Zero Hour

Product Description
‘Hardcore Dancehall’ features the rawest, most aggressive and pumping Artists in the Dancehall Reggae scene. This is a take no prisoners dancehall collection that will get bodies shaking and throbbing to the fullest. HARDCORE is the agenda here. If you like your dancehall mean, dirty, offensive, tough and nasty this record is for you. 15 tracks featuring- Cutty Ranks, Red Rat, Elephant Man, Tanto Metro & Devonte, Cobra and more.

Zero Hour,Aldof and the Piss Artists,Gmm Records,Pop,Rock,Rock/Pop

Average customer rating: Why yes, it is amazing. New Tango Tango evolved to its most abstract and profound expression A must The most passionate music I've ever listened to

Tango: Zero Hour Astor Piazzolla & New Tango Quintet Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD Argentina | South & Central America | International | Styles | Music General | International | Styles | Music General | Latin Music | Styles | Music Latin Pop | Latin Music | Styles | Music Tango | Latin Music | Styles | Music General | Jazz | Styles | Music Latin Jazz | Jazz | Styles | Music Similar Items: Astor Piazzolla - The Soul Of Tango: Greatest Hits La Camorra The Rough Dancer and the Cyclical Night (Tango Apasionado) Soul of the Tango: The Music of Astor Piazzolla The New Tango ASIN: B00000DC7J Release Date: 2007-03-02

Tracks:

1. Tanguedia III
2. Milonga Del Angel
3. Concierto Para Quinteto
4. Milonga Loca
5. Michelangelo '70
6. Contrabajisimo
7. Mumuki

Amazon.com essential recording

Astor Piazzolla lived and died as tango's bad boy, having almost single handedly invented the music's vanguard, the form known as tango nuevo. It took Piazzolla decades to reach his unequivocal apex, which is captured flawlessly on Tango Zero Hour. When this recording was cut in 1986, some of the compositions Piazzolla and his quintet cued up were standards for the band. Whether it was an epiphanic period or not, the recording captures an ensemble alchemically transforming seriously complex works into goose-bump-inducing electricity. Pianist Pablo Ziegler brings his jazz background into the mix with jarring urgency, just as violinist Fernando Suárez Paz makes quavering classical inflections sing amid Piazzolla's here tender and there blistering bandoneon. For a peak experience in music that challenges the ear to dance and the body to fully listen, look no further than this recording. --Andrew Bartlett

Customer Reviews:

Why yes, it is amazing........2007-07-01

35 five star ratings so far, and no rating with a lower grade.

And it deserves every one of them.

New Tango.......2006-08-20

Tango: Zero Hour was the very first tango recording/CD I had ever heard. A friend of mine loaned it to me, not ever telling me exactly what Tango was- all I knew to think of was the dancers with the roses between their teeth, where the dancing was more dramatic than the music... So, my first mistake: having never heard tango. My second? Listening to it late at night in the dark. Music had never rocked my world quite like this... It was the most intense experience I had ever had with music. I was shocked. Wide-eyed. Taken aback. The version I had in my hands was the original with the liner notes, not the new shiny one that I now own (and that you can now buy), and the prose written on the card inside was enough to rip me in half without having ever heard the music. Tango: Zero Hour is not for the faint at heart. It is not for the light enthusiast. As the liner notes so eloquently said: "And suffer, Motherf*****. This is the Tango."

Tango evolved to its most abstract and profound expression.......2006-06-16

Im ashamed to say I began listening to Piazzola at my mid thirties... well, better late than never... Im not a music critic, but all I can say is that Tango has a higher dimmension where it becomes universal and mayble the category of jazz (higher jazz that is) is best to classify it.

Tango is tragic and sensuous... listening to Piazzolla is like listening to classical music quintent.. at the same level it is..

A must.......2005-11-03

This is music to breathe and dream to. Piazolla at his best is probably the most enchanting and transcendental. It takes a Master Extraordinaire to make music like this, Piazolla's recordings only get better with age and never outdated because it is made up of the spirit and passions of a life lived richly. The Melancholy laments of the Bandoneon is truly one of the most haunting, nostalgic most beautiful musical Innovations ever made and noone interprets the manic poetry of it like Piazolla. I can't say much more then what the others have said here but this belongs in every serious music afficianado's collection.

The most passionate music I've ever listened to.......2004-08-27

"Tango: Zero Hour" is, according to Piazzola himself, his masterpiece. This album is second to none in passion and musicianship. Listening to "Contrabajisimo" and "Concierto Para Quinteto" and not shedding one single tear is a certificate of one's total lack of emotions.

Average customer rating: Wonderfully captivating music by the tango master When styles mix Explains It All To Those Wounded in Love Great sex music! Comes from the heart! Piazzolla's Unofficial Interpreter

Hommage A Piazzolla Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD Quartets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Piazzolla, Astor | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Kremer, Gidon | ( K ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Tango | Latin Music | Styles | Music General | Jazz | Styles | Music Similar Items: Tracing Astor Vivaldi and Piazzolla: Eight Seasons Tango: Zero Hour La Camorra Piazzolla: Tango Ballet, Concierto Del Angel, Tres Piezas Para Orquesta De Camara / Kremer, Glorvigen, et al ASIN: B000005J48 Release Date: 1996-09-24

Tracks:

1. Milonga En Re
2. Vardarito
3. Oblivion
4. Escualo
5. Histoire Du Tango: Cafe 1930
6. Concierto Para Quinteto
7. Soledad
8. Buenos Aires Hora Cero
9. Celos
10. El Sol Sueno (Hommage A Astor Piazzolla)
11. Le Grand Tango

Amazon.com essential recording

Gidon Kremer, who plays the standard violin repertoire so well, has remained a restless explorer of music. Here is his first album of Piazzolla arrangements, introduced by a moving and perceptive assessment of Piazzolla by composer John Adams. Kremer has completely steeped himself in the spirit of the tango, and of Piazzolla's transformation of this music into concert works. The selection (mostly larger-scale Piazzolla works), the varied arrangements, and the compelling quality of the playing make this one of the best albums of this music not involving the composer's own performances. And if you love it, you'll be glad to know that Kremer's second Piazzolla album is also available. --Leslie Gerber

Customer Reviews:

Wonderfully captivating music by the tango master.......2005-10-25

I was introduced to the music of Astor Piazzolla by the more than great violinist Gidon Kremer when he played a virtuosic tango as an encore. Whenever a rich new vein of wonderful music is opened to me, well, it makes for a bright and happy day. Not long after I picked up this CD and I can recommend it to you highly. This is more than just tango dance music, these are serious and contemplative compositions that use the Tango as the vehicle just as the classical and especially Baroque composers used their dance music for instrumental compositions. The music is full of mood, sensuality, rhythm, lush harmonies, dissonance, love, and pain. It is a music of contrasts and never gets too fussy or complicated. It wears its heart on its sleeve and draws us in because it is so charming.

