![asylum [import]](http://images.amazon.com/images/P/B000006XVD.01.TZZZZZZZ.jpg)
| 1. Asylum |
| 2. Munich (Munich 1938; Appeasment Was the Cry, Munich 1970; Mine to Do or |
| 3. Goodbye Post Office Tower Goodbye |
| 4. Survivor |
| 5. Reprieved |
| 6. Lisa |
| 7. Summer Weekend of a Lifetime |
| 8. Let Them Come When They Will |
Editorial Reviews
Product Description
Import reissue of 1971 album. Repertoire.
I am so glad that I found this CD. I hope that she continues to do more songs in the Mariachi style. I'm glad that she was able to go back to her ethnic roots. This is a wonderful, beautiful CD.
Other Spanish language artists used for comparison: Lola Betran, Nat "King" Cole, Nana Mouskouri, Vinciente Fernandez, Juan Gabriel, Ana Gabriel.
Bottom Line: Alpha is just another great album from Sevendust. If you thought they got soft, they are back, and they are back to rip through your skull, and believe me, thats a good thing.
Alpha is a manifestation of the group's attempt at a return to an earlier era, as well as an attempt to harness a more brutal, less-polished sound, but it lacks conviction to me. The lyrics are weak in the sense that they attempt to express angst that sounds as though the words were composed by a 12-year-old. For example: Confessions of Hatred: "Responsible for bringing out my darkest side/I tried to hide what I feel but it's my time/
To inflict all the damage". If I were a fan of Hatebreed and their adolescent approach to angst, then maybe lyrics like these would trigger that itch that makes one want to break windows as a kid, but I am not, and they don't. The words seems empty and the rest of the lyrics in the song are a collection of rambling thought. That goes for much of the rest of the album.
The underlying music sounds more like a giant experiment instead of a composed effort. The guitar pieces are boring, even confusing, and I listen to Mudvayne, who constantly play in strange time signatures. However, most of the riffs on this album seem forced, and though I can admire a lack of flow (though, no one beats Tool for being able to play odd time signatures and create a groove), it needs to be able to flow well. By the end of the album, all the chunky parts began to run together and sound like they were cut from the same riff in the song before it.
However, it isn't a total flop, in my opinion. "Driven", "Deathstar",
"Alpha", "Story of Your Life" and (in spite of it's name) "Aggression" are all listenable tracks, in spite of my reservations on some of their lyrics and direction. Overall though, this album is weaker than most of the albums that have come before it.
I hope these guys find their direction again, complete with stronger lyrics, melody and composition. Next, Animosity, and Sevendust were all good albums, and I hope that they find that same energy in the future.
Some of the standout cuts on here are "Feelin' Real Pimpish" with Project Pat delivering a perfect chorus, and the laid back production really compliments Wyte's flow well. "I Got That Candy" has a smooth chorus with Wyte giving his ode to candy paint. "Suicide" is a track where Wyte spits fire about how he feels and how he wants to end his life. "Get Wrong" has that intensity you're going to feel when listening to a Lil Wyte album, and so does "Choppa On Da Back Seat", "We Ain't Cool", and "Talking Ain't Walking". He delivers his mandatory drug raps on "F***** Up", "Get High", "Do It Fluid". He lets you know he has paper on "Cake" and "Gettin Money Boy". I really can't say there is a bad song on here. If you're a fan of Hypnotize Minds and Three Six Mafia, then pick up Lil Wyte's third album. It won't disappoint.
Even with all the drama, the cd is terrific and they sound perfect together. The original concept was to have each lady take lead on a cd. The first one has Dolly being lead on most songs and the second one has Linda taking lead on most songs. Doubtful that a third cd will be released using Emmylou as the lead, which is a shame because these ladies combined can do no wrong as far as I'm concerned. Angelic is the word that comes to mind when I hear the three of them harmonizing.
Trill Entertainment was a label started by UGK's Pimp C. As one-half of one of the greatest hip-hop groups of all time, one would think that the Pimp would have a better ear for talent; I guess one can't be blessed in every aspect of life, and talent scouting is not one of the Pimp's better aspects. Most of the emcees signed to the label are either mind-numbingly mediocre or the definition of wack.
