| 1. Conscience |
| 2. Justice |
| 3. Gun or God |
| 4. My Type of Girl |
| 5. Strange Things |
| 6. Vineyard |
| 7. I Can Make a Difference |
| 8. Far East |
| 9. Chant Rastafari |
| 10. Strange Things (Remix) |
| 11. Justice (Remix) |
| 12. My Type of Girl (Remix) |
| 13. Chant Rastafari (Remix) |
Editorial Reviews
About the Artist
Benny Culture began performing when he was 15. His consciousness lyrics and unique chanting style captivated and excited audiences immediately. Since then, his philosophy has deepened and his music has matured, in the roots reggae tradition, while his following has continued to grow, especially around his boyhood home in Port Antonio on the island's Northeast coast. He has performed his thought-provoking, yet humor-filled original songs in the more sophisticated, urban Kingston setting, as well, and on Jamaican radio. He has produced dub plate recordings for sound systems in Jamaica, Britain, and Europe.
Buy this CD, its a great deal.
This band has a strong metal influence in their music, with leads in tracks like "One Step Away", plus, there's a semi-ballad in the beginning of the track "My Desire". Another thing I noticed about this band is that they can execute breakdowns perfectly and when they are needed. Listen to the intro to "My Heart Bleeds No Longer". Great, isn't it? The vocals, well, it takes a matter of getting used to. True, Trevor Phipps isn't the greatest vocalist of all time, but with excellent musicmanship on this CD, why does it matter?
I am happy to have this CD in my collection. It's a different sound from the Unearth you're familiar with today, but it's a refresher from most of the music out there today.
Fav songs: One Step Away, Stings of Conscience, My Desire.
So just buy it already, and get ready to be annihilated.
Don't get me wrong, `Unearth' is a very talented band instrumentally, guitarists Buz McGrath and Ken Susi are very gifted with the guitar and you can tell they took the time on writing the songs... but ultimately it really gets boring after awhile. Mike Rudberg is truly an excellent drummer and his abilities really shine on this release, he is one of the more solid members in the band for this album. Bassist Chris Rybicki does his part, but that's about it, he never pulls himself in front of the guitars more than a couple times; which is typically him sliding notes.
Now, Trevor Phipps the vocalists... some great things can come from this man but also some terrible things. His lyrics are simply great and sometimes very inspiring. When reading them I rarely found myself lost or confused in his thoughts, as for the most part he is very straight forward. But what was most unsatisfying was his vocal abilites... his screams seem very held back and almost as though he was sick during the recording process. They in fact get really annoying to listen to and have absolutely no appeal on me. Maybe there is a reason why the instruments were over powering him throughout the album.
This album defiantly does have some memorable moments that stand out. This includes the intro/bridge breakdown of "My Heart Bleeds No Longer", which before the bridge Trevor yells "I know so many who would want to see you burn!" which goes along with the lyrics about someone or a group looking up to or following someone only to realize you've been betrayed by their lies and schemes. My personal favorite of the album "One Step Away" features very inspiring lyrics about how we have only one life and we need to get out there and live it, not to mention the incredible breakdown/chant at the end - "ONE STEP AWAY!" - which is the most memorable part of the album, and really great to see live.
This release could have had something, if they would have taken the time to really make each song sound completely different and be a little experimental. The talent shines but it grows tiring to listen to, and before I know it I'm actually sitting there getting bored. Hopefully with some maturity in the vocals, the powerful lyrics will be able to be listened to better! Which has happened on their latest release "The Oncoming Storm", so go out and pick that album up first, and if you really like that let a friend let you borrow this album. Unearth sits itself on the sideline bench with the rest of the typical and boring metalcore bands. While they seem to be getting very popular, almost `mainstream' (touring with Slipknot), they won't be getting off the bench anytime soon on my music field.
To all those who are with me on this review u are legonds and please read on.This album makes u want to smash every little thing in ur room and when the album finishes ull think what the hell have i done!Also if u listen to it every day ur speakers dont last.This band can not produce a very bad song there are some better than others but on this album the more you listen to the songs the more you like them.The guitarists work beautifuly together,the singing goes perfectly with the music,the druming is fast and really gives the songs effect and the bassist well he just plays.This is the best UNEARTH album in my opinion but is followed closly by The Oncoming Storm.The best tracks on here are:
>ONE STEP AWAY
>ONLY THE PEOPLE
>MOTION
I recomend this album to any metal head and i hope this review helpful to you.
\m/\m/
If Majek Fashek displayed genius in his debut album, in the BEST OF MAJEK FASHEK, rallying fellow Africans and Americans from sleep on the first track SO LONG TOO LONG, he is more mature, more original. We know of the talking drum in Nigeria's native Juju and Fuji music genres. But in reggae? Majek employs it beautifully, brilliantly, providing through it the gentle rocking percussion that starts out and steers a song like JAH PEOPLE. The talking drum also supplies the thunder and sense of urgency in the apocalyptic SODDOM AND GOMORRAH, where a frenzied Majek proclaims, "The end of the world is Armageddon!" - pronouncing it Arma-g-i-d-e-o-n. And if Majek's tone was somewhat controlled or constrained in PRISONER OF CONSCIENCE, in BEST OF MAJEK FASHEK he is more expressive, less inhibited; more of his old playful self, rowing through the rain and singing lustfully amidst a boat-load of kids in the video of MOTHER.
For some time Majek has been off the scene, sorting out some personal and professional problems, we hear. But now he's back. And as if sensing the anticipation that has attended the release of his next album - especially that of we fans who have closely followed his evolution through the years - Majek has named his latest effort LITTLE PATIENCE. How apt. I can't wait to get my hands on a copy of the CD.