Each piece has its own varied ensemble and the musicians in that ensemble also arrange the music for that track. Kremer leads from the violin in all of them, after all it is his album and his hommage to Piazzolla. However, the instruments used depend on the musical materials and mood of the piece. The piano is used quite a bit, and at times there are wind instruments. The bandoneón is required in tango, as well. It is a kind of concertina that was developed and made in Germany, but adopted in Argentina for the Tango. It has a wonderfully reedy sound and is played with buttons on each side of the bellows. Depending on the model, the note can change or stay the same whether you are pulling the bellows out or pushing them in, but in all of them there are two voices always at the octave and gives the bandoneón its characteristic sound.

The only composition not by Piazzolla is a very interesting tango included as a tribute to the master entitled "El sol sueño" by Jerzy Peterbushsky.

This is good music and a very enjoyable change of pace.

When styles mix.......2005-09-07

I bought this record following a live performance by Gidon Kremer et al. at the Verbier Festival. The mixture of classical music with a dose of jazz on a Latin base produces an interesting result that is quite surprising at first. However, the more one hears, the more the result grows on the listener, just as at the live show where the audience, somewhat stunned at the outset, gave a standing ovation at the end.

Overall, the mélange is pleasant, chill listening to be appreciated by fans of any of the three styles of music.

Explains It All To Those Wounded in Love.......2005-01-16

Ever have a moment where you loved someone so much you hated him?

Ever have a relationship you could not get out of your mouth, your mind, your heart, your system, but that you knew was over and done with forever and ever, and you'd never even see the other again?

Ever feel so happy you wanted to cry? No, sob? Wrenching, wracking sobs? From happiness, now.

Yes?

Have I got a CD for you: Hommage a Piazzolla, featuring Gidon Kremer.

Like many, I suspect, I have a mixed relationship to tango. When I put on a tango CD, I fear I'll be hearing something that sets my teeth to jangling and makes me want to slap someone in the face.

This isn't that. You could listen to most of this while sitting perfectly still, on a window sill, in fact, with the lights down low in your apartment, as you stare out at the rain-slicked city at night. A drink sits on a nearby table, unfinished...you have no will to finish it.

(It's hard not to imagine these things while listening to this music; really, it's all so poetic, cinematic, irresistable.)

At some point, though, you're probably not going to be able to sit still any more, and you'll have to put that rose in your teeth and cut a few moves.

Tango often sounds, to we non-Argentinians, like a parody of itself.

This CD does not.

Rather, when I put it on, not at all sure what to expect, I had one of those epiphanies that art can give you.

I had been brooding over a vexed relationship, one I did not understand, but knew was hurting me, not with any immediacy, but like a sore tooth that could stand to go a few more months before you get over your fear of the dentist to get it fixed.

What bugged me most of all was that I did not understand what was hurting. Rationally, I had no reason to feel troubled.

I put on this CD, with the relationship way in the back of my mind, and I just, immediately thought, "That's it. This music is explaining it all; this music is articulating everything."

Not bad.

This kind of music, music that allows in the true bittersweet of life, the unsolvable, the passion, is all too rare. If music that addresses those qualities is what you crave, this CD might be just what you need.

Great sex music! Comes from the heart!.......2004-07-21

The music and perforamance are so sensually played and achingly beautiful, the hairs on my neck and arms stand up on end. Listen to the opening track and tell me this is not great sex music. Yes, tango is a very sensual art form and this CD is great for those very intimate moments. Of course, sex aside, the music is nothing short of a miracle unto itself. That I was to discover this CD just last year meant I was without it for 7 years since it was released. My life is richer for this and other Piazzolla works done by Kremer.
This CD has become one of those "island" CDs that you would take if you wer so to become deserted on one. You should be so lucky!

Piazzolla's Unofficial Interpreter.......2001-04-12

I first became aware of this CD several years ago as its melancholy strains wafted through the air of a bookstore through which I was browsing. My ears perked up...Piazzolla!!! Upon inquiry, I was shown the CD and I immediately purchased a copy. I couldn't wait to get home and listen to it at elevated volume. What a recording!! Kremer has captured and distilled the essence of Piazzolla's music. Every song is a masterpiece and nearly all of my favorite mid-period Piazzolla compositions are contained within. A special treat is the magnum opus which closes the set, a 12-minute rendering of Le Grand Tango with just Kremer's violin and the restrained passion of Vadim Sakharov's piano to lead your mind into another musical dimension. Gidon Kremer has since recorded a number of Piazzolla-related CDs and in so doing has set himself up as the unofficial interpreter of El Maestro's music. If you like Piazzolla, you are sure to enjoy this CD. I give it my highest recommendation.

Average customer rating: Simply Breath-Taking full of energy worth savouring Versatile virtuoso outshines musically uneven material A Towering Musical Achievement Beautiful Harp Album

Crossing the Stone Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Corea, Armando Chick | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Piazzolla, Astor | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Reich, Steve | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Debussy | Debussy, Claude | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Fugues | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | New Age | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Harpist Adiemus II: Cantata Mundi Because I Love You So Karl Jenkins: Requiem Free ASIN: B0000AM6IX Release Date: 2003-08-12

Tracks:

1. Mountain Dance
2. Harpers Bizarre
3. James
4. Crossing The Stone (Tros Y Garreg)
5. Prelude From Partita No. 3
6. Third Movement From Electric Counterpoint
7. Eternal Dream
8. The Arrival Of The Queen Of Sheba From Solomon
9. Cafe Vamp Latino
10. Spain
11. Buenos Aires Hora Cero
12. Clair De Lune
13. Prelude In C/Ave Maria
14. Thingamujig
15. Suo Gan
16. Palladio (1st Movement)

Customer Reviews:

Simply Breath-Taking.......2007-03-05

Being a harpist myself, I can truly admire Catrin Finch's talent, style and choice of music selections for her first album.

Some songs are truly a revelation for the harp as an instrument using New Age style accompaniment, while there are still pieces with a classical vibe.

Well Done!

full of energy worth savouring.......2004-12-13

The artist is able to deconstruct the traditional image of harp as an instument. The texture and the hue of the music is rich and full of lustre. very creative and versatile.

Versatile virtuoso outshines musically uneven material.......2004-02-01

There's a reason Charles, Prince of Wales, revived a long-dormant (since 1871) tradition and presented Catrin Finch a Royal Appointment as his harpist. At age 23 she is a remarkable talent, with pristine technique and a fluency in the languages of both classical and contemporary music.

