approach: two sections of the "standard" Star Trek March sandwich a middle section of music that is unique for that particular film. This is OK if you are listening to a single movie's soundtrack, but for a compilation album, the fourth or fifth time you hear the march, it is too much. It would have been a better idea to cut a few "End Title" performances in favor of other selections from the films' soundtracks.
PERFORMANCE QUALITY: For the most part it is very good and captures the spirit of the original soundtracks. Selections from Horner's scores for the second and third films stand out as particularly well done. The last movie, "Nemesis" also has a terrifically arranged suite, and most of the movie soundtrack reproductions are very good quality. The only exception is from "Klingon Attack" in which the awesome bass of the "blaster-beam" from the original cannot be matched by the comparatively hollow synthesized atempt here.
PERSONAL GRIPE: the inclusion of sound effects. Every so often a special effect like "Warp Drive" or "Dogfight in Space" pops up between tracks. This by itself would be extremely cheesy. Add to this that these are not the actual sound effects from the TV shows or movies and the cheesiness levels reach a level I think only a Wisconsin resident could appreciate. Sci Fi music (and Star Trek in particular) seems to inspire some labels to add special effects inclusions like this. Who knows why.
Opera is missing.
This collection has music you will not find anywhere else. The Tasha's Farewell track is beautiful and the only other place its avialable is the Edel "Best of Science Fiction" compilation from 1993, and while that was recorded by the same orchestra, it was with a different conductor, and comparing the two, you can tell that Nic Raine was more successful with Prague than William Motzing was. That said Edel release is also more than $30 here on amazon. Also this release is in HDCD Dolby which is a plus. There's also two cues from Star Trek: Deep Space Nine; one of them is on The Best of Star Trek: 30th Anniversary Special, the other is not on any other album. In addition, there is music from Ron Jones "Starfleet Academy" video game which is pretty cool to listen to, and not availble anywhere else that I know of. Finally, Jerry Goldsmith's main theme can get boring after a while, I mean, its repetitive that it is in all the end credit suites, it would have been nice for Insurrection to have maybe an action cue instead of the end credits suite...And Nic Raine, did just that, only for Star Trek: Nemesis. Instead of the tradition end credit suite, Mr. Raine arranged a professional suite with the main Nemesis theme, some action cues, as well as the Goldsmith Star Trek march, and it is a wonderful 8 minutes. If you already have the 3 space and beyond albums, the Star Trek Nemesis track as well as Birds of Prey Decloaking from Star Trek III are the only new tracks on this CD.
This is a must-buy for fans of star trek in general, and hardcore star trek fans should buy this album for the aforementioned cues that aren't available anywhere else.
After Star Trek: The Motion Picture's ground breaking and intensely serious dramatic score, the other Trek filmscores slide downhill somewhat and like the films themselves became less spectacular. Goldsmith himself never even re-captured the grandness of the first film's music and it shows in this album. The playing by the orchestra is fairly competent but it suffers a bit by being a smaller ensemble and these scores need at least 90 or 100 pieces to do them justice. Also the "Blaster Beam" instrument is so integral to a couple of the scores as to be alarming by it's absence. Only Craig Huxley and Micheal Stearns still use one as they built each-other's instrument in the late seventies.
What would have rescued this album from the admittedly 'high end' of mediocrity would have been if the producers could have recorded some of the missing cues from ST-1 and ST-2 and maybe a couple of the others.
This would have made it much more valuable to soundtrack collectors and Star Trek music buffs.
What we are left with is a nicely produced somewhat 'ho-hum' in an endless series of Trek music covers...
In 2005, 4Him decided it was time to move on to other ministries. To thank their fans, they released this CD. It contains rerecordings of nine of their classic hits plus five "new" tracks.
Of course, any fan will have their own opinion of the hits rerecorded for this CD. Personally, I feel they focused too much on their middle projects THE MESSAGE and OBVIOUS. Those are my least favorite of their works, so I would have liked to see more from their earlier and later efforts. In fact, their last two CD's get no covers here, despite some great #1 singles.
Very few of these songs sound that different. The tight harmonies are still present, and any fan can sing along right from the start. Such songs as "Where There is Faith" and "Basics of Life" are stripped down from their overproduced original sound, making them feel more modern. "For Future Generations" is a still a great power ballad. While there is a steady and noticeable drum beat, the emphasis musically is on the guitar and piano, making for a simpler sound.
I was surprised by a couple choices they made with these songs. "Strange Way to Save the World" from their Christmas CD made it. That thrills me since I have always loved this reminder that Christmas makes little since when you think about it from a human point of view. This version is just as tender as the original. In fact, it may be more tender, if that's even possible. Also a pleasant surprise is "Voice of God." I've always liked this simple ballad, and the guitar focused cover makes it even better here.
Then there's the medley. Clocking in at almost eleven minutes, it's by far the longest track on the CD. It combines "The Message," "The Measure of a Man," "A Man You Would Write About," and "Why." The first two songs get sung in their entirety while the older ones only get one verse each. I could understand a medley of choruses, but why include so much of the song? I think it would have been better to include these songs as separate tracks. And I doubt it would have made the CD much longer. Plus those last two songs are two of my absolute favorite 4Him songs. But they didn't ask me.
The group recorded one new song for the project. "Unity" also features musical friends Point of Grace and Jeromy Deibler of the group FFH. Based on the title, it will be no surprise when I say the song is a call for Christians to worship God together. It's got a great upbeat feel fitting in perfect with the rest of the CD.
I had seen the writing on the wall when two of the members released solo projects in the last couple years. The CD closes with each member doing a solo track. Andy Chrisman and Mark Harris do songs from their previously released projects (hence my use of the quotes around new earlier). They are solid pop songs that will please any fan of the quartet. The last two tracks are more interesting, however. Kirk Sullivan sings "Get Down Mountain," a gospel favored song inspired by Jesus' promise that if we have faith, we can move mountains. It's not bad, but such a strong gospel sound is out of place on a 4Him CD. Finally, Marty Magehee closes things with the rock song "Runaway Train." It took me a few listens to appreciate this song (I'm not a big fan of straight up rock), but I like it.
This CD is designed as a thank you to their fans. It's got some comments about their career and a retrospective timeline.
I'm sorry to see them go. I've been a fan almost since the beginning, and some of their songs still mean a lot to me. I wish them well in their new endeavors.
While fans don't need this CD, they will enjoy it. Those not familiar with 4Him's music would probably be better served getting one of their previous best of collections or a regular album.
Before the term "boy band" became voguish, 4Him has been making splashes within the orbit of contemporary Christian music. Raking an impressive 24 number one singles, eight Dove Awards and a Grammy nomination, their family-tight harmonies over smooth adult contemporary leaning tunes have been embraced apace. However, as much as they have remained a staple of the populist Christian music, this quartet has finally called it quits after 15 years. By re-recording some of their big hits plus one new song augmented by 4 solo cuts from each member, "Encore... For Future Generations" is their swan song.