This CD, "Prisoner of Conscience" is Majek's first solo album. Itis fair to say that it has become a hard-to-find reggae classic like 'Harder they come' by Jimmy Cliff and others. Every track is great, for such a young relatively unexposed musician at that time. The first track is the famous hit, `Send down the rain" which took Nigeria by storm when it was released in 1988. According to current myth and the popular belief of the day, there was a deadly drought sweeping northern Nigeria that year. After the release of the record, rains came down and the drought ended. As you can see for yourself by listening to any track on this CD, he is a great singer - but not just that, this is a multi-talented musician and visionary. His musical influences, and self proclaimed heroes, are Bob Marley, for his lyrics and spiritual leaning towards Rastafarianism, Fela Anikulakpo-Kuti for his horns and political activism for the black man's redemption, and the late great Jimi Hendrix for his guitar mastery.
Other great tracks on this CD include 'Police Brutality' and 'Prisoner of Conscience' reputedly written for Nelson Mandela then incarcerated on Robbens Island. It is a tribute to all freedom loving people everywhere who prefer conscience to political correctness or religious orthodoxy. In this respect. Majek follows a long line of visionary artists from Bob Dylan to Bob Marley, his great hero. In fact, many critics consider Majek's version of Marley's 'Redemption Song' on this CD to be superior to the original by the great master himself!
There may a dispute as to who is the greatest amongst Nigeria's current generation of musical talents. Some may say that Lagbaja, being the most popular on the Lagos music scene, deserves to be crowned king. However, while holding nothing against Lagbaja the masked one, without doubt an awe-inspiring Afro-beat arranger and saxophonist, I will say Majek at this point remains unrivalled in sheer skills, originality and message.
In summary, Majek Fashek's first album 'Prisoner of Conscience' is a must for everyone who wants good music, reggae in particular, with a dose of activism. The genre comes no better than this.
someone got the the idea to do and record suites for a few of the original more memorable shows. So the whole project is a contradiction as these scores were never used. The strength of what is recorded here is credited to the composers ability to interweave themes for each collective suite. They are symphonic indeed! The first suite (approx 20min.) evokes Ravel or Debussy with it's sweeping impressionistic themes. To the composer's credit only brief interjections of electronic organ are used. The second (only about 9min.)represents one of many of Kirk's romances. Upon listening you'll conjure up images of Marilyn Monroe being pursued by whatever leading man. In the third(approx. 15min.) you get a 23rd century wild west influence right out of the Charles Ives school. There is considerable tension in the orchestration, with clever distortion of harmonica and saloon honky tonk type themes.
All three suites utilize the familar Enterprise fanfare for comfort. You will have to view the original episodes to really see how all this music would have fit in. Add a star if you think its worth the effort. The recording features overblown 24Bit mastering. Watch your sound levels!
was one very fine R&B album that deserved far greater exposure and success. I strongly recommend it to anyone who loves classic Soul. This is some of the best post-1985 R&B music you could find anywhere.
Husband and wife team Womack & Womack (he, brother to soul legend Bobby Womack; She, daughter to soul legend Sam Cooke) had a massive UK top 3 hit with the upbeat, catchy, clap-a-long `Teardrops', and it's similar sounding follow up `Celebrate the world' was also a UK top 20 hit.
The theme of the CD is love in its various ramifications and stages.
Opening track `Conscience of my conscience' is a funky ditty about learning from yesterday's class.
Track 2 is a funky dance number about a lover who plays around so much, she's been reported to the `Missin' persons bureau'. Great song!
`Friends (so called)' is about being let down by friends, with great lyrics like a man needs to know who will shine the light for him/when his way is dark and dim. Great percussion.
My favourite song has got to be the tender and sober lament of `Slave (just for love)' about a man so in love, he gave everything up for his lady. Featuring some haunting backing vocals, and a delicate delivery from Linda in the last 2 minutes. Brilliant!
`Good man monologue' is a retro sounding number with Cecil sounding a bit like Macy Gray, and Linda like a young Aretha.
`Life is just a ballgame' is a sunny, bouncy song, comparing life to a game. Sometimes you win, and sometimes you lose. I love the delicate percussion and soothing bass line.
`I am love' is a beautiful tender ode to love. The CD notes preceeding this song declare `Love is the most powerful force in the universe..', so true.
Tight musicianship, excellent production, great songwriting, and passionate soulful vocals make this a fantastic CD, still giving soul music of today a good run for its money...
It takes me back, to a time of innocence and pure delight.
The words and the beat may be alittle old fashion for forks who are twenty and under.
Yet, my era {the seventy's}and our style seems to satisfy a verity of palate's.
Please listen and enjoy as I do.
While driving down a stretch of highway ,my hair blowing in the wind, singing the words thinking of what I will be getting into next.
I'm certain that you to will be Magically transported
to a erotic, place of undiniable satisfacion.
The Womack's have always been favorites of mine.
If they are singing as a group or solo I am forever a Fan.
The wife of this particular brother is the daughter of the late great Sam Cook.
How could they make anything but, good music together.
I also herad that all the children these two have where born at home with Daddy Womack at the side of his Beloved.
Maybe this is't a factor for those who make musical purchases.
The point for myself was that when this couple first started out,
I followed there career to the letter.
You can imagine how Happy I was to find all my oldies but Goodies
with Amazon.
Be delighted and Enjoy All!
Its very joyfulness represents a form of rebellion against repression.
TOI TOI is their best cd thus far.
Written in 1969 while ill, Shostakovich was naturally achingly concerned about his impending death and in response to his admiration for Moussorgsky's 'Songs and Dances of Death' he wished to make his musical statement about the end of life. 'They wanted the finale to be comforting, to say that death is only the beginning. But it's not a beginning, it's the real end, there will be nothing afterwards, nothing.' And with this grim concept he selected eleven poems by a varied group of poets who mostly died young: Garcia Lorca, Guillaume Appollinaire, Wilhelm Kuchelberger, and Rainer Maria Rilke. The poems are sung by soprano and baritone solo and in duet, and the beauty of Varady and Fischer-Dieskau intoning the words in Spanish, French, Russian, and German somehow gives the poetry more immediacy.