If only the material on her debut disc were equal to her talent.

While Finch is extraordinary, the music is a mixed bag of modern jazz/pop tunes, re-tooled classical favorites, and several hit-and-miss arrangements by Finch's musical partner, composer Karl Jenkins.

It's all starts and stops, ups and downs. In the jazz/pop genre, Dave Grusin's infectious "Mountain Dance" and the relaxed groove of Pat Metheny/Lyle Mays' "James" are perfectly suited for harp, while Chick Corea's "Spain" just never catches fire. Among the contemporary, experimental compositions, Jenkins' minimalist but tuneful "Harpers Bizarre" is far more interesting than Steve Reich's "Third Movement from Electric Counterpoint" - a tedious ostinato that never develops into anything. In a more traditional vein, "Crossing the Stone," taken from Jenkins' double harp concerto, is a rich, lovely setting of a Welsh folk tune, but two other selections from the concerto - "Eternal Dream" and "Caf? Vamp Latino" - don't relate musically at all. And while Finch, unaccompanied, is flawless on Bach's "Prelude from Partita No. 3," her performance of Handel's "Arrival of the Queen of Sheba" is marred by the decision to include some noisy Middle Eastern percussion, as is Debussy's "Clair de lune" by an intrusive, soporific voice-over.

On the upside again, Bach/Gounod's "Ave Maria" and the Welsh lullaby "Suo Gan" team Finch nicely with solo voices (though countertenor Terrance Barber's vibrato is perhaps an acquired taste), and Jenkins' "Thingamujig" is a fun, lively jig.

Concluding the album, the first movement of Jenkins' "Palladio" (featured for years in TV commercials for DeBeers diamonds) in a dull dance remix has none of the energy of the original version for string quartet and is a totally gratuitous inclusion.

From Finch's liner-note comment that "I've never really been stuffy about classical music ... I'm open to everything, really," it's apparent that some tracks are an attempt to make a "classical" instrument more accessible to listeners of contemporary music. Again, Finch is terrific, but listeners would be better served by a recording of the harpist that displays her virtuosity in a single genre - whether classical, contemporary or experimental - instead of this hodgepodge.

Give the performer five stars, the material two, and look forward to hearing this talented young artist for many years to come.

A Towering Musical Achievement.......2003-10-29

While biographies disguised as reviews are tiresome, some background is in order, in this case. At the age of 23, Catrin Finch has been playing the harp for 18 years. She was appearing on British television and with major orchestras by the time she was 10, and was appointed the Royal Harpist to HRH The Prince of Wales (a.k.a. Prince Charles) at the age of 20. Bottom line: This lady has more than enough credentials to be regarded as a major musical talent.

But does having a long list of credentials translate to making a great album? In this case, you bet it does. On "Crossing The Stone," Catrin Finch combines piles of technical expertise with surprising and even stunning musical choices. Sure, she covers classical music (such as Bach's 'Prelude from Partita #3' and Handel's 'The Arrival of The Queen of Sheba') brilliantly, but you'd expect that from an alumnus of The Royal College of Music. But would you expect to hear a piece by jazz pianist Dave Grusin done on the harp? How about music by guitarist Pat Metheny, or a Chick Corea composition?

Catrin Finch is an incredible talent, and she has created a beautiful, eclectic album that demands (and will receive) repeated listening. Unfortunately, it's also an album that you probably won't find in your local music store. This album has not received a lot of publicity, and I have yet to walk into a CD store and find it sitting on the shelf. Save yourself a lot of tedious shopping: buy it here and now.

Beautiful Harp Album.......2003-08-26

I first heard Catrin Finch on a free sample CD I received and when I listened to it, I couldn't believe that the instrument that she was playing was the harp! It was so vibrant and full of life. It felt like I had opened the windows and let the sun shine in. The harp is the world's oldest - and most difficult instrument, but in Ms. Finch's power it is sounds both contemporary effortlessly played. It is a wonderful buy for any appreciate of music, and the most electric harp album ever produced.

Average customer rating: Amazing Typical Piazzolla...Extraordinary A Christlike Performance superb playing of great music

Los Tangueros Manufacturer: Sony ProductGroup: Music Binding: Audio CD Piazzolla, Astor | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Argentina | South & Central America | International | Styles | Music General | International | Styles | Music Tango | Latin Music | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Tangos Among Friends Brazilian Rhapsody The Symphonic Tango Bajo Cero Piazzolla: Song of the Angel ASIN: B0000029TY Release Date: 1997-01-14

Tracks:

1. Revirado
2. Fuga y misterio
3. Milonga del angel
4. Decarissimo
5. Soledad
6. La muerte del angel
7. Adios Nonino
8. Libertango
9. Verano porte
10. Michelangelo '70
11. Buenos Aires hora cero
12. Tangata

Amazon.com essential recording

Like his frequent partner, Yo-Yo Ma, pianist Emanuel Ax has become infatuated with the tangos of Astor Piazzolla. Ax sought out pianist Pablo Ziegler, a long-time member of Piazzolla's ensemble, to make these arrangements and perform them with him. With his innate musicianship and Ziegler as a tutor, Ax has entered wholeheartedly into the world of the New Tango. These performances have just the right feeling for rhythm and color. Whether you need an album of Piazzolla on two pianos is another question. I'd say get some of Piazzolla's own recordings first. But for piano tango this album is a total success. --Leslie Gerber

Customer Reviews:

Amazing.......2005-07-16

There is a certain intensity in Piazzola's music that is hard to describe. It can be very powerful and nostalgic at the same time, very energetic and extremely mellow. Rumor has it that when Piazzola was studing music, his teacher pesuaded him to go back to his natural instrument, the bandoneon, as Piazzola had proven to play it with a special sensitivity.
While played in the bandoneon , Piazzola's music reaches all its Argentinean identity and character, but in the piano- in this case two of them- his music transforms and gets a richness that is really imppresive. I can't imagine two better piano players to deliver the passion of Piazzola's music. Emmanuel Ax and Pablo Ziegler are amazing together. Los Tangueros is a classic for all the Piazzola fans.

Typical Piazzolla...Extraordinary.......2003-03-05

The quintessential Piazzolla is presented here in a rapturous performance by several artists in their own right. I was attracted to this recording because I play the piano and the idea of Emanual Ax and Pablo Ziegler (another one of those classical-Tango joint venture a la Yo Yo Ma) performing Tango was too much to pass up.