With regards to the reprisal of their big hits, albeit given a more stripped acoustic production courtesy of Michael Omartin this time, they are this CD's highlights. While many Christian artists are circumvent in their reference to Jesus, replacing the Son of God with the generic "he," 4Him has never been circumspect. On the contrary, "Basics of Life," a riveting pop ballad, issues a clarion call to have "faith that is firmly grounded in Christ" in today's society of shifting alliances. Never one to step back as a spectator in the Christian life, the chest-thumper "For Future Generations" with its anthemic feel is fetching. Though it has been over a decade old, "Strange Way to Save the World" marshals one of the best attempts in limning a heart felt melody with the mystery of Christ's redemption. Buttress by some gentle guitar licks and some declaiming tickles of the keyboard, "The Voice of God" has never been sweeter and clearer.
As far as the new tracks are concerned, the ironically titled "Unity" find the boys partnering with Point of Grace and Jeromy Geibler of FFH on a harmony laden pop ballad that ought to propel them to the top slot for the last time. The beauty of a group like 4Him, is their harmonies. Their solo cuts just don't work: Marty McGehee's "Runaway Train" being the pits. With its polished beats and an abysmal melody, this is a poor attempt to cash in on N'Sync territory. While the horn-led Kirk Sullivan's bluesy "Get Down Mountain," just does not pass muster as a Gospel number. Sullivan's somehow limited range just doesn't lend itself to tackling a gospel number. Much better are Andy Chrisman's "Debt of Gratitude" and Mark Harris' "Carry the Light," they are more in line with mainstream pop abounding with some vamping guitars on Harris' number ala Keith Urban.
After 15 years, it's hard to say farewell to such a quartet that has inspired and encouraged with so many radio hits. For the unacquainted, "Encore... For Future Generations" is an excellent place to start. And for long time fans, this disc will bring back memories as well as strong reminders of the need to live out these songs. 4Him is a rare commodity in Christian music: they are the perfect amalgamation of embracing the rich doctrine of the church and putting them into harmony-laden work that stand toe to toe with secular groups such as Backstreet Boys, Westlife and Lonestar. Regardless of time, this is a collection of voices that matter, voices that are prophetic.
Kirk's soulful voice; Andy's clear as a bell pitch; Mark's great gift as songwriter and Mr. Marty's beautiful guitar and rock-star-in-the-making vocals make for a beautiful and harmonious group. Just came from the Finale concert - please go and see them! They were FABULOUS!!! These gentlemen are the true definition of a musical group.
They will be missed. Thanks for everything guys!! We love you!!
Col. Hgts, VA
Since the majority of these songs have been previously released, this review will look at the new arrangements of the musical content and not at the lyrical content (since this has not changed). It is clearly evident that there is a musical thread that runs through the 9 tracks of #1 hits. All of these songs have been stripped down to their core and have been re-recorded with a simple rhythm section arrangement, with no programming or gimmicks. This serves both a positive and negative effect. It's positive in that the songs from 4Him's first six albums have been stripped of the lavish orchestrations present on the first release. These songs now have a harder edge to them. There is an exception to this. "Strange Way to Save the World" has lost its piano/strings ballad vibe. I was hoping for more of a lush string arrangement, or orchestral arrangement and background vocals from all four guys, not just Andy Chrisman. On the other hand, the new arrangements are not as edgy as the latter albums, so songs like "Before the River Came" and "Great Awakening" don't sound as powerful as they once did.
One of the standout tracks is the Medley, which lasts nearly eleven minutes and consists of "The Message", "The Measure of a Man", "A Man You Would Write About", and "Why". "Unity", the only new track by the group, gives diehard 4Him fans what they've been secretly longing for, and only got a sneak peak at eight years ago on a tour - a collaboration with Point of Grace. Jeromy Deibler from FFH also appears on "Unity". Each of the guys donated one of their solo tracks. This is the public's first look at Kirk's "Get Down Mountain" and Marty's "Runaway Train", the 2 tracks that completely shatter the 4Him sound. Kirk shows that he is diverse in many styles, as "Get Down Mountain" is a Black Gospel sounding track with full horn arrangement and backing choir. "Runaway Train" shows off Marty's musical theory training and production prowess, with the verses in an odd 7/8 time signature and various programming and effects tricks.
Equally as impressive as the songs is the liner notes that accompany them. The group gives a detailed look through 4Him's career, complete with timeline of accomplishments and milestones. As I listened to the opening lines of "Where There is Faith" a chill came over my body because I know that this is the last 4Him CD I will ever buy. What a way for the group to go... an outstanding farewell.
Japanese pressing of Journey's 2005 album will include an exclusive bonus track 'It's Never Too Late'. Nexus. 2005.
Generations,Journey,King,Rock,Rock/Pop
Generations [Import]
Average customer rating: 
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Generations
Bucky Pizzarelli , and John Pizzarelli Manufacturer: Arbors Records ProductGroup: Music Binding: Audio CD  General
| Jazz
| Styles
| Music
Swing General
| Swing Jazz
| Jazz
| Styles
| Music
Traditional Vocal Pop
| Broadway & Vocalists
| Styles
| Music
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ASIN: B000ND91RW Release Date: 2007-04-10 |
Tracks:
- Fred
- Polka Dots And Moon Beams
- Rose Room
- Midnight Sun
- A Sleepin' Bee
- At Sundown
- I'll Remember April
- The Second Movement Of Sonatina
- Darn That Dream
- Avalon
- Early Autumn
- Graham Avenue Stroll
- How Long Has This Been Going On
- The Way You Look Tonight
- Variation And Fugue #9 On 'La Folia'
Album Description
"An accomplished seven-strnig guitarist, John Pizzarelli garnered encyclopedic command of the pre-'60s lexicon as second guitarist on numerous gigs with his father, rhythm-guitar great Bucky Pizzarelli." - Jazziz"The members of the Pizzarelli family are a uniquely talented group whose sense of music is just as strong as their sense of family. Head of the family is legendary seven-string guitar player Bucky Pizzarelli, who performs and records frequently with acclaimed performers, sons John (guitar) and Martin (bass) ... They are a rare family-one who plays together and stays together." - ArtsPass
Jazz guitar legend Bucky Pizzarelli teams up with his multi-talented son John Pizzarelli for a special duet recording! John Pizzarelli's star power beams throughout this hard-swinging jazz CD. These two generations of jazz guitarists extraordinaire have created a musical masterpiece.