The orchestration is for twenty-one performers: two percussionist, celesta, and eighteen strings. The writing is transparent and delicate with some of the most gorgeous sectional ensemble playing (particularly for cellos and double bass) Shostakovich ever wrote. Haitink serves the score well. As an additional bonus on this CD, Haitink conducts the `Six Poems of Marina Tsvetaeva' beautifully sung by Ortrun Wenkel. For this reviewer the experience of hearing this chamber work that speaks so profoundly about death in the wonder of the acoustic of Disney Hall in Los Angeles makes this symphony emphatically one of Shostakovich's finest works. Esa-Pekka Salonen with the LA Philharmonic approached the work with such humanity and utter clarity of performance, using as soloists Matthias Goerne and brilliant young Russian dramatic soprano Tatiana Pavlovskaya to breathe meaning and incredible atmosphere that the effect was one of those once in a lifetime experiences. If only THAT performance could be added to the recorded repertoire.... Highly recommended. Grady Harp, February 06
But in his own ironic way, by the 1960s, he was dealing with Death itself, as can be gauged from his Fourteenth Symphony, a work in eleven parts that utilizes texts from writers such as Federico Garcia Lorca, Guillaume Apollinaire, Wilhelm Kuchelbecker, and Rainer Maria Rilke. The symphony, which requires soprano, bass, percussion, and string orchestra, was composed by Shostakovich in 1969 and premiered by his fellow composer Benjamin Britten in England in 1970. It remains thoroughly modern, but its subject is timeless. The same is true for the song cycle "6 Poems Of Marina Tsvetaeva", which he first scored for contralto and piano in 1973 and orchestrating them the following year, one year before he passed away.
Featuring Julia Varady, Ortrun Wenkel, and the legendary Dietrich Fisher-Dieskau, this recording is equally stunning for the conducting of the Concertgebouw Orchestra of Amsterdam by its longtime music director Bernard Haitink. Though these works were recorded a quarter century ago as part of Haitink's complete survey of Shostakovich's symphonies (a set that also included the London Philharmonic), the recording has aged fantastically well, and the three-prong combination of vocalists, orchestra, and conductor are superb in bringing Shotakovich's visions to the forefront, though they don't skip over the ever-present irony that was a trademark of the composer. A must-have for anyone with a taste for modern music in general, and Shostakovich in particular.
There are political considerations on two levels. Let me dispose of the first quickly, though I don't mean to do so, because Haitink is truly one of the great conductors of the 20th century. But let's face it that he got caught up in the conductor contest of the Post-Reiner era, when recording companies were elevating Their Man over the others in a marketing joust. Poor Bernard was, in my opinion, a victim in this competition. He was the one who saw the value in letting us hear the inner parts, apart from the raging brass of Solti and colorful antics of Bernstein. Mercy!
As for Fidi's shortness of breath or trailing line, well, I think this was the reason for staging him in the work. Imagine, by contrast, bringing in, say, the great Erich Kunz. The bass-baritone portions of this work are those of resignation, not of confidence. For the sake of the poetry, Fidi was perfect. He is not supposed to be the bombast vocalist. His is the voice of sad resignation.
Now, the other political level, that of the composer. Shostakovich lived under Stalin's thumb, to an extent that no composer today can imagine. Some understanding of history is in order. Dmitri was in a life and death struggle with the homicidal maniac controlling the former Soviet Union. Some understanding of art requires an understanding of history. And, therefore, of empathy with Dmitri.
All told, this is a sublime recording. In future generations, the work will be reviewed only from the technical point of view. It takes musicians who lived through that ghastly horror of the German invasion of Russia, of one racist terrorist regime invading another.
This is a very perturbing work. Who could have done it better than those who lived through it?
Then, Ortrum Wenkel's performance of the Tsvetaeva songs should be given more attention. Yes, they are pretty literal readings. But aren't the works written the same dead pan way? These are hardly folksongs in the sense of Mahler or Britten, but introspective pieces. I really like her work here.
Buy this CD it while it lasts.
Benny Culture began performing when he was 15. His consciousness lyrics and unique chanting style captivated and excited audiences immediately. Since then, his philosophy has deepened and his music has matured, in the roots reggae tradition, while his following has continued to grow, especially around his boyhood home in Port Antonio on the island's Northeast coast. He has performed his thought-provoking, yet humor-filled original songs in the more sophisticated, urban Kingston setting, as well, and on Jamaican radio. He has produced dub plate recordings for sound systems in Jamaica, Britain, and Europe.
Singie Shante has been singing all his life and feels that singing is his life. Singie's relaxed easy style has been likened to great Jamaican singers Garnet Silk and Tenor Saw. His smooth, melodious tones and his positive, uplifting lyrics have made him a favorite for stage shows with live bands and sound systems in mostly rural Jamaica. He can also be heard on Jamaican radio. Singie's Rastafarian ideals of love and unity provide a strong foundation for his music. He is as comfortable with the tough issues as he is with romantic love songs. He has been a leader in the musical response to HIV/AIDS, and other major social issues.
Having toured throughout the world, The Gumption Band is well known in its own right as well as for its work as the former backing band for Jamaica's number one singing superstar, Beres Hammond. Noted, Michigan-based DJ/producer The Groovematist contributed House remixes.
Product Description
Conscience is the debut CD by reggae duo Benny Culture and Singie Shante, now available on the MEGAWAVE label. Performing combinations since 1998, their authentic old-world Jamaican values and reliance on God (Jah) come through strongly in their music and reflect their rural roots. They are among the most positive voices coming out of the Caribbean today. This 13-song set includes ten songs with The Gumption Band and three House remixes by U.S. DJ/producer The Groovematist.