3 Deep would be the most appropriate for the latter title, because both tracks this 'talent' appears on have no redeeming qualities. I believe 3 Deep is a group based on their name, but if they are, I can't distinguish one member from the next; there is absolutely no difference in cadence, flow, or tone if there really is more than one artist appearing on these tracks. In fact, Watch My Shoes is possibly the most asinine boast I've ever heard in hip-hop; the production, which sounds like hyphy meets snap, is equally grating. Do It Stick It is a bit better on the production tip, but nothing will stay in your head after listening to it, even the hook.
On the other end of the spectrum, while still painfully average, both Boosie and Webbie are slowly, but gradually improving. Boosie's voice is abit more tolerable on this release, most likely thanks to how little of it we have to hear compared to Bad Azz; Webbie is slowly becoming an enjoyable emcee. While Webbie gets no solo tracks on this album, he manages to outshine most of his Fam, although Boosie does tend to hold his own when it comes to this type of thing; Boosie's solo track, Thug Me Like That, is actually quite decent too.
Foxx maybe the best rapper in the entire Trill Fam; not a huge claim, but a claim, nonetheless. He's got an intoxicating flow, and decent enough lyrics; he sounds a bit more seasoned than the majority of his compadres, whether he really is or not. Wipe Me Down, one of the better tracks on the album, shows that the young emcee has talent. Big Head is also a rapper with a lot of potential; while he doesn't show it on a lot of the collaborations, his solo track, Politician Networkin', in another one of the hotter tracks on the album, and this time for more than just the beat; Head actually provides some nice bars.
Soulja Boy, Lil Phat, and Shell all appear on Materialistic *****, and that track just sucks. That's all there is to really say about it. Seeing as this is the only cut any of those three find themselves on in this album, it's dumbfounding how it made the final cut; it's probably the worst track on the album next to Watch My Shoes.
The majority of this album is dominated by the three biggest acts on the label, Webbie, Boosie, and the upcoming Foxx; Big Head also gets his fair share of appearances. None of these guys can be considered dope emcees, at least not at this point in their careers, but they're all competenent enough. The beats are pretty hot on most tracks, and simply stupid when they tend to fail. With that being said, I guess it's worth checking out as a presentation of what Trill has to offer; at the same time, don't expect much if it doesn't have Pimp or Bun's name on it, and I can't guarantee this will have any lasting value at all.
The track "Wrecking Ball" is about love that goes on after the relationship has ended. It is a double pun, contrasting the damage done by a wrecking ball with the beauty of taking one's love to a dance; (the kind of dance where you break up), conjuring up a bitter sweet image of something broken yet alive, really very clever ONCE YOU UNDERSTAND IT. However, an album title should not be so obtuse. It should sum up the content of the work in one phrase to someone who has not yet heard it. For 99.99% of people seeing this album in a record shop a "Wrecking Ball" is a large metal object for demolishing buildings, probably the title of a heavy metal album.
Apart from the theme of love continuing after separation this album also expresses the themes of liberation from an unhappy life, nostalgia for one's childhood, belief in the mythical Jehovah, internal corruption and fading with age. Emmylou would have been better advised to call it "Old Woman's Blues".
SECOND CRITICISM: Second rate vocals.
Emmylou has very little character to her voice. This makes her perfect for singing harmonies on other people's records, (which is where she has had most of her success). Unfortunately it is not much good when singing the lead, which is why her solo success has been much less than that of Dolly Parton and Linda Ronstandt, both of whom exhibit far more "character" in their voice.
I note 2nd rate intonation in some songs. Check out "Wrecking Ball" and "Deeper Well" for example. I know nobody's perfect but I expect better than this at this level. Unless she is doing it deliberately, perhaps to ape Neil Young, but that would be just silly.
Inappropriate and childish is her habit of drifting off into falsetto midway through a word. Sure yodeling is part of the Country and Western tradition but in my opinion it is out of place here. She doesn't do this every song but it's irritating when it happens, especially bad are "Where Will I Be" and "All My Tears".
Most serious of all is her habit on many songs of not pronouncing words fully, especially leaving off the last syllable. This might have been cool in the days of Elvis Presley but at her age she ought to know better. A mature artist should go to some trouble to select songs with good lyrics. To then not pronounce them is a crime. Again this is not every song but it is irritating when it happens, especially bad are "Where Will I Be", "Goodbye", "Wrecking Ball" and "Orphan Girl".