Customer Reviews:
what a treat!.......2007-07-16
Average customer rating: 
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My Big Fat Greek Wedding
Various Artists Manufacturer: Sony ProductGroup: Music Binding: Audio CD Movie Soundtracks
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ASIN: B00006AAUC Release Date: 2002-07-16 |
Tracks:
- Stalia, Stalia
- Xekina Mia Psaroboulla
- Orea Pou Ine I Nifi Mas
- Moose Caca
- Kefi In Katavia
- Secret Garden
- Yasoo
- Istanbul Coffee House (Kafe Neio)
- Time With You
- Yiayia
- Generations
- Toula And Ian
- Apples N' Oranges
- All My Only Dremas
- First Date
Amazon.com
Ask anyone who's attended one and they'll tell you: there's nothing quite as colorful--and emotionally melodramatic--as a Greek wedding. Based on Winnipeg actress-comedian Nia Vardalos's one-woman show and brought to the screen by Rita Wilson and husband Tom Hanks, the film tells (with some parallels to Moonstruck) the story of a thirtysomething Greek spinster for whom falling in love with a "Xeno" (non-Greek) is surely the easiest part of a wedding that more than lives up to its billing. The film's soundtrack perfectly captures those swirling clouds of ethnic and romantic tension. Its first half largely sets up the rich cultural atmosphere with a lively sampling of traditional Greek folk music (featuring selections by Alexandros Xenofontos, John Tsifliklis, Eman, Nick Kutsukos, Daghan Baydur, and Richard Thomas), while the score proper from Alexander Janko (with help from Chris Wilson) slyly segues from similar fare ("Moose Caca," "Yasoo," "Yiayia") to more traditional orchestral film music. That sometimes electro-pastoral, compelling music has parallels with Rachel Portman's and offers the collection a sense of emotional completion. --Jerry McCulleyCustomer Reviews:
Great disappointment on amazon's shipping method.......2007-07-07
To be honest, This is the first time i didn't manage to receive my good from E-commerce Portal. I totally didnt expect this happen from reputable Amazon.
Nonetheless. I must admit your friendly customer service, they are always willing to assist me to reprocess or the refund the marchant.
Please kindly review your shipping method. or perhaps let me know what had happened to my shipping address or my goods. so i could still have confident to make purchase on your website again.
The Greek Music-.......2006-02-10
-MICHAELA
Great flick but bad cd.......2004-04-29
http://www.cdbaby.com/cd/taki76
The Greek Music is Great.......2003-05-05
Amazingly Relaxing CD!.......2003-03-08
Average customer rating: 
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Star Trek Generations: Original Motion Picture Soundtrack
Dennis McCarthy Manufacturer: Gnp Crescendo ProductGroup: Music Binding: Audio CD Movie Scores
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ASIN: B000001P1K Release Date: 1994-12-16 |
Tracks:
- Star Trek Generations Overture
- Main Title
- The Enterprise B / Kirk Saves The Day
- Deck 15
- Time Is Running Out
- Prisoner Exchange
- Outgunned
- Out Of Control / The Crash
- Coming To Rest
- The Nexus/ A Christmas Hug
- Jumping The Ravine
- Two Captains
- The Final Fight
- Kirk's Death
- To Live Forever
- Star Trek Generations Sound Effects
Customer Reviews:
Star Trek Generations.......2007-03-30
Star Trek Generations.......2004-01-27
The Overture Is The End Titles. Why Is That? In The Middle Of
The Overture They Used Vocals Instead Of Insturments. I Call The
Song With Vocals "The Nexus". The Main Title Has Vocals Too. I
Call It "The Bottle's Journey". "Kirk Saves The Day/Enterprise B
Was Kind Of Like The Overture. "Deck 15 Was Kind Of Sad, Because
Of Kirk's Death. But He Really Didn't Die. He Was swept into The
Nexus [Energy Ribbon]. "Outgunned" Sounded Like A TV Song, So Did "Out Of Control/The Crash". "The Nexus/A Christmas Hug" Was
Wishy-Washy. I Liked The Sound Effects To.
Wonderful Soundtrack.......2003-12-19
Dennis McCarthy did it again!:).......2003-11-16
A bigger budget does not equate better quality.......2003-05-31
Unfortunately, "Generations" is a score in search of a voice. It lacks the dynamic melodies characterized by each of the preceding and subsequent soundtracks. There are no thrilling tonal structures, no fascinating rhythms.
It just lies there, going nowhere.
With the limitations of episodic television, McCarthy worked miracles for both ST: TNG and its sister show "Star Trek: Deep Space Nine".
It's a shame that McCarthy's "creative juices" didn't flow as well in his composition for the movie.
The CD is also saddled with a "sound effects library" that can only be appreciated by obsessive Trekkers.
Thank God, while a big fan, I am not one of those devotees whose passion for the show flies at warp speed.
Average customer rating:
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The Science Fiction Album
Various Artists Manufacturer: Silva America ProductGroup: Music Binding: Audio CD Movie Soundtracks
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Star Wars
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ASIN: B000066HE5 Release Date: 2005-02-08 |
Tracks:
- 2001: A Space Odyssey
- Aliens
- Sound Effect - The Nostromo
- Alien
- A.I.
- Armageddon
- Sound Effect - Apollo 13 Lift-off
- Apollo 13
- Back To The Future
- Battle Beyond The Stars
- Battlestar Galactica
- The Black Hole
- Contact
- Capricorn One
- Close Encounters of the Third Kind
- The Day The Earth Stood Still
- Dune
Tracks:
- Galaxy Quest
- Sound Effect - Dogfight in Space
- Enemy Mine
- Ghostbusters
- Gremlins
- Heavy Metal
- Independence Day
- E.T.
- Judge Dredd
- The Last Starfighter
- Lifeforce
- Sound Effect - Crash Landing
- Lost In Space
- Mars Attacks
- The Matrix
- Predator
- The Right Stuff
Tracks:
- Moonraker
- Robocop
- Silent Running
- Sound Effect - Alien Organism
- Species
- Stargate
- Starship Troopers
- Starman
- Star Trek - TV Theme
- Star Trek: The Motion Picture End Title
- Klingon Attack
- Sound Effect - Warp Drive
- Star Trek II: The Wrath of Khan
- Star Trek: Deep Space Nine
- Star Trek: Generations
- Star Trek IV: The Voyage Home
Tracks:
- Star Trek VI: The Undiscovered Country
- Sound Effect - Transporter Crew
- Star Trek: Deep Space Nine - Main Theme
- Star Trek First Contact
- Star Wars
- The Empire Strikes Back
- The Empire Strikes Back
- Return of the Jedi
- Sound Effect - Battle Stations
- Star Wars Episode 1: The Phantom Menace - The Flag Parade
- Anakin's Theme
- The Adventures of Jar Jar
- Duel of the Fates
- The Time Machine
- Things to Come
- The Thing From Another World
- War of the Worlds
- When Worlds Collide
- Total Recall
- You Only Live Twice
- Superman
Customer Reviews:
The penultimate collection ..........2006-12-07
I have always had a weak spot for (good, or maybe even intelligent) science fiction/fantasy and film music, especially its way of evoking mystery, grandure and wide open spaces. Call it a weakness if you want. But it was maybe really kick started off, for as far as I can remember, with Star Trek. But especially Star Trek II, III and IV - essentially a trilogy - because of their very romantic but very warm, human core, set on the broadest canvasses of unlimited and mysterious outer space. But then there was the music for adding that essential extra dimension of emotion and atmosphere. I am happy that much of the music on this album is from the Star Trek series and films, often equaling or sometimes even outclassing the original recordings.
This kind of music (for the movies) should be seen as an art on its own rights with its own merits and qualities. As such, the musical sequences on these CD's are a beautifully played cross section of some of the most evoking orchestral music for science fiction/fantasy film ever created. And I very much like the nicely blended, wide and deep orchestral soundpicture with enough reverberation to evoke a sense of wide open spaces.