The transcriptions are very, very good. In fact, though one can readily distinguish the sound from the classic Tango ensemble, the music is seamless. It works! Of particular interest is "La muerte del angel". One wishes that the "angel" trilogy could be presented in one package instead of spread out over several recordings. And speaking of transcripts, a German firm now distributes piano versions of Piazzolla tangos in three volumes.

While I'm wishing, it would be great if someone recorded the entire body of Piazzolla compositions in one collection.

A Christlike Performance.......2000-08-02

I was unfamiliar with Emanuel Ax, very familiar with Pablo Ziegler, and ultra familiar with the work of Astor Piazzolla, so I decided to give this CD a try. The only disappointment is that there are only 12 songs on this recording. It must have been difficult for Piazzolla acolyte Ziegler to decide which of the hundreds of worthy Piazzolla compositions to record. In the end, he did a great job not only in selecting a variety of Piazzolla styles, but also in selecting those which fit his conception of this project. Its hard to choose a favorite here though if pressed, I'd name the stately Soledad followed closely by the equally majestic Tangata. Ziegler's arrangements are impeccable. He proves that a lot of music can spring from two pianos with no other instrumentation needed when the arrangements are right. I heartily recommend this album not only to Piazzolla fans, but to fans of the piano. I hope that Ax and Ziegler soon offer an encore to this Christlike performance.

superb playing of great music.......1999-08-07

Piazzola does for tango what Gershwin did for the blues. And there is no better medium to hear what Piazzola is up to than these splendid arrangements for two pianos. Emanuel Ax, of course, is one of America's best living pianists. With Ziegler, he forms an unforgettable team. Highly worthwhile.

Average customer rating: oh well Up from the sea... Killer noise pop from the UK...an excellent release Pure Guitar-Driven Bliss thanks but no thanks

99th Dream Swervedriver Manufacturer: Zero Hour ProductGroup: Music Binding: Audio CD General | British Alternative | Alternative Rock | Styles | Music General | Alternative Rock | Styles | Music Dream Pop | Indie & Lo-Fi | Alternative Rock | Styles | Music General | Rock | Styles | Music Similar Items: Ejector Seat Reservation Juggernaut Rides '89-'98 Ferment Nowhere Chrome ASIN: B0000067WG Release Date: 1998-02-24

Tracks:

1. 99th Dream
2. Up From The Sea
3. She Weaves A Tender Trap
4. These Times
5. Electric 77
6. Stellar Caprice
7. Wrong Treats
8. You've Sealed My Fate
9. In My Time
10. Expressway
11. Behind The Scenes Of The Sounds & The Times

Amazon.com

Occasionally reminiscent in tone (and titles--try "Behind the Scenes of the Sounds & the Times") of Love's psychedelic masterwork Forever Changes, the fourth Swervedriver album demonstrates that there's still a lot to be done and said with the concurrently heavy and airy music once known as "shoegazing." On 99th Dream, the band's quest for transcendence takes it beyond the road celebrations that made its name so apropos into lyrics that often counsel trying to fly. This music makes you feel as if you could just about do it. --Rickey Wright

Customer Reviews:

oh well.......2005-12-10

It was a fun ride until "99th dream". This album is Swervedrivers last gasp to retain "The Feeling" that they once had. The songs are there but they blew it in the studio. I just wish things could have been different for them. The industry never knew what to do with them and now I hope they all understand that they sure don't know what to do without them. Adam Franklin's songwriting stays intact though and I guess it was worth it all so they could tour. The title track stands out and a couple others still have that glimmer of the good ole' days.

Up from the sea..........2004-11-24

Swervedriver are the type of band that gets better and better with age.

Sadly, they didn't catch on enough to sustain beyond 4 studio lps...but Adam Franklin has continued the arc that began with raise...and culminated with 99th dream...in Toshack Highway (they are also worth repeated listens).

The swervies will forever be one of my favorite bands...and this lp is their much underappreciated swansong. 99th dream, up from the sea and these times are the highlights...weaving textures of sound and fury and pathos.

Call me biased, call me sentimental...just don't call me while I'm listening to my swervedriver cds.

Killer noise pop from the UK...an excellent release.......2003-01-11

I was always puzzled when back in the days of Raise & Mezcal Head, A&M Records promoted Swervedriver as part of its heavy metal lineup. Other than pushing the volume past 11, Swervedriver had almost nothing in common with metal bands in 1990. Adam Franklin & Co. were too rooted in The Stooges and traditional rock & roll to be a band concerned more with image than music.

Sadly, indie rock fands missed the band's brilliant debut and metal fans rejected the band because they didn't wear enough spandex.

Fast forward to 1997 when Swervedriver reemerges on the small label Zero Hour. They have softened their sound a bit since their debut, but the band still knows how to write catchy psychedelic shoegazing pop...sorta like Big Star meets Ride.

Intertwining guitars and some killer tunes like "These Times" and "You've Sealed My Fate," you'll easily see why music critics have called them one of the most underrated bands of the 1990s.

Pure Guitar-Driven Bliss.......2002-07-01

I think this is a phenomenal album. The songs aren't too short, and it's a lovely mix of melodic riffs and catchy lyrics. I highly reccommend this to anyone.

thanks but no thanks.......2001-08-08

I was really excited for this to come out. I pestered music store clerks for months, and advance ordered it as soon as I could. When it arrived, I rushed home (really!) so I could play it ASAP. But after I listened to this extremely boring waste of money, I felt totally [let down]. Where was the loud, crunchy Swervedriver I'd been a fan of since seeing them open for Soundgarden in 1991? "Raise" was and is one of my favorite albums, and "Mezcal Head" was awesome too, so how the heck could this be the same band as the one on those albums? I still don't know how such an injustice could occur, but at least I got 3 bucks for it at the used CD store.