Her singing is not actually bad, it's just that it is not first rate. There are any number of singers who could have done better justice to this material. When you consider the quality of the production it's a shame not to have a first rate singer out front.
THIRD CRITICISM: Poor choice of songs.
When you have the resources at your disposal as they had on this album, why choose second rate songs? In particular "Every Grain Of Sand" is not one of Bob Dylan's better efforts. Considering the vast output of his genius there are plenty of good and great songs of his to cover, "Every Grain Of Sand" is not in that category. There are other examples of second rate songs on this album although not as starkly inferior as this. The fact that no hit was forthcoming from this effort, despite the money and talent poured in, eloquently proves my point about the quality of the songs.
THE PRODUCTION
The great thing about this album is that is has Daniel Lanois producing. He brings a rich, dark and sombre feel to this work that is quite unique. He has really taken Country in a new direction, the Lanois direction! Considering he was been U2's producer on their 2 biggest albums it is not surprising that it sounds at times like a U2 album. In particular check out "Where Will I Be". If Bono were singing it would BE U2! Indeed Emmylou even sounds a bit like Bono on this track.
The mix is dominated by the bass, the bass drum and the snare, as well as the lead vocal. Guitars, harmony vocals, mandolin and banjo etc are well back and almost irrelevant. He gets away with this because the bass is so rich, thick and deep that it carries everything. Check out the amazing bass on "All Mt Tears"... One can only imagine the multi tracking, effects and heavy EQ that made this possible. There is much electric guitar here but it is always heavily loaded with effects and always spacey, similar to Edge's guitar but further back. In fact this album demonstrates quite clearly who is responsible for U2's sound. Daniel could get rid of The Edge, Mullens and Clayton and so long as he kept Bono he could still make U2 records.
CONCLUSION
I am well aware that many people think this is one of the best albums ever made and if they get great enjoyment from it then good luck to them! However that doesn't mean it doesn't have flaws, or that I shouldn't point them out.
I see where these people are coming from. Lanois has produced a rich and addictive sound which does grow on you. And this rare, velvet tapestry tends to make most people, (especially those don't sing), overlook its flaws. The tendency is to unconsciously associate the masterful production with Harris (since it's her album), so that one becomes blind to the grave flaws in her singing. When you realise that the genius in this work is Lanois and not Harris you should be able to see her for what she is, (unless you are a confirmed, one-eyed Harris fan of course, in which case your fate is sealed).
The same psychology applies to the choice of songs. Classy treatment like this could make you think "Mary Had A Little Lamb" was a masterpiece!
Overall, this is a worthwhile and interesting, even classic! but deeply flawed album. Emmylou's singing is not first rate, the songs are mostly weak and the production, though groundbreaking and addictive, is not, in my opinion, the best way to display country music. All would have been forgiven though if it were full of great songs. There were only three that I liked: "All My Tears", "May This Be Love" and "Waltz Across Texas Tonight". If the other 9 had been of that standard or better THEN it would have been a great album.
If you want to get an idea of what this album could have been with its faults corrected get "Achtung Baby" by U2. Now THAT is a great album! Even though the production on Wrecking Ball is more polished than Lanois' earlier effort, yet the first rate singing, the quality songwriting, the cohesive theme and the compelling development from track to track on Achtung Baby really take you somewhere. This is what is missing from Wrecking Ball, CONTENT! and this is why Wrecking Ball cannot be counted amongst the greats.
for her sex appeal (me, too). But, that voice just blew you away. Still
does. This album (especially "Give One Heart" {love the reaggae sounding
tag to the cut} and "Try Me Again") had been spun from September through
May, when school was out. Sounded great then on the stereo, then the tape
deck and soon, the CD in the vehicle. Another gem in Ronstadt's wide
repetoire of covering familiar and new songwriter material.
As for the sound, even though the packaging reads AAD, the disc itself has the HDCD seal; the sound is loud and full with no hiss. Sometimes I think they don't redo the packaging to save money, which can be confusing to those waiting for the remastered version. I've discovered on older titles it's best to buy new, so you are guaranteed the most up to date pressing.
Well, enjoy. I'm glad that Linda is still recording and stepping into new genres.