I am quite thrilled by tracks like the evocative music from Dune, truly transporting one to the vastly sands of Arrakis (the music is wonderful, but to my great regret I think the movie itself is a flawed masterpiece at best, alas.). And then there is the very different, goofy music for Ghostbusters (memories of childhood), the spoofy but electrifying music from Mars Attacks (lovingly parodist music, this, with not a little touch of irony) and the happily adventurous, forward driving Theme from Galaxy Quest ('Never give up, never surrender!'), now also used for the internet-based fan-series Star Trek: The Hidden Frontier. On the other side of the spectrum we have the atmospheric music for Enemy Mine (an underestimated 'little' movie), the Theme from The Right Stuff (actually science FACT, not fiction, this film, just like Apollo 13, of course), the eerily attractive music for Species, the original End Title for Alien (not used in the theatrical version of the movie, where it was replaced by music from howard Hanson's Second Symphony), the exquisitely exotic music for Stargate, the sweet and warmly sympathetic, beautifully re-orchestrated, theme for Starman, the title cue for Star Trek: TOS (much more melodiously played than the original! If only a series nowadays could continue to be as thought provoking and as original as Star Trek was during its launch, fourty years ago ...) and a truly overpowering End Titles Suite from Star Trek VI: The Undiscovered Country. I especially like the thrillingly grandiloquent rendition here of the music for Star Trek II: The Wrath of Khan. And how nice it is to hear the (thematic) similarities between James Horner's music for The Wrath of Khan, his great break-through as a film music composer, and his (two years) earlier music for Battle Beyond the Stars (which did indeed help him earn the job for writing the music for Star Trek II) ...
But on the 'down side', if one is looking for - for example - the gorgeously expansively played End Titles from Cocoon, it is not included here: one has to acquire the album that 'kicked it all off', so to say, namely 'Space and Beyond', also on Silva Screen. I was very pleased also with the inclusion on that album of some of the music from the series Star Trek: The Next Generation, namely where one of the characters, Tasha Yar, in one of the episodes (Skin of Evil) is saying goodbye to her crewmmates: sweetly sentimental and simple music which I have always wanted to own on CD. I guess that a few cues from the other two sequals ('Alien Invasion: Space and Beyond II' and 'Space3: Beyond the Final Frontier') didn't make it onto this 4 CD collection-album as well, but I guess that it would be the 'better part of the bargain' to opt to buy this 'The Science Fiction Album' instead of buying all three albums separately. Well, of course it is for yourself to ultimately decide what you really want ;-)
If I were to nitpick (which is not easy with such a marvellous project as this one), then I would say that while all music is performed with magnificent grandure and with style, some of it is not performed as crisply and as technically 'on the spot' as some of the original recordings: ensemble is a little slack and the playing somewhat stilted sometimes, losing some of the edge and the originality of the writing. ET and Star Wars spring to mind, but then the soundtracks for Star Wars are traditionally recorded with the magnificent London Symphony Orchestra, conducted by maestro John Williams himself, and these superior recordings (especially the ones for Episode I, II and III) can't really be bettered, IMHO. Likewise for the music from Star Trek: The Motion Picture, I believe that in the end one really has to resort to the ultimate reference, namely the original recording (which is true in many other instances of 'original recordings'), and then the 20th anniversay colector's edition of this soundtrack on Columbia/Legacy (truly unmissable, this veritable classic of sci-fi/film music soundtracks!).
But all in all this 4CD-collection amounts to probably being the penultimate high quality sci-fi music album collection (I certainly know of no other project that comes as close quality as well as quantity wise), with some of the most memorable musical moments from classic to modern sci-fi/fantasy film captured in lavish orchestrations.
Collection-wise: five *stars*. Playing: generally four *stars*, sometimes more. The recording quality: five *stars*. The music (qualified on its own merits as film music) and its (re)orchestrations: generally five *stars*. In the end this is all highly recommended, and certainly not to be missed by science fiction and fantasy film music fans. Klaatu barada nikto.
Muisic of the Spheres.......2006-11-06
The Ulllllltimate Sci-Fi Music Collection.......2005-10-23
The moment I ripped off the shrink-wrap and popped it into my cd player was a moment of great trepidation. Believe me when I tell that I've seen my fair share of sub-par orchestral recording in my lifetime. Very often they are in those big super-packs of music, and suffer from poor direction, improper mastering, and sometime even pathetic orchestration (or worse yet have something sounding like a cheap synthesizer and a kazoo in place of a full orchestra). I needn't have worried though. This sucker is fantastic.
Many people who are not audiophiles will probably miss the point of this cd collection. It is not the original versions of the pieces. It is re-orchestrations, mostly by the phenomenal Prague Symphony Orchestra. Many of these themes didn't sound all that hot in there original versions because they were low budget films or were not recorded in high-fidelity. Here they are given the full treatment, mastered with the most loving care imaginable. Often the version found in these cds is SUPERIOR to the original.
Remember the theme from 2001: A Space Odyssey? Of course you do. But how many times have you heard a cheap imitation of the original version from the movie, starting too low in volume and ending too high (and missing the essential pipe-organ that gives it that extra oomph)? Well, this first track in the entire collection is not only everything it should be instrumental and timing-wise, but it also has been oh-so-carefully adjusted during the mastering process so that at no time is the music either too low or too high in volume (surely a benchmark for every other recording ever to be made of the piece).
Or what about the theme from the (at-the-time) uber-creepy The Black Hole? The orchestration of this piece of music goes from tiumphant to terrifying and back again, with a splendor and cleanness that I CERTAINLY don't remember being in the original recording.
Then there's the new version of the theme from Independence Day, complete with a violin solo, a far more electrifying ending climax, and a chorus so thunderous that you feel like applauding at the end. Simply indescribable. Kind of like the MIND-BLOWING rendition of the theme from The Last Star Fighter. This has been one of my favorite themes for a long time now, but I've never heard it played like this. I think the original version of the theme is something like 1 minute long, but this new version doesn't just fade out (HAHAHAHA!!!!) THIS version is THREE minutes long, goes through the main theme THREE times, with the final strains being so triumphant and joyous I could not help but feel an electrifying charge the first dozen or so times (come to think of it, I still feel that way). This is superior to the original in EVERY way. AWESOME.
And let's not forget the incredible new rendition of Stargate with it's heavy use of clarinets (for Egyptian effect!) and a triumphant new ending (completely lacking the chanting from the original version. This version is so different that for the first minute it is very hard to tell that it is in fact Stargate. But then the main theme kicks in, and then you get this incredible flute solo for my favorite part of theme (the whole thing is played slower, but arguably more powerfully than the original). My goodness. At first I found the thing so different I didn't like it. But then I listened to it again. And again. And again.
I could go on and on, talking about the fantastic new rendition of Moon Raker, the ear-popping Battlestar Galactica, the classic Star Trek (First Contact has a minute or two of the theme from Star Trek:The Motion Picture before going into the main theme), or the sweet renditions of music from the Star Wars movies (or the music from E.T.).