Conscience,Benny Culture & Singie Shante
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Conscience
The Beloved Manufacturer: Atlantic / Wea ProductGroup: Music Binding: Audio CD  General
| Alternative Rock
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Britpop
| British Alternative
| Alternative Rock
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Alternative Dance
| Alternative Styles
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General
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General
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ASIN: B000002IUW Release Date: 1993-03-09 |
Tracks:
- Spirit
- Sweet Harmony
- Outerspace Girl
- Lose Yourself In Me
- Paradise Found
- You've Got Me Thinking
- Celebrate Your Life
- Rock To the Rhythm Of Love
- Let The Music Take You
- 1000 Years From Today
- Dream On
Customer Reviews:
Nothing Like This CD.......2006-08-12
Buy this CD, its a great deal.
Good original sound.......2006-04-27
The Beloved's Conscience.......2005-07-01
Very cool album.......2005-03-29
There is some amazing music on this disc!.......2002-07-30
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The Stings of Conscience
Unearth Manufacturer: Eulogy Recordings ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
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Punk
| Hardcore & Punk
| Alternative Rock
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Post Hardcore
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Indie Rock
| Indie & Lo-Fi
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General
| Rock
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Alternative Metal
| Hard Rock & Metal
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Death Metal
| Hard Rock & Metal
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General
| Hard Rock & Metal
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Thrash & Speed Metal
| Hard Rock & Metal
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Metal
| Hard Rock & Metal
| Rock
| Indie Music
| Stores
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ASIN: B000059T3L Release Date: 2001-01-16 |
Tracks:
- My Heart Bleeds No Longer
- One Step Away
- Fuel the Fire
- Only the People
- Stings of Conscience
- My Desire
- Vanishment
- Shattered by the Sun
- Monition
- Stronghold
Customer Reviews:
Their Solid Foundation.......2006-09-20
This band has a strong metal influence in their music, with leads in tracks like "One Step Away", plus, there's a semi-ballad in the beginning of the track "My Desire". Another thing I noticed about this band is that they can execute breakdowns perfectly and when they are needed. Listen to the intro to "My Heart Bleeds No Longer". Great, isn't it? The vocals, well, it takes a matter of getting used to. True, Trevor Phipps isn't the greatest vocalist of all time, but with excellent musicmanship on this CD, why does it matter?
I am happy to have this CD in my collection. It's a different sound from the Unearth you're familiar with today, but it's a refresher from most of the music out there today.
Heavy stuff.......2006-02-25
Fav songs: One Step Away, Stings of Conscience, My Desire.
So just buy it already, and get ready to be annihilated.
Talent And Lyrics Are Strong - Innovation And Vocals Are Weak.......2005-11-06
Don't get me wrong, `Unearth' is a very talented band instrumentally, guitarists Buz McGrath and Ken Susi are very gifted with the guitar and you can tell they took the time on writing the songs... but ultimately it really gets boring after awhile. Mike Rudberg is truly an excellent drummer and his abilities really shine on this release, he is one of the more solid members in the band for this album. Bassist Chris Rybicki does his part, but that's about it, he never pulls himself in front of the guitars more than a couple times; which is typically him sliding notes.
Now, Trevor Phipps the vocalists... some great things can come from this man but also some terrible things. His lyrics are simply great and sometimes very inspiring. When reading them I rarely found myself lost or confused in his thoughts, as for the most part he is very straight forward. But what was most unsatisfying was his vocal abilites... his screams seem very held back and almost as though he was sick during the recording process. They in fact get really annoying to listen to and have absolutely no appeal on me. Maybe there is a reason why the instruments were over powering him throughout the album.
This album defiantly does have some memorable moments that stand out. This includes the intro/bridge breakdown of "My Heart Bleeds No Longer", which before the bridge Trevor yells "I know so many who would want to see you burn!" which goes along with the lyrics about someone or a group looking up to or following someone only to realize you've been betrayed by their lies and schemes. My personal favorite of the album "One Step Away" features very inspiring lyrics about how we have only one life and we need to get out there and live it, not to mention the incredible breakdown/chant at the end - "ONE STEP AWAY!" - which is the most memorable part of the album, and really great to see live.
This release could have had something, if they would have taken the time to really make each song sound completely different and be a little experimental. The talent shines but it grows tiring to listen to, and before I know it I'm actually sitting there getting bored. Hopefully with some maturity in the vocals, the powerful lyrics will be able to be listened to better! Which has happened on their latest release "The Oncoming Storm", so go out and pick that album up first, and if you really like that let a friend let you borrow this album. Unearth sits itself on the sideline bench with the rest of the typical and boring metalcore bands. While they seem to be getting very popular, almost `mainstream' (touring with Slipknot), they won't be getting off the bench anytime soon on my music field.
\m/ UNEARTH KICK ASS \m/.......2005-10-14
To all those who are with me on this review u are legonds and please read on.This album makes u want to smash every little thing in ur room and when the album finishes ull think what the hell have i done!Also if u listen to it every day ur speakers dont last.This band can not produce a very bad song there are some better than others but on this album the more you listen to the songs the more you like them.The guitarists work beautifuly together,the singing goes perfectly with the music,the druming is fast and really gives the songs effect and the bassist well he just plays.This is the best UNEARTH album in my opinion but is followed closly by The Oncoming Storm.The best tracks on here are:
>ONE STEP AWAY
>ONLY THE PEOPLE
>MOTION
I recomend this album to any metal head and i hope this review helpful to you.