This album contains such classic tracks as Love is a Rose, Prisoner in Disguise and Silverblue. The arrangements are fabulous. There are many different styles tackled but the album has a wonderful flow.
It is so exciting to be able to have this album on CD as my old vinyl was well and truly worn out. Even today this album stands up - my 18 year old son commented 'wow who's that singing!'. He was hearing the voice of an angel that can still move people 30 years on! Thankyou Amazon for bringing this CD to my attention.
far his best.Saturate,Everyman and Late for the Sky are classic albums.
These albums never get old ,they just get better everytime you listen.
The highlight though is a beautiful version of what is arguably the best song Guy has ever written, "The Randall Knife." It's one of those songs that when its over you say if I could write anything as good as any line in that song I could die a happy man. The tune about a relationship with a father is one most of us can relate to.
This is one another of those take it to a desert island records. Buy it today
Listen to the words and absorb the rhythms of the title track, IMO simply one of the finest songs written by any modern singer-songwriter. Who else could write a love song that admits to being too proud to come in out of the rain; unapologetically equates the works of Michelangelo, da Vinci, and Doc Watson; and book-ends it all with the unforgettable, acidic verse, "I wish I was in Austin, in the Chili Parlor Bar, drinking Mad Dog margaritas, and not caring where you are" -- all in 4:20 ?
From the sage wisdom of "Stuff that Works" (w/R. Crowell, a long-time friend of his), to the uplifting message and wry humor of "The Cape", to the painful mourning of his father's death in "Randall Knife", this disk includes some of his finest songwriting. If you are new to Guy Clark's music, this is a fine way to start appreciating his poetry set to music.
Import reissue of 1971 album. Repertoire.
Asylum,Cressida,Repertoire,Pop,Prog-Rock/Art Rock,Rock,Rock/Pop
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Canciones de Mi Padre
Linda Ronstadt Manufacturer: Asylum Records ProductGroup: Music Binding: Audio CD  General
| International
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Mexico
| International
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General
| Latin Music
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Latin Pop
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General
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ASIN: B000002H5C Release Date: 1990-10-25 |
Tracks:
- Por Un Amor
- Los Laureles
- Hay Unos Ojos
- La Cigarra
- Tu Solo Tu
- Y Andale
- Rogaciano El Huapanguero
- La Charreada
- Dos Arbolitos
- Corrido De Cananea
- La Barca De Guaymas
- La Calandria
- El Sol Que Tu Eres
Amazon.com
Topflight pop singer pays tribute to her heritage on this amazing roots ranchera album that also features excellent backing by the world-famous Mariachi Vargas, all under the experienced hand of master arranger-composer-producer Ruben Fuentes. Everything clicks wonderfully here, but numbers that set a new standard include "Tu Solo Tu," an incredibly harmonic love ode; "Por un Amor," on the price of real love; and "Los Laureles," a song of declaration on which Ronstadt soars unbelievably high. These are old Mexican classics, played by arguably the world's best mariachi group and sung by one of North America's greatest vocal talents. Extras include performances by another world figure, requinto player Gilbert Puente, who made trio history when he led Mexico's Los Tres Reyes in the '50s and '60s. In the mariachi-ranchera genre, this CD easily ranks among the very best. --Ramiro BurrCustomer Reviews:
Muy lindo.......2007-04-26
I am so glad that I found this CD. I hope that she continues to do more songs in the Mariachi style. I'm glad that she was able to go back to her ethnic roots. This is a wonderful, beautiful CD.
Essence of Mexico.......2007-04-20
Other Spanish language artists used for comparison: Lola Betran, Nat "King" Cole, Nana Mouskouri, Vinciente Fernandez, Juan Gabriel, Ana Gabriel.