I have to mention though that this collection was not picked based merely on what people want, or on what is popular. No, the people who made it obviously thought a GOOD music collection was better than a popular one. That's why you get a heartbreakingly beautiful theme from A.I. instead of the main theme. It's why you get music from movies that you probably never gave a second thought to the music (because the movie was lousy). It's why you get Armageddon, Judge Dredd, and Robocop (who would have guessed their music was so COOL when there was all that crazy action and bad-acting going on on-screen).
I said it before and I'll say it again. This cd-set was mastered with tender-loving-care, and it shows BIG-TIME. High-fidelity the likes of which I have not seen since the days when cds were brand-new in the world. Dolby Surround. Perfectly balanced. BEAUTIUFL orchestrations. About the only thing that makes me scratch my head is the weird sound-effect tracks (Oooookay.....). Other than that, it's PERFECT. Obviously they could not include every sci-fi theme ever (no one can), but this collection is REALLY GOOD. A lot of great themes that got away (forgotten gems :), new versions of old favorites, and under-appreciated classics aplenty, but ALWAYS the full and complete versions with nothing cut-out (the theme from Dune is quite extended).
If you love movie music (and sci-fi movie music in particular) you MUST buy this awesome collection). It is not the original recordings. Almost always the new ones are better (if they aren't better they're just equal). This is what you have been waiting for. I for one am going to be buying quite a few cds from this company in the future. Give your ears the treat they deserve. Buy it NOW.
SciFi Album gift.......2005-07-20
Away From to be a Collectible Peace.......2004-12-16
Average customer rating:
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W.C. Handy's Memphis Blues Band
W.C. Handy Manufacturer: Memphis Archives ProductGroup: Music Binding: Audio CD General
| Blues
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Traditional Blues
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ASIN: B000003UE3 Release Date: 1994-06-28 |
Tracks:
- Fuzzy Wuzzy Rag
- Snakey Blues
- Ole Miss Rag
- That Jazz Dance
- The Old Town Pump
- Moonlight Blues
- Hooking Cow Blues
- Bunch O Blues
- Sweet Child
- Livery Stable Blues
- St. Louis Blues
- Yellow Dog Blues
- Muscle Shoals Blues
- She's A Mean Job Blues
- Gulf Coast Blues
- Farewell Blues
Album Description
William Christopher Handy "The Father of the Blues," was born in Florence, Alabama, on November 16, 1873. As a young boy, Handy had an almost insatiable desire to learn more about music. While the Florence Concert Band practiced inside the local barber shop, Handy would peek through the windows and play his cornet, along with the help of a fingering chart displayed on a blackboard. In 1893, he organized a vocal quartet and travelled to Chicago, St.Louis and Evansville, Indiana, ending up in Henderson, Kentucky, where he joined Mahara's Colored Minstrels. Handy stayed on the road for the next seven years, save two years spent at A&M College in Huntsville, Alabama, where he taught music. The year 1903 found W.C.Handy leading the "Knights of Pythias" Band in Clarksdale, Mississippi. One afternoon in Tutwiler, Mississippi, he heard an itinerant musician playing a guitar with a knife blade and singing "Going where the Southern Crosses the Yellow Dog." (The Southern and The Yellow Dog were railroad lines). Handy made a particular mental note of the singer and his unique songs and style and moved to Memphis. Trying to keep in step with the demand for music in Memphis, Handy organized his own band to compete for the more lucrative jobs in a burgeoning musical community. There was, however, stiff competition with the likes of Eckford and Higgins' Imperial Orchestra and Bynum's Superb Orchestra. The mayoral race in 1909 saw a ticket with three candidates and three bands. Handy and his band were hired by the Crump campaign to draw and entertain the crowd's (E.H.Crump had a huge political machine that ran Memphis for most of the first half of the twentieth century). Handy turned to the blues form, and to that itinerant street musician for his composition "Mister Crump" (this song would later be retitled "The Memphis Blues." In 1913, Theron Bennett, a Denver publisher, reissued "The Memphis Blus" with lyrics added by George A.Norton. The song was a huge success, however, Handy was misled by Bennett and Phillips into thinking the song has flopped and, consequently, sold the copyright for $50.00. Undaunted, Handy went back to writing and produced "St.Louis Blues" in 1914, a song which has been one of the most recorded songs in history and has been hailed as the "National Anthem of the Blues." In September of 1917, Handy, along with four band members from Memphis, made the trip to Chicago. There, Handy acquired 4 Chicago musicians and 4 others who had previously played under his direction. With the band assembled, Handy's Orchestra of Memphis headed to New York to make their first recordings. For the first time in over three quarters of a century the recordings of W.C.Handy have been preserved and are available from Memphis Archives in this unique collection.---Richard James Hite
Customer Reviews:
Solid introduction to W. C. Handy's work.......2007-06-13
The recording quality varies from poor to adequate. Many of the cuts are very scratchy but on a par with the technology of the time period. The various works were recorded between 1917 and 1923.
Some illustrations: "Moonlight Blue" is played at a more stately pace. There is an orchestra of 12 persons (plus Handy as Conductor and Coronet player). The resulting sound is distinctively Handy's. No vocals. There is some nice piano playing (apparently by Charles Hillman).
"St. Louis Blues"--the musicians are unknown (except for Handy). The tune begins with some bawdy brass and the song is taken at a quick pace. It is, in effect, most infectious. Overall, the playing is pretty crisp, although is sounded to me like things got a little loose toward the middle. Nonetheless, a lot of fun to listen to, scratchy sound and acoustic technology notwithstanding.
"Yellow Dog Blues" is another sprightly paced tune. After listening to a number of cuts, one can begin to pick up what might be called the W. C. Handy "sound."
Finally, "Muscle Shoal Blues." Again, an infectious tune, well played.
This represents a useful beginning to the work of W. C. Handy. This is the first CD I have ever heard of his work, so I can't say how it compared with any other recordings. But it seems, to me, like a very nice introduction to his body of work.
handy beginnings.......2007-05-14
Peter B. Lowry
Ragtime to jazz.......2004-10-15
Irreplaceable History, And Fun Old Music.......2000-04-08
First became aware that W.C.Handy had recorded these "big band" sides when I saw the original entry in a Columbia Records catalog from 1918. All of the sides that he recorded then are featured on this CD, plus some he recorded in the early 1920's (for another label).
Sadly, the original masters were not used - commercial copies of uneven quality were the only source material available. Considering that, this reissue is nicely done, but be advised of the scratches and wear noises.
Though I could wish for better sound quality, I am well pleased with the fact that these indespensible ragtime orchestra sides are available once again.