\m/\m/
Amazing Debut From Unearth.......2005-06-24
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Songs Of Conscience & Concern: A Retrospective Collection
Peter Paul & Mary Manufacturer: Warner Bros / Wea ProductGroup: Music Binding: Audio CD General
| Contemporary Folk
| Folk
| Styles
| Music
General
| Folk
| Styles
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Traditional Folk
| Folk
| Styles
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ASIN: B00000I8TV Release Date: 1999-03-23 |
Tracks:
- Wasn't That A Time
- Pastures Of Plenty
- Power
- If I Were Free
- Coming Of The Roads
- El Salvador
- The Great Mandala (The Wheel Of Life)
- All My Trails
- All Mixed Up
- Danny's Downs
- Don't Laugh At Me
- Home Is Where The Heart Is
- There But For Fortune
- Old Coat
- Because All Men Are Brothers
Amazon.com
The 15 lesser-known tracks included in this compilation deliver exactly what the title states. Peter, Paul & Mary, of course, helped invent "protest" music when they recorded Bob Dylan's "Blowin' in the Wind," transforming it into a '60s civil rights anthem. That song isn't included here; in fact, the best-known tune is Phil Ochs's "There But for Fortune," although folk fans will also be familiar with Woody Guthrie's Depression-era "Pastures of Plenty" and the antiwar "Wasn't That a Time," most often associated with the Weavers. The social concerns addressed range from environmental degradation (the antinuke "Power") to racial disharmony (Pete Seeger's childlike "All Mixed Up") to political injustice (the graphic albeit melodically beautiful "El Salvador"). "Don't Laugh at Me," the sole new track here, preaches childhood tolerance, making it a perfect companion piece to PPM's classic "Danny's Down," also included here. The gorgeous, melodic new song is a must for fans, and although the other 14 songs are culled from nine previous LPs, it's still impressive to hear such sincere expressions of social consciousness. --Bill HoldshipCustomer Reviews:
True Folk Music.......2006-07-16
The legacy of Peter, Paul & Mary as folk singers.......2002-04-23
Touching CD!.......2001-01-14
A Great Compilation of the Music PPM is Best At.......2000-10-05
Don't wait.......2000-08-16
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Prisoner of Conscience
Majek Fashek Manufacturer: Mango ProductGroup: Music Binding: Audio CD General
| Africa
| International
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Nigeria
| Africa
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ASIN: B000003QK5 Release Date: 1991-07-01 |
Tracks:
- Send Down The Rain
- Redemption Song
- Let Righteousness Cover The Earth
- Africans Keep Your Culture
- Genesis
- I' ve Got The Feeling
- Hey Mr. Morning
- Police Brutality
- Prisoner Of Conscience
Customer Reviews:
MAJEK FASHEK - EVOLVING REGGAE GENIUS.......2006-05-17
If Majek Fashek displayed genius in his debut album, in the BEST OF MAJEK FASHEK, rallying fellow Africans and Americans from sleep on the first track SO LONG TOO LONG, he is more mature, more original. We know of the talking drum in Nigeria's native Juju and Fuji music genres. But in reggae? Majek employs it beautifully, brilliantly, providing through it the gentle rocking percussion that starts out and steers a song like JAH PEOPLE. The talking drum also supplies the thunder and sense of urgency in the apocalyptic SODDOM AND GOMORRAH, where a frenzied Majek proclaims, "The end of the world is Armageddon!" - pronouncing it Arma-g-i-d-e-o-n. And if Majek's tone was somewhat controlled or constrained in PRISONER OF CONSCIENCE, in BEST OF MAJEK FASHEK he is more expressive, less inhibited; more of his old playful self, rowing through the rain and singing lustfully amidst a boat-load of kids in the video of MOTHER.
For some time Majek has been off the scene, sorting out some personal and professional problems, we hear. But now he's back. And as if sensing the anticipation that has attended the release of his next album - especially that of we fans who have closely followed his evolution through the years - Majek has named his latest effort LITTLE PATIENCE. How apt. I can't wait to get my hands on a copy of the CD.
MAJEK'S GROUND-BREAKING DEBUT ALBUM.......2005-08-06
This CD, "Prisoner of Conscience" is Majek's first solo album. Itis fair to say that it has become a hard-to-find reggae classic like 'Harder they come' by Jimmy Cliff and others. Every track is great, for such a young relatively unexposed musician at that time. The first track is the famous hit, `Send down the rain" which took Nigeria by storm when it was released in 1988. According to current myth and the popular belief of the day, there was a deadly drought sweeping northern Nigeria that year. After the release of the record, rains came down and the drought ended. As you can see for yourself by listening to any track on this CD, he is a great singer - but not just that, this is a multi-talented musician and visionary. His musical influences, and self proclaimed heroes, are Bob Marley, for his lyrics and spiritual leaning towards Rastafarianism, Fela Anikulakpo-Kuti for his horns and political activism for the black man's redemption, and the late great Jimi Hendrix for his guitar mastery.
Other great tracks on this CD include 'Police Brutality' and 'Prisoner of Conscience' reputedly written for Nelson Mandela then incarcerated on Robbens Island. It is a tribute to all freedom loving people everywhere who prefer conscience to political correctness or religious orthodoxy. In this respect. Majek follows a long line of visionary artists from Bob Dylan to Bob Marley, his great hero. In fact, many critics consider Majek's version of Marley's 'Redemption Song' on this CD to be superior to the original by the great master himself!
There may a dispute as to who is the greatest amongst Nigeria's current generation of musical talents. Some may say that Lagbaja, being the most popular on the Lagos music scene, deserves to be crowned king. However, while holding nothing against Lagbaja the masked one, without doubt an awe-inspiring Afro-beat arranger and saxophonist, I will say Majek at this point remains unrivalled in sheer skills, originality and message.
In summary, Majek Fashek's first album 'Prisoner of Conscience' is a must for everyone who wants good music, reggae in particular, with a dose of activism. The genre comes no better than this.
Simply outstanding!.......2003-12-11
This Rocks!!.......2003-09-02
Fashek is highly reminiscent of Bob Marley. If you love Bob Marley, you'll definitely love this CD.