Canciones de Mi Padre.......2007-01-22
canciones de me padre.......2006-11-10
What A Voice.......2006-07-02
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Alpha
Sevendust Manufacturer: Asylum Records ProductGroup: Music Binding: Audio CD General
| Alternative Rock
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Industrial
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| Alt Industrial
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ASIN: B000MGBTIE Release Date: 2007-03-06 |
Tracks:
- Deathstar
- Clueless
- Driven
- Feed
- Suffer
- Beg To Differ
- Under
- Story Of Your Life
- Confessions Of Hatred
- Aggression
- Burn
- Alpha
Amazon.com
Alpha, the latest outing from this veteran act is both good and maddening. Good because many of the riffs and the songs to which they are affixed are driven by an element of boogie--for lack of a better term--too often absent from contemporary metal. Maddening because the group often cops out and trades in original and challenging ideas for the expected mid-song freak outs that will no doubt send listeners over the brink once the band takes the stage but do little but inspire passive listening in the current setting. As good as Sevendust may be on the stage, this is the studio and they owe it to listeners to create an experience that will last them a lifetime. A few more risks and less of an allegiance to brute force may serve this band well as it does in the more subtle moments of "Deathstar" and "Driven." --Jedd BeaudoinCustomer Reviews:
another solid cd from sevendust.......2007-06-06
Kick Ass.......2007-05-14
Vintage Sevendust...........2007-05-13
Bottom Line: Alpha is just another great album from Sevendust. If you thought they got soft, they are back, and they are back to rip through your skull, and believe me, thats a good thing.
Juvenile.......2007-05-13
Alpha is a manifestation of the group's attempt at a return to an earlier era, as well as an attempt to harness a more brutal, less-polished sound, but it lacks conviction to me. The lyrics are weak in the sense that they attempt to express angst that sounds as though the words were composed by a 12-year-old. For example: Confessions of Hatred: "Responsible for bringing out my darkest side/I tried to hide what I feel but it's my time/
To inflict all the damage". If I were a fan of Hatebreed and their adolescent approach to angst, then maybe lyrics like these would trigger that itch that makes one want to break windows as a kid, but I am not, and they don't. The words seems empty and the rest of the lyrics in the song are a collection of rambling thought. That goes for much of the rest of the album.
The underlying music sounds more like a giant experiment instead of a composed effort. The guitar pieces are boring, even confusing, and I listen to Mudvayne, who constantly play in strange time signatures. However, most of the riffs on this album seem forced, and though I can admire a lack of flow (though, no one beats Tool for being able to play odd time signatures and create a groove), it needs to be able to flow well. By the end of the album, all the chunky parts began to run together and sound like they were cut from the same riff in the song before it.
However, it isn't a total flop, in my opinion. "Driven", "Deathstar",
"Alpha", "Story of Your Life" and (in spite of it's name) "Aggression" are all listenable tracks, in spite of my reservations on some of their lyrics and direction. Overall though, this album is weaker than most of the albums that have come before it.
I hope these guys find their direction again, complete with stronger lyrics, melody and composition. Next, Animosity, and Sevendust were all good albums, and I hope that they find that same energy in the future.
Sevendust Rule and I wish I was in the band!!!!.......2007-05-13
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The One and Only
Lil Wyte Manufacturer: Asylum/Hypnotize Minds ProductGroup: Music Binding: Audio CD General
| Rap & Hip-Hop
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Southern Rap
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ASIN: B000P6R95S Release Date: 2007-06-05 |
Tracks:
- The One And Only
- We Ain't Kool
- I Got Dat Candy
- That's What's Up
- Talkin' Ain't Walkin'
- Get High
- It's On
- Feelin' Real Pimpish
- Get Wrong
- Chappa On Da Back Seat
- Gettin' Money Boy
- Cake
- Got'm Lookin
- Fu*k'd Up
- Suicide
- Ghostin'
- Do It Fluid
- Dat Boy
- Gun Do Da Talkin'
- Outro
Album Description
Three 6 Mafia is ready to present Lil Wyte. The One and Only features collaborations with the notorious rap group as well as joint ventures with everyone's favorite hood rat, Project Pat. Featuring hits like "I Got That Candy" and "Ghostin'" Lil Wyte breaks onto the scene with full force.Customer Reviews:
"Lil' Wyyyyte!!!!".......2007-06-28
You Thought Your Boy Done Overdosed!.......2007-06-27
Some of the standout cuts on here are "Feelin' Real Pimpish" with Project Pat delivering a perfect chorus, and the laid back production really compliments Wyte's flow well. "I Got That Candy" has a smooth chorus with Wyte giving his ode to candy paint. "Suicide" is a track where Wyte spits fire about how he feels and how he wants to end his life. "Get Wrong" has that intensity you're going to feel when listening to a Lil Wyte album, and so does "Choppa On Da Back Seat", "We Ain't Cool", and "Talking Ain't Walking". He delivers his mandatory drug raps on "F***** Up", "Get High", "Do It Fluid". He lets you know he has paper on "Cake" and "Gettin Money Boy". I really can't say there is a bad song on here. If you're a fan of Hypnotize Minds and Three Six Mafia, then pick up Lil Wyte's third album. It won't disappoint.