Average customer rating: Just what Steve Wynn needed Best since "Days of Wine and Roses"

Melting in the Dark Steve Wynn Manufacturer: Zero Hour ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music General | Rock | Styles | Music Singer-Songwriters | Rock | Styles | Music Pop Rock | Pop | Styles | Music CDs $7 - $10 | Pop Rock | Pop | Today's Deals in Music | Formats | Music All Bargain Titles | Pop Rock | Pop | Today's Deals in Music | Formats | Music All Bargain Titles | Alternative General | Alternative Rock | Today's Deals in Music | Formats | Music All Bargain Titles | Singer-Songwriters | Rock | Today's Deals in Music | Formats | Music Similar Items: My Midnight Kerosene Man Static Transmission Dazzling Display ...Tick...Tick...Tick ASIN: B000003YSF Release Date: 1996-07-30

Tracks:

1. Why
2. Shelley's Blues, Pt. 2
3. What We Call Love
4. Drizzle
5. The Angels
6. Epilogue
7. Silence Is Your Only Friend
8. Stare It Down
9. Smooth
10. For All I Care
11. The Way You Punish Me
12. Down
13. Melting In The Dark

Amazon.com

Inventive Dream Syndicate leader turned inconsistent solo artist Steve Wynn's songwriting has grown increasingly assured and concise even as he's struggled to achieve an appropriate musical framework. He regains his momentum impressively on this 1996 release, downplaying the singer-songwriter focus of his first couple of solo efforts in favor of a more grounded variation on the darkly personal guitar rock that put his former band on the map. The result is Wynn's most compelling solo outing yet, thanks in no small part to the presence of Come as his backup band; their elegant lurch gives songs like "What We Call Love," "Drizzle," and the droney raga-rock title cut a no-nonsense kick that perfectly complements Wynn's playfully cerebral lyrics. --Scott Schinder

Album Description

Self-produced 1995 solo album from ex-Dream Syndicate frontman. Zero Hour.

Customer Reviews:

Just what Steve Wynn needed.......2005-05-05

What a difference an incredible backing band can make! The original lineup of Come gives Wynn the kick in the pants he needed to transcend the often pointlessly wandering Dream Syndicate sound.

The combination of Come's muscular rhythm section and nasty double guitar attack is the perfect complement to Wynn's vocals. They push and pull him with exhilarating results.

Definitely recommended for both Come fans and Steve Wynn fans.

Best since "Days of Wine and Roses".......1999-10-22

It was a great idea to have Come as backing band; Steve has needed some feedback and into-the-abyss style energy. If you liked the best of Dream Syndicate you'll be pleased by this one.

Average customer rating: Prog-metal for the new millenium Prog-Metal with Vision Intricate Prog-Metal Insanity FACE YOUR FEARS before you buy this...

Specs of Pictures Burnt Beyond Zero Hour Manufacturer: Sensory Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Rock | Styles | Music Progressive Metal | Progressive | Rock | Styles | Music General | Hard Rock & Metal | Styles | Music Hard Rock | Hard Rock & Metal | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: The Towers of Avarice The Origins of Ruin Metamorphosis A Fragile Mind Paradise Lost ASIN: B000I5XEE6 Release Date: 2006-10-10

Tracks:

1. Face the Fear
2. Falcon's Cry
3. Embrace [Instrumental]
4. Specs of Pictures Burnt Beyond
5. Zero Hour [Instrumental]
6. I Am Here
7. Evidence of the Unseen

Customer Reviews:

Prog-metal for the new millenium.......2007-01-24

The American band Zero Hour didn't had a easy time the last few years.
After their very successful second 2001 album, The Towers of Avarice, original singer Erik Rosvold left the band in September 2004. The band was then already waiting for 3 years to hear his contribution on what would have become their new album. A year later Zero Hour would release the album A Fragile Mind with singer Fred Marshall.

The album was well received but did not get the same positive reactions as "Towers". It soon became clear that the bands also knew that something was not well because as just fast as Marshall was hired he was out of the band again. Then on February the 4th of this year we heard the news that ex-Power of Omens vocalist Chris Salinas would be the permanent singer.

For those who don't know, Power of Omens was a very progressive metal band from Texas who's 1998 debut album was a classic in the prog-metal genre. However the question was if Chris Salinas with his sensitive Geoff Tate like voice would fit with the band. Because Zero Hour plays very technical metal with intense walls of sounds and staccato riffs that now and then sound like Fear Factory. But when I heard the album, all fears were put to rest, this time the band has made the right choice.

It is noticeable that the band has put a lot more quiet sometimes almost jazz-like passages in their songs, which makes sure that the quiet and atmospheric voice of Salinas is given space to shine. I trust that I won't have to tell to anyone that this does wonders for the dynamics of the album. Once you get used to the intense style of Zero Hour, you are rewarded with an fantastic album that will draw you in completely. There are only 7 songs on this 45 minutes and 8 seconds lasting album, but each song shines like a jewel.

Really beautiful are those passages where bassist Troy Tipton, Guitarist Jasun Tipton, yes they are twin-brothers, and drummer Mike Guy build up the tension in the songs, from quiet to intense, from wild to calm. Like, for example, in Evidence Of The Unseen, The Falcon's Cry or the beautiful album opener Face The Fear.

Chris Salinas whispers, talks, sings and screams himself through this album in a magnificent manner and proves that he is the perfect vocalist for Zero Hour. The diverse compositions and the fact that they have been written like real songs makes sure that this album is endlessly intriguing. There are new things to hear time after time and the album keeps on growing. This is what makes listening to Specs Of Pictures Burned Beyond a mesmerizing and addictive experience.

Its very likely that this album will top my year list at the end of 2006. It's a metal classic and thus a fantastic achievement of this young and promising band.

Prog-Metal with Vision.......2006-11-15

This is a tricky album to review for Zero Hour because, while clearly the band is still Zero Hour as previously known (with a different vocalist, again), there's a different kind of "feel" that previous albums. For one thing, this album seems very much of a piece; it's in a particular musical zone that seems different from other Zero Hour albums, in exactly the same way that Led Zeppelin's "Presence" is very Zeppelinesque, while simultaneously being like nothing they had ever done, or would again. And like "Presence," what this album exhibits (sometimes successfully, sometimes not so much so) is a particular obsessiveness of groove.

For instance, the exceptionally captivating (hell, I'll say it, the brilliant) title track is an intense, relentless crunch fest. At the beginning, mid-tempo linear guitar lines skitter around, while the bass and drums already established the brutal, ceaseless *thump-thump-thump* that characterizes almost all of the song. After only 60 seconds of this introduction, the main crunching rift settles in, with Chris Salinas alternating between the familiar kind of Zero Hour vocals one expects, and very definitely King Diamond-inspired falsetto-growl oscillations. I think the "high notes" one reviewer complained of must be these. But I'm telling you, it's almost chilling and fantastically effectively. If title tracks indicate high points on albums, then this certainly proves it. There's of course the risk here, for impatient listeners, that the band spends too much time just beating away on those same few chords--there are in fact more variations than I might be giving the impression of, but the music does stick very closely to a single idea here, with the variations only making the return of the main grinding that much more satisfying. And, again, Salinas' vocals are all over the map, in a great way. Finally, after five minutes, there's a quiet interlude (that seems to refer to the opening song vaguely), followed by a slithery delicious mayhem of arpeggios to finish this off. Very. Satisfying. For this song alone am I glad I bought the disc.