Majek Fashek Prisoner Of Concience.......2002-01-04
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Symphonic Suites From Star Trek
Manufacturer: Delta ProductGroup: Music Binding: Audio CD General
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ASIN: B00000IJV8 Release Date: 2004-01-01 |
Tracks:
- Is There No Truth In Beauty? - George Dunning
- Conscience Of The King - Joseph Mullendore
- Spectre Of The Gun - Jerry Fielding
Customer Reviews:
For Trekkies only..........2006-06-17
someone got the the idea to do and record suites for a few of the original more memorable shows. So the whole project is a contradiction as these scores were never used. The strength of what is recorded here is credited to the composers ability to interweave themes for each collective suite. They are symphonic indeed! The first suite (approx 20min.) evokes Ravel or Debussy with it's sweeping impressionistic themes. To the composer's credit only brief interjections of electronic organ are used. The second (only about 9min.)represents one of many of Kirk's romances. Upon listening you'll conjure up images of Marilyn Monroe being pursued by whatever leading man. In the third(approx. 15min.) you get a 23rd century wild west influence right out of the Charles Ives school. There is considerable tension in the orchestration, with clever distortion of harmonica and saloon honky tonk type themes.
All three suites utilize the familar Enterprise fanfare for comfort. You will have to view the original episodes to really see how all this music would have fit in. Add a star if you think its worth the effort. The recording features overblown 24Bit mastering. Watch your sound levels!
Solid, tasteful, and worthy for hardcore fans.......2002-03-25
"Star Trek" fortunately tends to have sufficiently interesting material but, like any other series, its cues are often too short, thus making some of the oringal material available from GNP Crescendo records somewhat awkward on CD.
Here the material from each of the episodes' fine scores is woven together to create more of a portrait of an episode than a collection of individual short pieces. The transition to suite form is tasteful and effective, probably as good a presentation of the original material as possible.
The only problem is that the quality of the reorchestration with this remake is often a little disappointing; there are no blatant missteps, but a few of the cues representing exterior shots of the Enterprise come across as too cheery and even silly, a fault not present in the original recording.
The holy grail for score fans is an original recording that forms an effective and cohesive listening experience. As this seems to be impossible given the way the original Star Trek scores were written, this CD as as fine a presentation as an audience can hope for.
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Conscience
Womack & Womack Manufacturer: Polygram Int'l ProductGroup: Music Binding: Audio CD General
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ASIN: B000008MF7 Release Date: 2002-02-18 |
Tracks:
- Conscious Of My Conscience
- M.P.B. (Missing Persons Bureau)
- Friends (So Called)
- Slave (Just For Love)
- Teardrops
- Good Man Monologue
- Life's Just A Ballgame
- I Am Love
- Celebrate The World
Album Details
Budget Collection of the Dynamic Soul Husband and Wife Duo. He is the Brother of Bobby Womack, She is the Daughter of Sam Cooke, Whom the Womack Brothers Backed Back in the Day.Customer Reviews:
One of the very best albums of the 1980s........2007-03-01
was one very fine R&B album that deserved far greater exposure and success. I strongly recommend it to anyone who loves classic Soul. This is some of the best post-1985 R&B music you could find anywhere.
The story of Love!.......2005-07-21
Husband and wife team Womack & Womack (he, brother to soul legend Bobby Womack; She, daughter to soul legend Sam Cooke) had a massive UK top 3 hit with the upbeat, catchy, clap-a-long `Teardrops', and it's similar sounding follow up `Celebrate the world' was also a UK top 20 hit.
The theme of the CD is love in its various ramifications and stages.
Opening track `Conscience of my conscience' is a funky ditty about learning from yesterday's class.
Track 2 is a funky dance number about a lover who plays around so much, she's been reported to the `Missin' persons bureau'. Great song!
`Friends (so called)' is about being let down by friends, with great lyrics like a man needs to know who will shine the light for him/when his way is dark and dim. Great percussion.
My favourite song has got to be the tender and sober lament of `Slave (just for love)' about a man so in love, he gave everything up for his lady. Featuring some haunting backing vocals, and a delicate delivery from Linda in the last 2 minutes. Brilliant!
`Good man monologue' is a retro sounding number with Cecil sounding a bit like Macy Gray, and Linda like a young Aretha.
`Life is just a ballgame' is a sunny, bouncy song, comparing life to a game. Sometimes you win, and sometimes you lose. I love the delicate percussion and soothing bass line.
`I am love' is a beautiful tender ode to love. The CD notes preceeding this song declare `Love is the most powerful force in the universe..', so true.
Tight musicianship, excellent production, great songwriting, and passionate soulful vocals make this a fantastic CD, still giving soul music of today a good run for its money...
baby I'm scared of you.......2005-03-12
It takes me back, to a time of innocence and pure delight.
The words and the beat may be alittle old fashion for forks who are twenty and under.
Yet, my era {the seventy's}and our style seems to satisfy a verity of palate's.
Please listen and enjoy as I do.
While driving down a stretch of highway ,my hair blowing in the wind, singing the words thinking of what I will be getting into next.
I'm certain that you to will be Magically transported
to a erotic, place of undiniable satisfacion.
The Womack's have always been favorites of mine.
If they are singing as a group or solo I am forever a Fan.
The wife of this particular brother is the daughter of the late great Sam Cook.
How could they make anything but, good music together.
I also herad that all the children these two have where born at home with Daddy Womack at the side of his Beloved.
Maybe this is't a factor for those who make musical purchases.
The point for myself was that when this couple first started out,
I followed there career to the letter.
You can imagine how Happy I was to find all my oldies but Goodies
with Amazon.
Be delighted and Enjoy All!
A great story.......2003-08-26
Great songs.......2003-02-05
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More Human Heart
Acumen Nation Manufacturer: Conscience ProductGroup: Music Binding: Audio CD General
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ASIN: B000001P4E Release Date: 1997-10-28 |
Tracks:
- Ventilator
- If I Were You
- Unkind
- Cancerine
- Revelations Per Minute
- Bleed For You
- The Funny Thing Is...