ANOTHER HCP CLASSIC.......2007-06-16
LILWYTE.......2007-06-05
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Trio II (Two)
Dolly Parton , Emmylou Harris , and Linda Ronstadt Manufacturer: Asylum Records ProductGroup: Music Binding: Audio CD General
| Country
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General
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Heroes
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ASIN: B00000F1D2 Release Date: 1999-02-09 |
Tracks:
- Lover's Return
- High Sierra
- Do I Ever Cross Your Mind
- After the Gold Rush
- The Blue Train
- I Feel the Blues Movin' In
- You'll Never Be the Sun
- He Rode All the Way to Texas
- Feels Like Home
- When We're Gone, Long Gone
Amazon.com
This long-awaited, highly anticipated follow-up to 1987's much-loved initial Trio offering doesn't disappoint. On Trio II, Emmylou Harris, Linda Ronstadt, and Dolly Parton weave a spell that's equal parts traditional and contemporary, country and folk, vision and voice. It's their seamless musical blend of these counterpoints--as in the sweet, sweeping harmonies on Neil Young's "After the Gold Rush" or the instrumentally spare acoustic presentation of the Carter Family's "Lover's Return"--that makes these songs such treasures. When individual voices soar and fuse together to create distinct new voices, when instinct leads the way for artistry to follow, the result is perfect harmony, pure magic. --Alexandra RussellCustomer Reviews:
Fantastic! .......2007-06-27
Even with all the drama, the cd is terrific and they sound perfect together. The original concept was to have each lady take lead on a cd. The first one has Dolly being lead on most songs and the second one has Linda taking lead on most songs. Doubtful that a third cd will be released using Emmylou as the lead, which is a shame because these ladies combined can do no wrong as far as I'm concerned. Angelic is the word that comes to mind when I hear the three of them harmonizing.
Weak sequel.......2007-06-19
Really Good Follow Up To "Trio".......2006-05-08
Powerful voices.......2003-12-05
This Version of "After the Goldrush" is Breath-taking!!.......2003-06-20
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Trill Entertainment Presents: Trill Fam
Lil Boosie , Weebie , Foxx , and Trill Fam Manufacturer: Asylum Records ProductGroup: Music Binding: Audio CD General
| Rap & Hip-Hop
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Pop Rap
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ASIN: B000MRA6Q4 Release Date: 2007-05-22 |
Tracks:
- Say Round
- Do It Stick It - 3 Deep
- Wipe Me Down
- Adios
- Politician Networkin - Big Head
- Same Old S**t - Lil Boosie
- Materialistic B***h - Shell
- Swangin - Lil Boosie
- Watch My Shoes - 3 Deep
- U Got Cake
- Bout Dat
- Leave the Tags On
- Thug Me Like That - Lil Boosie
- Got Me Bent
- Wipe Me Down
Customer Reviews:
Best compilation album this year!.......2007-07-11
Wipe Me Down is an appropriate name for the first single -.......2007-05-23
Trill Entertainment was a label started by UGK's Pimp C. As one-half of one of the greatest hip-hop groups of all time, one would think that the Pimp would have a better ear for talent; I guess one can't be blessed in every aspect of life, and talent scouting is not one of the Pimp's better aspects. Most of the emcees signed to the label are either mind-numbingly mediocre or the definition of wack.
3 Deep would be the most appropriate for the latter title, because both tracks this 'talent' appears on have no redeeming qualities. I believe 3 Deep is a group based on their name, but if they are, I can't distinguish one member from the next; there is absolutely no difference in cadence, flow, or tone if there really is more than one artist appearing on these tracks. In fact, Watch My Shoes is possibly the most asinine boast I've ever heard in hip-hop; the production, which sounds like hyphy meets snap, is equally grating. Do It Stick It is a bit better on the production tip, but nothing will stay in your head after listening to it, even the hook.