The album opens with "Face the Fear," one of those familiar 9 minute long prog-metal epics. Lots of jagged, skittery guitar lines--with Salinas' vocals coming in with the expected kind of prog-metal sound. One could compare vocal styles with others, but at a bare minimum, he certainly gets the job done well enough. Only two minutes into the song, the first introspective quasi-acoustic section of the album starts--and one really gets a first taste of the "stuck in the groove" sensibility that generally so strongly characterizes this album. I apologise for having to say this, but you really do kind of have to hear how the durations in these songs pull out longer than they should, but nevertheless work, to really get the "thing" of this album. In theory, these repetitions should grow boring, but they're so carefully modulated (most of the time) that that proves not to be the case. At five minutes, the skittery lines return--very satisfying after the introspective interlude. Once again, this only lasts about two minutes, and then its back to the introspective bit for just a handful of seconds. As the opening licks are reprised toward the end, the song does seem to flag a bit--it's easy to get lost in it, since there is no recognizable verse or chorus structure. It ends with a bass line that will haunt the album throughout.

"The Falcon's Cry" at 8'00" starts off very promisingly--crunching chords, alternating high and low vocals by Salinas, and a skittery guitar flourish that definitely resembles the opening song. It's like bits and pieces from the first have been reassembled into a completely different song. The secret, again, seems to be the reliability of the repeating bass and guitar lines, which allow Salinas to just get all unhinged over, in, and under the music. Very nice. Around three minutes, introspective guitar section #2 on the album starts, with the standard arpeggiated chords; Salinas here opts for a kind of loungy, throaty sound for the main part of his vocals, intercut with whispery asides. Although this is largely the same approach as the first song, I find the drawing out of the introspective section not so satisfying, and the return to heavier, crunching guitars not as exhilarating. At this point, it seems like the verse-chorus structure of conventional music, has been replaced with "fast" and "slow" contrasts. In all, this song might benefit from being further away from the opener.

"Embrace," at a mere 2'24" is a guitar & acoustic study in arpeggios, with some rather buried vocal wailing in the background--a moody little gesture, it sits very nicely between the last song and the title track, which is about to come blistering along. Repetition is still very apparent here, yet still put to fairly effective use.

"Specs of Pictures Burnt Beyond" (described above) is followed by another short piece, "Zero Hour" at 2'27". If there was an doubt about the cohesiveness of this album, this song makes it apparent, by starting once again with the lick from the end of "Face the Fear" and found also in "Specs of Pictures Burnt Beyond." Here the variation is with a straight up guitar-line version of it, interspersed with a quieter, bass only edition of the theme also. This get even more frantic at the end, and then veers off into a metallic-nasal lick to wrap up this brief, but wide-ranging little journey. A fine decompression after the title track, as well as a set up to the next song.

"I am Here," at 4'58", starts off with introspective acoustic guitar section #3 (and in fact sticks with it throughout). Salinas skips the lounge-tones here, thankfully, and goes after a kind of subdued profundity instead. It's a ballad all the way through, and not the most inspiring or soulful one ever committed to tape. It's at least a contrast with the rest of the album.

"Evidence of the Unseen," at 8'44", is the album's last track, and the other particularly fine prog-metal epic. (Mind you, this is prog-metal with no keyboards at all). All of the gestures, or bits, come together in this culminating song. Starting with a rolling, slightly uptempo guitar line, it suddenly breaks to something like the metallic-nasal bit, then just as quickly drops into the *thump-thump-thump* found throughout the album. Crazy little arpeggios flourish float over the mix as Salinas' vocals get more and more impassioned, and the guitars and drums get fatter and fatter--a very cool crescendo, that breaks off into an introspective bit declaring, "You are, you are alive," as kind of a response to the "I am here" of the previous song. A high wail, and the power chords return, beating away and reprising the opening again. (All of this in 3 minutes; the song really covers a lot of territory, and very ably). The song then breaks into a series of varied linear guitar lines, mixed together, and variously crooned, wailed and whispered over and through by Salinas. It's particularly apparent that what's being created here is more of a particularly well-evoked texture or atmosphere, than a song in the usual sense of the word. Headphones also help to really pull out details throughout, as the end particularly relentlessly sticks to its guns as different vocal flourishes sneak around the wall of sound.

I think this is an album best played all the way through (almost as if a single song), and at loud volume. It has a particularly obsessive vision that is rare for prog-metal albums (more so even than "Pleasant Shade of Gray"), and definitely makes itself felt. The lyrics certainly help also to tie the album together as a whole. If nothing else, the title track, and "Evidence of the Unseen" easily make the disc worth the asking price.

Intricate Prog-Metal Insanity.......2006-11-08

I have been a fan of the relatively obscure progressive metal band Zero Hour since the release of their amazing concept album, "The Towers of Avarice", and have not been disappionted by any of their subsequent releases. The band has suffered from an inability to retain a singer for more than one album, which can dramatically alter a band's sound for better or worse. Prog-metal bands, in particular, often depend on a vocalist's range and style to deliver the goods. Witness the difference between Dream Theater's "When Dream and Day Unite" and the uber-classic "Images and Words" after the addition of new vocalist James La Brie. Upon hearing that Zero Hour's new singer would be the former vocalist of the avant-garde Power of Omens, I was disappointed in the extreme, because I had purchased a Power of Omens album and didn't like it at all, especially the vocals. I was happily mistaken, though, because after a few spins I have come to the conclusion that Chris Salinas is the best vocalist this band has ever employed. He has unbelievable range and power, but often employs subtlety and emotion to get the point across as well, making it apparent to me that his amazing voice is simply utilized much more effectively and melodically in this band than on the Power of Omens release.

The core of the group, of course, has alway been the powerhouse duo of the Tipton brothers on guitar and bass, and their performance on this album is mind-blowing! This album is all about full-throttle shred, and Zero Hour's staccato, rhythmically challenging tendencies are actually kicked up a notch on this album compared to the relatively more cinematic and hook-oriented approach of their previous release, "A Fragile Mind".

That having been said, the reason I am reluctant to give it five stars is the fact that I actually think their previous effort was overall a better album as a whole, with a better balance of progressive elements and cohesive songwriting and a more cinematic, "whole package" conceptual approach which I came to really appreciate. I think that the never ending barrage of (admittedly very cool) riffs and time changes on this album simply don't stick in your head and make as much of an impression as "A Fragile Mind" did, although it is cool to see them push the boundaries of the band's technical proficiency. Still, it is basically one of the best progressive metal releases in years. Highly recommended!