- Fuck Yer Brains Out
- Ugly On The Inside
- Punkass
- Dreamheart/Crush'd
Customer Reviews:
Great !!.......2004-02-11
Good album........1999-10-01
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Toi Toi
Thomas Mapfumo Manufacturer: Anonym Records ProductGroup: Music Binding: Audio CD General
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ASIN: B0001J4GBY Release Date: 2002-12-24 |
Tracks:
- Timothy
- Musha Wenyu (Your Home)
- Pasi Inhaka (This World)
- Komborera (Bless)
- Tatsvukira
- Ndateterera
- Mukoma J (Big Brother J)
- Vechidiki (Youngsters)
- Dande
- Sweet Maria
Product Description
The latest Release from the Constantly Touring Hard working GroupCustomer Reviews:
A patented mix of Shona mbira folk roots, reggae.......2004-08-30
Its very joyfulness represents a form of rebellion against repression.
TOI TOI is their best cd thus far.
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Crimes of Conscience
ProductGroup: Music Binding: Audio CD Pop Rock
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ASIN: B000EHQ530 Release Date: 2007-01-16 |
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Shostakovich: Symphony No 14, etc / Varady, Fischer-Dieskau, Wenkel; Haitink
Dmitri Shostakovich , Bernard Haitink , Dietrich Fischer-Dieskau , Julia Varady , Concertgebouw Orchestra Amsterdam , and Ortrun Wenkel Manufacturer: Decca ProductGroup: Music Binding: Audio CD General Modern
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ASIN: B00000IP3J Release Date: 2000-08-08 |
Tracks:
- Symphony No.14, Op.135: De profundis
- Symphony No.14, Op.135: Malaguena
- Symphony No.14, Op.135: Loreley
- Symphony No.14, Op.135: Le Suicide
- Symphony No.14, Op.135: Les Attentives I
- Symphony No.14, Op.135: Les Attentives II
- Symphony No.14, Op.135: A la Sante
- Symphony No.14, Op.135: Reponse des cosaques zaparogues...
- Symphony No.14, Op.135: O Delvig, Delvig!
- Symphony No.14, Op.135: Der Tod des Dichters
- Symphony No.14, Op.135: Schluss-Stuck
- 6 Poems Of Marina Tsvetaeva, Op.143a: My Poems
- 6 Poems Of Marina Tsvetaeva, Op.143a: Such Tenderness
- 6 Poems Of Marina Tsvetaeva, Op.143a: Hamlet's Dialogue With His Conscience
- 6 Poems Of Marina Tsvetaeva, Op.143a: The Poet And The Tsar
- 6 Poems Of Marina Tsvetaeva, Op.143a: No, The Drum Beat
- 6 Poems Of Marina Tsvetaeva, Op.143a: To Anna Akhmatova
Customer Reviews:
A Richly Nuanced Performance of Shostakovich's Symphony of Death.......2006-02-04
Written in 1969 while ill, Shostakovich was naturally achingly concerned about his impending death and in response to his admiration for Moussorgsky's 'Songs and Dances of Death' he wished to make his musical statement about the end of life. 'They wanted the finale to be comforting, to say that death is only the beginning. But it's not a beginning, it's the real end, there will be nothing afterwards, nothing.' And with this grim concept he selected eleven poems by a varied group of poets who mostly died young: Garcia Lorca, Guillaume Appollinaire, Wilhelm Kuchelberger, and Rainer Maria Rilke. The poems are sung by soprano and baritone solo and in duet, and the beauty of Varady and Fischer-Dieskau intoning the words in Spanish, French, Russian, and German somehow gives the poetry more immediacy.
The orchestration is for twenty-one performers: two percussionist, celesta, and eighteen strings. The writing is transparent and delicate with some of the most gorgeous sectional ensemble playing (particularly for cellos and double bass) Shostakovich ever wrote. Haitink serves the score well. As an additional bonus on this CD, Haitink conducts the `Six Poems of Marina Tsvetaeva' beautifully sung by Ortrun Wenkel. For this reviewer the experience of hearing this chamber work that speaks so profoundly about death in the wonder of the acoustic of Disney Hall in Los Angeles makes this symphony emphatically one of Shostakovich's finest works. Esa-Pekka Salonen with the LA Philharmonic approached the work with such humanity and utter clarity of performance, using as soloists Matthias Goerne and brilliant young Russian dramatic soprano Tatiana Pavlovskaya to breathe meaning and incredible atmosphere that the effect was one of those once in a lifetime experiences. If only THAT performance could be added to the recorded repertoire.... Highly recommended. Grady Harp, February 06
Please note: This isn't in Russian.......2005-09-29
Shostakovich And Matters Of Death.......2005-08-06
But in his own ironic way, by the 1960s, he was dealing with Death itself, as can be gauged from his Fourteenth Symphony, a work in eleven parts that utilizes texts from writers such as Federico Garcia Lorca, Guillaume Apollinaire, Wilhelm Kuchelbecker, and Rainer Maria Rilke. The symphony, which requires soprano, bass, percussion, and string orchestra, was composed by Shostakovich in 1969 and premiered by his fellow composer Benjamin Britten in England in 1970. It remains thoroughly modern, but its subject is timeless. The same is true for the song cycle "6 Poems Of Marina Tsvetaeva", which he first scored for contralto and piano in 1973 and orchestrating them the following year, one year before he passed away.
Featuring Julia Varady, Ortrun Wenkel, and the legendary Dietrich Fisher-Dieskau, this recording is equally stunning for the conducting of the Concertgebouw Orchestra of Amsterdam by its longtime music director Bernard Haitink. Though these works were recorded a quarter century ago as part of Haitink's complete survey of Shostakovich's symphonies (a set that also included the London Philharmonic), the recording has aged fantastically well, and the three-prong combination of vocalists, orchestra, and conductor are superb in bringing Shotakovich's visions to the forefront, though they don't skip over the ever-present irony that was a trademark of the composer. A must-have for anyone with a taste for modern music in general, and Shostakovich in particular.