Average customer rating:
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Generations
Gary Burton Manufacturer: Concord Records ProductGroup: Music Binding: Audio CD Bebop General
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| Jazz
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ASIN: B0001LYH0M Release Date: 2004-04-13 |
Tracks:
- First Impression
- Early
- Gorgeous
- Wheatland
- Take Another Look
- Syndrome
- Test Of Time
- The Title Will Follow
- Ladies In Mercedes
- Heroes Sin Nombre
Amazon.com
Since he emerged with his own bands in the 1960s, Gary Burton has delighted in the interplay between vibes and guitar. His previous guitar foils include Larry Coryell, Pat Metheny, and John Scofield. Generations boasts the presence of 16-year-old guitarist Julian Lage, a high school sophomore, not yet a licensed driver, who has miraculously absorbed the stylings of Jim Hall and emerged, even at this young age, as a player with his own voice. With longtime collaborator Makoto Ozone on board as pianist, and a rhythm section of drummer Clarence Penn and bassist James Genus, the quintet evokes the feel of Burton's 1970s ECM recordings. This also owes something to Burton's choice of material, including as it does Steve Swallow's "Ladies in Mercedes," Carla Bley's "Syndrome," and Metheny's "Take Another Look." Lage also shows himself to be an impressively fluid composer, providing three numbers that range from the playful "First Impression" to the loping classicism of "Early." --David GreenbergerCustomer Reviews:
Feelgood story but little to listen to........2006-01-26
But to be perfectly honest, if you were to do a blind "taste test" of this album - not knowing that it was Burton playing vibes, Ozone playing keys, and a teenager not old enough to drive playing guitar - you would probably come away with little reason to listen again. There are a few notable compositions by the likes of Metheny, Mitch Foreman, and Oscar Peterson, but the arrangements are somewhat uninspired, at least by the GB standards I'm used to. Lage, the young guitar prodigy, contributes three originals and although any composition by someone so young worthy of being recited by GB is remarkable, they leave me wondering how young Pat Metheny was when he wrote Unity Village or Bright Size Life.
I know it's not fair to compare young Lage to an iconic Metheny, but for me music is all about enjoying what I'm listening to, not feelgood sub-plots or story lines. I must admit that it is somewhat fascinating to listen to a young teenager play an otherwise excellent jazz guitar along side GB, but take away that knowledge and the music left to stand by itself becomes somewhat underwhelming.
This CD is worth owning purely for the posterity value of what one day may become the next Jim Hall, but if you just want to hear great jazz music by GB, the honest truth is you'd be more satisfied with something like Face To Face or Like Minds, etc.
This CD still gets a positive rating of 3 stars because GB can do no wrong. I just won't be listening to it as much as I will his other releases.
Fresh jazz guitar.......2004-12-25
A future classic!.......2004-05-25
The cure for pretension.......2004-04-16
What we have here is an old-fashioned (though filtered through ever-new and revivified playing) jazz debut of a new player with monster chops. Fourteen years old at the time of this recording, still in high school, for pity's sake, Jason Lage has all the makings of the Next Big Thing as far as jazz guitarists go. Frankly, these prognostications don't always work: Today's new phenom becomes tomorrow's forgotten journeyman. I don't think that's going to happen here. Julian Lage just has too much presence and maturity to fade away.
Anyway, I'm not as much concerned about his future as I am taken by his present--a developing jazz guitar and compositional voice of surprising depth and wisdom. Of course, it doesn't hurt to have on board such stellar players as Mokoto Ozone (piano), James Genus (bass), and Clarence Penn (drums), plus absolute top-drawer vibes player, Gary Burton. Still, he stamps these rarified proceedings with a clarity of concept that should endear him to all but the most hardened and cynical jazz fan.
A student of the great Jim Hall, Lage has absorbed a good deal of the master's genius without sounding much like him at all. For example, he has a much more aggressive attack, and his playing bears a more clearly emotional stamp; that is to say, it's less cerebral and intellectual and more heartfelt.
Pairing him with Gary Burton (not to mention this killer rhythm section) was a stoke of genius. Relieved of bearing the entire frontline solo weight himself, in company with one of the most brilliant and seasoned players around, it's as if he's free to explore whatever ideas and concepts come to mind. Plus, he's a pretty killer doubler and comper.
Very tasty, and entirely worth checking out.
Average customer rating: 
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Generations
Journey Manufacturer: Sanctuary Records ProductGroup: Music Binding: Audio CD General
| Alternative Rock
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General
| Pop
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Pop Rock
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ASIN: B000B5XZSS Release Date: 2005-10-04 |
Tracks:
- Faith in the Heartland
- Place in Your Heart
- Better Life
- Every Generation
- Butterfly (She Flies Alone)
- Believe
- Knowing That You Love Me
- Out of Harms Way
- In Self Defense
- Better Together
- Gone Crazy
- Beyond the Clouds
- Never Too Late [Remix Version]
- Generations EPK [CD-ROM Track][*][Multimedia Track]
Customer Reviews:
No Steve Perry! It's not Journey.......2007-07-12
Truly excellent music.......2007-01-11
Not My Generation.......2006-10-25
New Frontier.......2006-10-21
FAITH IN THE HEARTLAND is a prime time Journey rock anthem sounding close to TO TAME A LION in Trial By Fire album. THE PLACE IN YOUR HEART is again a Journey anthem. A BETTER LIFE introduces drummer Dean Castronovo as lead vocalist. One of the best tracks. In EVERY GENERATION Jonathan Cain takes the lead. BUTTERFLY is melancholic yet superb ballad surprisingly penned not by Jonathan Cain but Steve Augeri. KNOWING THAT YOU LOVE ME is unmistakably Cain type ballad while Augeri pens another quasi-Cain style ballad BEYOND THE CLOUDS. Rock sides is better than ever particularly I love the aggressive DAMN YANKEES like wild rocker IN SELF-DEFENCE. BETTER TOGETHER has another of great tight arranged rock track. They close the album with typical Journey pop rocker NEVER TOO LATE. It's a pity only a number of lucky rock fans can ever get this well-produced album.
Verdict: Alternative vocals ploy gives the band variety.
Rating: 88 out of 100. Nearly the prime-time Journey we love.
Recommended for: Wide range of 80s pop rock fans.
Too many Lead Vocalists!!.......2006-07-12
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The Star Trek Album
Various Artists Manufacturer: Silva America ProductGroup: Music Binding: Audio CD Movie Scores
| Soundtracks
| Styles
| Music
Movie Soundtracks
| Soundtracks
| Styles
| Music
Star Trek
| Soundtracks
| Styles
| Music
General
| Soundtracks
| Styles
| Music
Similar Items:
ASIN: B0000DJYNZ Release Date: 2003-11-11 |
Tracks:
- Theme (TV Series)
- End Titles (The Motion Picture)
- Klingon Attack (The Motion Picture)
- Warp Drive (Sound Effect)
- Overture (The Wrath Of Khan)
- Bird Of Prey Decloaks (The Search For Spock)
- End Titles (The Voyage Home)
- Away Team (Sound Effect)
- End Titles (First Contact)
- Tasha's Farewell (The Next Generation)
- Theme (Deep Space Nine)
- He's Toast (Deep Space Nine)
- End Titles (The Final Frontier)
Tracks:
- End Titles (The Undiscovered Country)
- Theme (Voyager)
- Battle Stations (Sound Effect)
- Overture (Generations)
- One Last Visit (Deep Space Nine)
- End Titles (Insurrection)
- Dogfight In Space (Sound Effect)
- The Menagerie (The TV Series)
- Opening (Star Fleet Academy)
- Crash Landing (Sound Effect)
- Suite (Nemesis)
Customer Reviews:
Quite good, but not a stellar "Trek".......2007-05-18
IN GENERAL: For the purist looking for a "best of" compilation taken from the original soundtracks take note: this isn't that product. Rather, these are reproductions by Nic Raine conducting the City of Prague Philharmonic. That said, this is a quality group, and the general sound is professional and comes off quite well (for the most part..I'll mention a few exceptions). It is superior to the other releases I have heard from the Cincinnati Pops Orchestra.