FACE YOUR FEARS.......2006-10-15

Following Zero Hour's indisputable 2001 masterpiece The Towers of Avarice, we had to wait four years for a follow-up. Sadly, by then, the band had parted ways with their amazing singer Erik Rosvold and had hired Fred Marshall for the A Fragile Mind sessions. In many ways a combination of the band's first two discs, A Fragile Mind saw the band utilising heavier keyboard work and a stronger focus on melodic vocal lines. That, of course, meant less guitar crunch and technical arrangements. I still stand by my opinion that A Fragile Mind is a very strong effort, but with the replacement of Marshall with former Power of Omens vocalist Chris Salinas, it was perfectly obvious that their next release would be a step forward in a heavier and more aggressive direction.

Specs of Pictures Burnt Beyond will be a huge surprise to those that discovered Zero Hour on their previous disc, but those who love Metamorphosis and especially The Towers of Avarice will rejoice. The band is back in action full force. Keyboards are almost non-existent; the music is once again formulated by the Tipton brothers' unmistakable rhythms and Mike Guy's forceful drum beats. Chris Salinas is a very different singer than both Rosvold and Marshall. Coming from the Geoff Tate school, I was curious how he would fit in Zero Hour's style. The songs on this album have definitely been written with Salinas in mind. Salinas not only wrote the lyrics for most of the songs together with Troy Tipton, he also has excellent vocal harmonies and melodies on this disc. However, don't go expecting he is constantly screaming or doing high register singing. On the contrary, this is easily his most versatile vocal performance ever.

On the first two songs, "Face the Fear" and "The Falcon's Cry", the new Zero Hour sound is successfully introduced. Filled with chaotic bass and smashing rhythms, "Face the Fear" is highlighted by an incredible drum performance - perhaps Mike Guy's best in his recording career. His timing is so precise and tone so solid that it forms the backbone to the Tipton brothers' ferocious rhythm syncopation and Chris Salinas' powerful delivery. Moving from thunderous guitar passages to calm acoustic sections allows Salinas to showcase his spoken and whisper-like singing as well as his unique vocal phrases. As the music seethes and the guitars pick up momentum, Salinas shifts into agressive screams to enrich the dynamics. However, the song is far from single-minded aggression, as it's broken up by nice arpegeggiated acoustic sequences and chiming cymbal work. At the very end of the piece, when Salinas sings the line "The end is here" atop a dreamy melody, I get goose bumps, and I am convinced Chris Salinas is the future of Zero Hour.

"The Falcon's Cry" is arguably the best prog song of the year. Its brutal riffage and solid bass lines strung across thick drum beats continue through the song's first half until an invigorating vocal section arrives. Salinas sings the lyrics in a way only the likes of Keith Sudano and Daniel Gildenlow could manage; his tone is deep and confident, almost mechanical. However, when it comes to one particular line, he shifts to an extremely melodic and emotionally damaging tone, saying "The water runs the falcon cries" only to return to his calm, withdrawn tone. It is simply awe-inspiring that he is capable of alternating like this in the blink of an eye. Also, his "Something's gonna die!" screams and the tenacious bass accompaniment throughout the whole song are spectacular.

The two instrumentals "Embrace" and "Zero Hour" underscore the Tipton brothers' compositional skills. "Embrace" is almost entirely acoustic guitar-driven, and somewhat recalls the material on Jasun Tipton's solo album. However, the recording is a lot more advanced, highlighting the doubled guitar work where the melody is draped over beautiful acoustic chords. Strangely, I have to think of Jason Becker when I listen to Tipton's playing; his warm and expressive playing is totally unique though. On "Zero Hour", Jasun is joined by his brother and the duo create harmonic brilliance, merging icy electric leads and big, angry bass notes. Replete with unexpected chord progressions and an enchanting bass solo, the piece takes on a slightly fusion-inspired flavour at the very end, which is sublime.

On the heavier front, the title track is perhaps the heaviest song they have composed. The riffing is merciless - and perhaps makes a nod to their material on Towers - and the drum and bass playing rumbles violently, plowing through the whole seven-plus minutes. Plenty of staccato riffs a la Meshuggah and dramatic vocals, which are significantly higher than the other songs, dissolve into idiomatic silences before Jasun Tipton unleashes a sick, terrifying electric solo. You have never heard him shred like this before. Likewise, the last song "Evidence of the Unseen", perfects the band's crude brutality, churning out waves of distortion and discordant guitar effects. The pulsing drum beat only serves to thicken the whole sound, rendering it unbreakable. The ending of the song is particularly striking, as the bass and guitar tandem thunder endlessly, up until the last second when Salinas simply remarks: "You are the evidence of the unseen."

There is also a great acoustic ballad on the album. "I Am Here" finds Salinas returning to his Geoff Tate circa Empire and Promised Land phase, singing passionately and relaying very personal lyrics. Needless to say, this track is vital in that it bridges the band's busy, complex instrumental frenzy and the album's breathtaking finale.

Dino Alden is quickly becoming the most amazing producer in metal. Anything he touches turns to gold; and his work on Specs of Pictures Burnt Beyond is no exception. Sonically, this album has more of a Towers vibe happening, but some of the warmth of A Fragile Mind has also been carried over. The best thing about it is that you can still discover a whole new range of dimension when listening to it at rather low volumes. When cranked up, however, the CD will become all the more rewarding and powerful.

It seems I cannot praise this album enough, so I'll sum it up. This is the best release of the year. It has surpassed Vanden Plas' Christ 0 for me and found its place in Zero Hour's never-disappointing catalog.

before you buy this..........2006-10-15

if you're a Zero Hour fan, chances are you'll buy this even if it gets a bad review. Anyway, Specs is a departure from the perfect harmony Zero Hour style. sure the time signature changes and the chaos of ZH is there, but in disarray. The music is all over the place, it doesn't seem to have any direction. and this gets worse with the addition of Chris Salinas (formerly of Power of Omens) to the mix. Salinas has a strong, powerful voice, but many times sings in a particularily annoying high pitch that doesn't gel with this type of music.

also: be prepared to listen to riffs taken straight out of Towers of Avarice and a few snippets from their first and third album too. no keyboards, no atmospheric sound. a big mess.


2 stars for having a decent production. (if you haven't listened to any ZH CDs, I recommend any of the first three CDs...3 fantastic masterpieces.

Average customer rating: The bonus CD Perfect...for me.