Utterly spiritual!.......2005-07-26
There are political considerations on two levels. Let me dispose of the first quickly, though I don't mean to do so, because Haitink is truly one of the great conductors of the 20th century. But let's face it that he got caught up in the conductor contest of the Post-Reiner era, when recording companies were elevating Their Man over the others in a marketing joust. Poor Bernard was, in my opinion, a victim in this competition. He was the one who saw the value in letting us hear the inner parts, apart from the raging brass of Solti and colorful antics of Bernstein. Mercy!
As for Fidi's shortness of breath or trailing line, well, I think this was the reason for staging him in the work. Imagine, by contrast, bringing in, say, the great Erich Kunz. The bass-baritone portions of this work are those of resignation, not of confidence. For the sake of the poetry, Fidi was perfect. He is not supposed to be the bombast vocalist. His is the voice of sad resignation.
Now, the other political level, that of the composer. Shostakovich lived under Stalin's thumb, to an extent that no composer today can imagine. Some understanding of history is in order. Dmitri was in a life and death struggle with the homicidal maniac controlling the former Soviet Union. Some understanding of art requires an understanding of history. And, therefore, of empathy with Dmitri.
All told, this is a sublime recording. In future generations, the work will be reviewed only from the technical point of view. It takes musicians who lived through that ghastly horror of the German invasion of Russia, of one racist terrorist regime invading another.
This is a very perturbing work. Who could have done it better than those who lived through it?
Then, Ortrum Wenkel's performance of the Tsvetaeva songs should be given more attention. Yes, they are pretty literal readings. But aren't the works written the same dead pan way? These are hardly folksongs in the sense of Mahler or Britten, but introspective pieces. I really like her work here.
Buy this CD it while it lasts.
Surprisingly, Perhaps, a Dimly-Burning Wick of Hope.......2002-01-24
Most of the texts have to do with death, and almost none of the texts regards death in any light other than hopeless, or at the least sardonic. But there is one note something discordant to the otherwise unremitting gloom.
"O Delvig, Delvig!" always struck me as the heart of the fourteenth symphony, all the more for its warm, passionate cello choir, standing in stark contrast to the "flint-faced" sardonicism ("Malagueña," "Les Attentives I & II," "Réponse des cosaques zaporogues") and the externally-dramatic bleakness ("Lorelei," "À la Santé," and the bookends "De Profundis" and "Der Tod des Dichters") of most of the rest of the symphony.
And here at what, musically, I have always felt to be the quiet, self-effacing heart of the piece, we find a text which differs, not sharply perhaps, but significantly, from the unrelieved tone of despair-at-darkness of all the rest of the texts, which (with epochal significance) are more recent ... the sharp-relieved word-paintings of Garcia Lorca, the urbane rationalism and withering wit of Appolinaire. Here, in the company of some of the world's most highly-regarded poets (to add Rilke) we find a highly personal dedicatory poem, written by the unknown-outside-Russia Küchelbecker.
Baron Anton Antonovich Delvig (1798-1831) and Wilhelm Karlovich Küchelbecker (1797-1846) were both friends of Pushkin's, from their school days at the Imperial Lyceum at Tsarskoye Selo (where there still stands a magnificent palace with extensive grounds). All three were poets, men of education and refinement. Delvig was packed off to Siberia, and executed as a revolutionary.
O Delvig, Delvig! What reward is there
for noble deeds and verse?
Where and what is the joy in talent
amongst villains and fools?
In Juvenal's austere hand
the dreaded lash whistles at the villains
and wipes the color from their cheeks.
The power of the tyrants trembled
O Delvig, Delvig, what is persecution?
Immortality is the reward
both of valiant, inspired deeds
and of sweet singing!
Thus our union will not die,
proud, joyful and free!
In happiness and grief, firm is the union
of lovers of the eternal Muse!
The poem fits into Shostakovich's work with conveniently thorough aptness. The two obscurer poets were friends of Pushkin's, himself not only the Great Man of Russian letters, but an artist who found that his works needed to pass a censor. Delvig was a poet who got caught in the wheels of politics, and paid with his life.
Yet the message of the poem is not gloom alone; it is not simply a weeping at the injustices of society against Art and the Individual. It is an assurance that noble deeds and sweet singing are rewarded with immortality, and that the artistic bond of the friends will never die, either. The poem is actually a positive response to external grief.
For all the unrelenting gloom of the rest of the symphony, for all that Shostakovich is quoted as saying, "Death is it, after death, there is nothing" ... for all this, I don't believe that Shostakovich could have LIVED like that ... and certainly here in the fourteenth symphony, he did not quite write like that. This text, its musical treatment, and its place in the shape of the symphony, all this together is the dimly burning wick which would not be blown out.
And too, the one text set in the symphony which has nothing in particular to do with death ("Réponse des cosaques zaporogues") is about rage at, and contempt for, despots, expressed by a fiercely proud, free people. This reminds me that another piece of Shostakovich's which I have long meant to investigate is "The Execution of Stepan Razin," a cossack folk-hero who is a symbol of the spiritual power of free resistance against an oppressor.
And the ending of the fourteenth symphony is not the bleak, still resignation of "De Profundis/Der Tod des Dichters" ... but an ironic clip-clop "Conclusion"... and the closing musical gesture is a clipped, tutti, raging in the strings.
Certainly a great deal of his experience would teach Shostakovich despair, and it would have taken an extraordinarily strong and determined character to resist learning so.
Yet in this work, I see more than just the cynicism. You can be taught to say things, taught even to feel things as though they are practically inside you, and a lot of the life you step through can be about those things ... and yet, down underneath all the accreted layers, you may feel that, really, it isn't, cannot be, true.
Like Martin Luther King's "there cannot be great disappointment where there is not great love" ... I wonder if the sharpness, the bitterness, is a refusal to accept. At any rate, I do not see it as an idea he has come to peace with ... at least, not in the fourteenth symphony.
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