SELECTION: The biggest advantage here is variety of sources. The Trek feature films are all represented here, as well as the various series (except for the last one, "Enterprise"). The thouroughness seems to match or excel the oher Star Trek Compilation CDs that have been released. There are a few other offbeat additions..notably a four minute suite from the videogame Star Fleet Academy. Personally, I found this bland track to be four minutes of wasted disk space. The original series has many memorable moments (listen to the Amok Time/The Doomsday Machine soundtrack) which would be be more exciting and also a better fit on this album.
Jerry Goldsmith's standard Star Trek March is heard far too often on these 2 CDs. The march itself is terrific, but it has been used so much it has become the franchise's major theme and the album's producers rely on it by representing many movies by their "End Titles". Unfortunately, Goldsmith's end titles consistently use a three-section approach: two sections of the "standard" Star Trek March sandwich a middle section of music that is unique for that particular film. This is OK if you are listening to a single movie's soundtrack, but for a compilation album, the fourth or fifth time you hear the march, it is too much. It would have been a better idea to cut a few "End Title" performances in favor of other selections from the films' soundtracks.
PERFORMANCE QUALITY: For the most part it is very good and captures the spirit of the original soundtracks. Selections from Horner's scores for the second and third films stand out as particularly well done. The last movie, "Nemesis" also has a terrifically arranged suite, and most of the movie soundtrack reproductions are very good quality. The only exception is from "Klingon Attack" in which the awesome bass of the "blaster-beam" from the original cannot be matched by the comparatively hollow synthesized atempt here.
PERSONAL GRIPE: the inclusion of sound effects. Every so often a special effect like "Warp Drive" or "Dogfight in Space" pops up between tracks. This by itself would be extremely cheesy. Add to this that these are not the actual sound effects from the TV shows or movies and the cheesiness levels reach a level I think only a Wisconsin resident could appreciate. Sci Fi music (and Star Trek in particular) seems to inspire some labels to add special effects inclusions like this. Who knows why.
Love The Soundtrack.......2007-04-03
Best ST recording in the Alpha Quadrant.......2007-01-10
Opera is missing.
I must disagree.......2005-07-17
This collection has music you will not find anywhere else. The Tasha's Farewell track is beautiful and the only other place its avialable is the Edel "Best of Science Fiction" compilation from 1993, and while that was recorded by the same orchestra, it was with a different conductor, and comparing the two, you can tell that Nic Raine was more successful with Prague than William Motzing was. That said Edel release is also more than $30 here on amazon. Also this release is in HDCD Dolby which is a plus. There's also two cues from Star Trek: Deep Space Nine; one of them is on The Best of Star Trek: 30th Anniversary Special, the other is not on any other album. In addition, there is music from Ron Jones "Starfleet Academy" video game which is pretty cool to listen to, and not availble anywhere else that I know of. Finally, Jerry Goldsmith's main theme can get boring after a while, I mean, its repetitive that it is in all the end credit suites, it would have been nice for Insurrection to have maybe an action cue instead of the end credits suite...And Nic Raine, did just that, only for Star Trek: Nemesis. Instead of the tradition end credit suite, Mr. Raine arranged a professional suite with the main Nemesis theme, some action cues, as well as the Goldsmith Star Trek march, and it is a wonderful 8 minutes. If you already have the 3 space and beyond albums, the Star Trek Nemesis track as well as Birds of Prey Decloaking from Star Trek III are the only new tracks on this CD.
This is a must-buy for fans of star trek in general, and hardcore star trek fans should buy this album for the aforementioned cues that aren't available anywhere else.
Middle-Trek.......2005-01-13
After Star Trek: The Motion Picture's ground breaking and intensely serious dramatic score, the other Trek filmscores slide downhill somewhat and like the films themselves became less spectacular. Goldsmith himself never even re-captured the grandness of the first film's music and it shows in this album. The playing by the orchestra is fairly competent but it suffers a bit by being a smaller ensemble and these scores need at least 90 or 100 pieces to do them justice. Also the "Blaster Beam" instrument is so integral to a couple of the scores as to be alarming by it's absence. Only Craig Huxley and Micheal Stearns still use one as they built each-other's instrument in the late seventies.
What would have rescued this album from the admittedly 'high end' of mediocrity would have been if the producers could have recorded some of the missing cues from ST-1 and ST-2 and maybe a couple of the others.
This would have made it much more valuable to soundtrack collectors and Star Trek music buffs.
What we are left with is a nicely produced somewhat 'ho-hum' in an endless series of Trek music covers...
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Encore: for Future Generations
4Him Manufacturer: Integrity Music/INO ProductGroup: Music Binding: Audio CD General
| Christian & Gospel
| Styles
| Music
Gospel
| Christian & Gospel
| Styles
| Music
Christian Contemporary Music
| Christian & Gospel
| Styles
| Music
Praise & Worship
| Christian & Gospel
| Styles
| Music
General
| Miscellaneous
| Styles
| Music
Similar Items:
ASIN: B000E3K4C2 Release Date: 2005-11-22 |
Tracks:
- Where There Is Faith
- Before the River Came
- Basics of Life
- Center of the Mark
- Unity (We Stand)
- For Future Generations
- Strange Way to Save the World
- Great Awakening
- Voice of God
- Medley: The Message/The Measure of a Man/A Man You Would Write About
- Debt of Gratitude
- Carry the Light
- Get Down Mountain
- Runaway Train
Customer Reviews:
4Him's Swan Song.......2006-05-25
In 2005, 4Him decided it was time to move on to other ministries. To thank their fans, they released this CD. It contains rerecordings of nine of their classic hits plus five "new" tracks.
Of course, any fan will have their own opinion of the hits rerecorded for this CD. Personally, I feel they focused too much on their middle projects THE MESSAGE and OBVIOUS. Those are my least favorite of their works, so I would have liked to see more from their earlier and later efforts. In fact, their last two CD's get no covers here, despite some great #1 singles.
Very few of these songs sound that different. The tight harmonies are still present, and any fan can sing along right from the start. Such songs as "Where There is Faith" and "Basics of Life" are stripped down from their overproduced original sound, making them feel more modern. "For Future Generations" is a still a great power ballad. While there is a steady and noticeable drum beat, the emphasis musically is on the guitar and piano, making for a simpler sound.
I was surprised by a couple choices they made with these songs. "Strange Way to Save the World" from their Christmas CD made it. That thrills me since I have always loved this reminder that Christmas makes little since when you think about it from a human point of view. This version is just as tender as the original. In fact, it may be more tender, if that's even possible. Also a pleasant surprise is "Voice of God." I've always liked this simple ballad, and the guitar focused cover makes it even better here.
Then there's the medley. Clocking in at almost eleven minutes, it's by far the longest track on the CD. It combines "The Message," "The Measure of a Man," "A Man You Would Write About," and "Why." The first two songs get sung in their entirety while the older ones only get one verse each. I could understand a medley of choruses, but why include so much of the song? I think it would have been better to include these songs as separate tracks. And I doubt it would have made the CD much longer. Plus those last two songs are two of my absolute favorite 4Him songs. But they didn't ask me.