12/Loup EP The Notwist Manufacturer: Zero Hour/Ada ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music Electronic Pop | Indie & Lo-Fi | Alternative Rock | Styles | Music General | Rock | Styles | Music Electronica | Dance & DJ | Indie Music | Stores | Music ASIN: B000003YS2 Release Date: 1997-05-20

Tracks:

1. Torture Day
2. My Phrasebook
3. Puzzle
4. M
5. Noah
6. My Faults
7. The String
8. Instr.
9. 12

Tracks:

1. The String (Remix)
2. The Incredible Change Of Our Alien (Remix)
3. Johnny And Mary
4. Torture Day 'Loup' (Remix)
5. Noah (Remix)

Customer Reviews:

The bonus CD.......2004-11-04

I picked up the 'bonus' CD that comes with this set independently. It was actually given out as a promotional tool by Zero Hour (a since-defunt label) for the U.S. release of 12. It contains some of the single-greatest pre-Shrink Notwist tracks ever.

1. The String - though this version bills itself as a 'remix' of the original, there is very little, if any difference between the two. An amazing song that is, ironically, a cover of a song done by the Notwist as a side-project called Village of Savoonga. This version is way better.

2. The Incredible Change of Our Alien - regarding the 'remix' label, same thing as the above song. This song begins with a banjo that is common among Notwist recordings. This song then builds into one of the most satisfying rock songs of its kind ever. Originally, this track was included on the album 'Nook'.

3. Johnny and Mary - this song is a wonderful inclusion because you could only previously get it off of an odd little compilation EP that the Notwist did with 3 other bands, all of whom worked to create their own rendition of Robert Palmer's classic tune. There is actually a great animated music video to this song if you can find it online somewhere. Musically it is more in the vein of 'Nook' and earlier recordings.

4. Loup (Torture Day remix with Cindy Dall) - this track was previously available on the second disc that originally shipped with 12. This disc also contains a mildly different version of the song 12. It's a great remix and actually gives the song a techno-undertow which would be echoed by further musical explorations in Shrink and Neon Golden.

5. Noah (remix) - This is the only place you can obtain this remix. This song alone is worth going to the trouble of getting the album with the extra CD. If you already own 12, sell it to a used CD store or give it to a friend or something and then get this version. Noah is a song on the album 12 but this remix is a drastic change from the original, darker, moodier, and substantially cooler. I've put this song on my computer and already played the hell out of it.

So there you have it, I didn't know if anybody else this side of the Atlantic would even know about these extra songs... and certainly I'd want to help newbies to the Notwist to be able to dig into the rich ouevre of music that the Notwist has to date. They are one of the greatest bands of the past decade... without a doubt.

Perfect...for me........2000-04-06

I purchased a single disk version of this cold. I fell in love after the first chord was struck. This album has everything I like about music. It's emotional, moody, melancholy, jamming. I've been listening to not much else for three weeks now. ( Yes! It has staying power, too.)

If you liked snow patrol, cat power, seam, sunny day R.E., etc. buy this now! or at least check out the samples.

Average customer rating: Honky Tonk Forever! Real Country Music

Honky Tonk Happy Hour - Live at the Continental Club Miss Leslie and Her Juke-Jointers Manufacturer: Zero Label Records ProductGroup: Music Binding: Audio CD General | Traditional Country | Country | Styles | Music Similar Items: Honky Tonk Revival Wise to You! Hammer of the Honky-Tonk Gods One More Draw Snake Ranch ASIN: B000KC8280 Release Date: 2006-11-07

Tracks:

1. Intro by Leslie T Travis
2. Yes Ma'am (He Found Me In a Honky Tonk)
3. Everything Ain t Right
4. You re Still On My Mind
5. Bubbles in My Beer
6. I m Barely Hangin On To Me
7. The Arms of a Fool
8. I Want to Hear It From You
9. Bobo s Boogie
10. I ll Be Gone Tonight
11. Things Have Gone to Pieces
12. Blistered
13. Cry, Cry, Cry
14. Ship of Love
15. Touch My Heart
16. Place in My Heart
17. Empty Barstool
18. Little Ole Wine Drinker Me
19. A-11--Little Darlin Outtro

Product Description

Recorded Live at the Continental Club in Houston, TX on April 19, 2006. Fiddle, pedal steel, telecaster, upright piano, drums, bass and acoustic guitar - country music with a 50s and 60s flair.

Customer Reviews:

Honky Tonk Forever!.......2007-02-26

Outstanding, marvelous, this is another excellent exemple what Country Music should be always about. Steel Guitar (Rick Davis, Dale Watson Steel Guitar Man), Telecaster, Fiddle, Piano, Bass and Drums played by the right people makes a perfect combination for real good music, and Miss Leslie & Her Juke Jointers is part now of my personal collection of Country Music. This Live album has a very good quality of recording and I recommend seriously to anyone who likes Hard Core Honky Tonk Music the purchase of this CD.

Real Country Music.......2007-01-13

Honky Tonk Happy Hour is one of those country albums that make the listener realize just how bad country radio is today. Miss Leslie & Her Juke-Jointers make some of the finest honky tonk music in the country today and yet mainstream country radio stations continue to ignore them. That's a real shame because country fans outside of Texas for the most part still don't know what they're missing when it comes to Leslie and this great country band.

Miss Leslie does a better job on a George Jones song than any other lady I can think of, and there are three of them in this live album: "Everything Ain't Right," "Things Have Gone to Pieces" and "Ship of Love." If you love honky tonk music and miss the days when you could hear it on your radio, this one's for you. Discover the sound of Miss Leslie & Her Juke-Jointers and you'll have something to take the place of that garbage that gets played on your local FM "country" radio station.

Average customer rating: Great music for an experemental movie

Hommage A Noir (1995 Documentary) Ralf Hildenbeutel Manufacturer: Zero Hour/Ada ProductGroup: Music Binding: Audio CD Ambient | Dance & DJ | Styles | Music General | New Age | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music ASIN: B000003YS4 Release Date: 1997-08-26

Tracks:

1. Hommage A Noir (Single Mix)
2. Intro/National Holiday
3. The Fantasia Riders
4. Market In Bamenda
5. The Elephantmen Society
6. In The Village
7. Largo For A Day In Africa
8. Warriors Of Foumban
9. Holy Life In Bafut
10. Hommage A Noir
11. Stiltdance
12. Hommage A Noir (Remixed By Bassface Sascha)
13. Hommage A Noir (Remixed By Der Process)

Customer Reviews:

Great music for an experemental movie.......2004-11-26

The music of Ralf Hildenbeutel is not for everybody. But the work for "Hommage" is on musical pathway like Peter Gabriel with "Passion". If you like the music from Passion, you love Hildenbeutels "Hommage"

Rock Music:

1. 60s Rock Experience
2. All Day Music
3. America Proud
4. Asian Typhoon [Import]
5. At the Hop
6. Barbarians [Import]
7. Best of Rock This Way [Import]
8. Better Days
9. Big Band Celebration: Christmas
10. Blood, Sweat & Tears' Greatest Hits

Rock Music