The group recorded one new song for the project. "Unity" also features musical friends Point of Grace and Jeromy Deibler of the group FFH. Based on the title, it will be no surprise when I say the song is a call for Christians to worship God together. It's got a great upbeat feel fitting in perfect with the rest of the CD.
I had seen the writing on the wall when two of the members released solo projects in the last couple years. The CD closes with each member doing a solo track. Andy Chrisman and Mark Harris do songs from their previously released projects (hence my use of the quotes around new earlier). They are solid pop songs that will please any fan of the quartet. The last two tracks are more interesting, however. Kirk Sullivan sings "Get Down Mountain," a gospel favored song inspired by Jesus' promise that if we have faith, we can move mountains. It's not bad, but such a strong gospel sound is out of place on a 4Him CD. Finally, Marty Magehee closes things with the rock song "Runaway Train." It took me a few listens to appreciate this song (I'm not a big fan of straight up rock), but I like it.
This CD is designed as a thank you to their fans. It's got some comments about their career and a retrospective timeline.
I'm sorry to see them go. I've been a fan almost since the beginning, and some of their songs still mean a lot to me. I wish them well in their new endeavors.
While fans don't need this CD, they will enjoy it. Those not familiar with 4Him's music would probably be better served getting one of their previous best of collections or a regular album.
4Him's Prophetic and Heartwarming "Encore" .......2006-04-20
Before the term "boy band" became voguish, 4Him has been making splashes within the orbit of contemporary Christian music. Raking an impressive 24 number one singles, eight Dove Awards and a Grammy nomination, their family-tight harmonies over smooth adult contemporary leaning tunes have been embraced apace. However, as much as they have remained a staple of the populist Christian music, this quartet has finally called it quits after 15 years. By re-recording some of their big hits plus one new song augmented by 4 solo cuts from each member, "Encore... For Future Generations" is their swan song.
With regards to the reprisal of their big hits, albeit given a more stripped acoustic production courtesy of Michael Omartin this time, they are this CD's highlights. While many Christian artists are circumvent in their reference to Jesus, replacing the Son of God with the generic "he," 4Him has never been circumspect. On the contrary, "Basics of Life," a riveting pop ballad, issues a clarion call to have "faith that is firmly grounded in Christ" in today's society of shifting alliances. Never one to step back as a spectator in the Christian life, the chest-thumper "For Future Generations" with its anthemic feel is fetching. Though it has been over a decade old, "Strange Way to Save the World" marshals one of the best attempts in limning a heart felt melody with the mystery of Christ's redemption. Buttress by some gentle guitar licks and some declaiming tickles of the keyboard, "The Voice of God" has never been sweeter and clearer.
As far as the new tracks are concerned, the ironically titled "Unity" find the boys partnering with Point of Grace and Jeromy Geibler of FFH on a harmony laden pop ballad that ought to propel them to the top slot for the last time. The beauty of a group like 4Him, is their harmonies. Their solo cuts just don't work: Marty McGehee's "Runaway Train" being the pits. With its polished beats and an abysmal melody, this is a poor attempt to cash in on N'Sync territory. While the horn-led Kirk Sullivan's bluesy "Get Down Mountain," just does not pass muster as a Gospel number. Sullivan's somehow limited range just doesn't lend itself to tackling a gospel number. Much better are Andy Chrisman's "Debt of Gratitude" and Mark Harris' "Carry the Light," they are more in line with mainstream pop abounding with some vamping guitars on Harris' number ala Keith Urban.
After 15 years, it's hard to say farewell to such a quartet that has inspired and encouraged with so many radio hits. For the unacquainted, "Encore... For Future Generations" is an excellent place to start. And for long time fans, this disc will bring back memories as well as strong reminders of the need to live out these songs. 4Him is a rare commodity in Christian music: they are the perfect amalgamation of embracing the rich doctrine of the church and putting them into harmony-laden work that stand toe to toe with secular groups such as Backstreet Boys, Westlife and Lonestar. Regardless of time, this is a collection of voices that matter, voices that are prophetic.
Don't Go!! Please Stay!!.......2006-03-19
Kirk's soulful voice; Andy's clear as a bell pitch; Mark's great gift as songwriter and Mr. Marty's beautiful guitar and rock-star-in-the-making vocals make for a beautiful and harmonious group. Just came from the Finale concert - please go and see them! They were FABULOUS!!! These gentlemen are the true definition of a musical group.
They will be missed. Thanks for everything guys!! We love you!!
Col. Hgts, VA
A Fitting Farewell.......2006-01-25
Since the majority of these songs have been previously released, this review will look at the new arrangements of the musical content and not at the lyrical content (since this has not changed). It is clearly evident that there is a musical thread that runs through the 9 tracks of #1 hits. All of these songs have been stripped down to their core and have been re-recorded with a simple rhythm section arrangement, with no programming or gimmicks. This serves both a positive and negative effect. It's positive in that the songs from 4Him's first six albums have been stripped of the lavish orchestrations present on the first release. These songs now have a harder edge to them. There is an exception to this. "Strange Way to Save the World" has lost its piano/strings ballad vibe. I was hoping for more of a lush string arrangement, or orchestral arrangement and background vocals from all four guys, not just Andy Chrisman. On the other hand, the new arrangements are not as edgy as the latter albums, so songs like "Before the River Came" and "Great Awakening" don't sound as powerful as they once did.
One of the standout tracks is the Medley, which lasts nearly eleven minutes and consists of "The Message", "The Measure of a Man", "A Man You Would Write About", and "Why". "Unity", the only new track by the group, gives diehard 4Him fans what they've been secretly longing for, and only got a sneak peak at eight years ago on a tour - a collaboration with Point of Grace. Jeromy Deibler from FFH also appears on "Unity". Each of the guys donated one of their solo tracks. This is the public's first look at Kirk's "Get Down Mountain" and Marty's "Runaway Train", the 2 tracks that completely shatter the 4Him sound. Kirk shows that he is diverse in many styles, as "Get Down Mountain" is a Black Gospel sounding track with full horn arrangement and backing choir. "Runaway Train" shows off Marty's musical theory training and production prowess, with the verses in an odd 7/8 time signature and various programming and effects tricks.
Equally as impressive as the songs is the liner notes that accompany them. The group gives a detailed look through 4Him's career, complete with timeline of accomplishments and milestones. As I listened to the opening lines of "Where There is Faith" a chill came over my body because I know that this is the last 4Him CD I will ever buy. What a way for the group to go... an outstanding farewell.
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Am Gold: 60's Generation
Various Artists Manufacturer: Time Life Music ProductGroup: Music Binding: Audio CD General
| Compilations
| Rock
| Styles
| Music
Similar Items:
ASIN: B000B74W4M Release Date: 2004-02-23 |
Product Description
22 TRACKS!!!Customer Reviews:
'AM Gold: The '60's Generation' (Time Life Music) Various Artists.......2006-10-10
Full tracks.......2006-01-04
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