On the other end of the spectrum, while still painfully average, both Boosie and Webbie are slowly, but gradually improving. Boosie's voice is abit more tolerable on this release, most likely thanks to how little of it we have to hear compared to Bad Azz; Webbie is slowly becoming an enjoyable emcee. While Webbie gets no solo tracks on this album, he manages to outshine most of his Fam, although Boosie does tend to hold his own when it comes to this type of thing; Boosie's solo track, Thug Me Like That, is actually quite decent too.
Foxx maybe the best rapper in the entire Trill Fam; not a huge claim, but a claim, nonetheless. He's got an intoxicating flow, and decent enough lyrics; he sounds a bit more seasoned than the majority of his compadres, whether he really is or not. Wipe Me Down, one of the better tracks on the album, shows that the young emcee has talent. Big Head is also a rapper with a lot of potential; while he doesn't show it on a lot of the collaborations, his solo track, Politician Networkin', in another one of the hotter tracks on the album, and this time for more than just the beat; Head actually provides some nice bars.
Soulja Boy, Lil Phat, and Shell all appear on Materialistic *****, and that track just sucks. That's all there is to really say about it. Seeing as this is the only cut any of those three find themselves on in this album, it's dumbfounding how it made the final cut; it's probably the worst track on the album next to Watch My Shoes.
The majority of this album is dominated by the three biggest acts on the label, Webbie, Boosie, and the upcoming Foxx; Big Head also gets his fair share of appearances. None of these guys can be considered dope emcees, at least not at this point in their careers, but they're all competenent enough. The beats are pretty hot on most tracks, and simply stupid when they tend to fail. With that being said, I guess it's worth checking out as a presentation of what Trill has to offer; at the same time, don't expect much if it doesn't have Pimp or Bun's name on it, and I can't guarantee this will have any lasting value at all.
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Wrecking Ball
Emmylou Harris Manufacturer: Asylum Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000002HKI Release Date: 1995-09-26 |
Tracks:
- Where Will I Be
- Goodbye
- All My Tears (Be Washed Away)
- Wrecking Ball
- Goin' Back To Harlan
- Deeper Well
- Every Grain Of Sand
- Sweet Old World
- May This Be Love
- Orphan Girl
- Blackhawk
- Waltz Across Texas Tonight
Amazon.com essential recording
Emmylou Harris's formula has been to match a crack crew of left-of-center country players with an assortment of tasteful tunes and head into the studio with a nonintrusive producer. Now and then (most notably the 1980 bluegrass collection Roses in the Snow), she tampers with her basic blueprint and comes up with something exceptional. Wrecking Ball is one of those. Daniel Lanois's radiant production no longer seems as fresh as it did on albums by U2, Peter Gabriel, and Bob Dylan, but here its hum enfolds Harris like an electric blanket. Lanois's usual recruits, including U2 drummer Larry Mullen Jr., and New Orleans regulars Malcolm Burn, Brian Blade, and Daryl Johnson, lay down a solid base for Harris's weary vocals and Lanois's buzzing guitar. At its core, Wrecking Ball seems almost too finely calculated. Hot producer plus sought-after songwriters plus venerated performer frequently totals to deadly bore. Here, however, all that calculation adds up to something. --Steven StolderCustomer Reviews:
Emmylou dressed in barbed wire...........2007-06-27
Interesting but flawed.......2007-05-12
The track "Wrecking Ball" is about love that goes on after the relationship has ended. It is a double pun, contrasting the damage done by a wrecking ball with the beauty of taking one's love to a dance; (the kind of dance where you break up), conjuring up a bitter sweet image of something broken yet alive, really very clever ONCE YOU UNDERSTAND IT. However, an album title should not be so obtuse. It should sum up the content of the work in one phrase to someone who has not yet heard it. For 99.99% of people seeing this album in a record shop a "Wrecking Ball" is a large metal object for demolishing buildings, probably the title of a heavy metal album.
Apart from the theme of love continuing after separation this album also expresses the themes of liberation from an unhappy life, nostalgia for one's childhood, belief in the mythical Jehovah, internal corruption and fading with age. Emmylou would have been better advised to call it "Old Woman's Blues".
SECOND CRITICISM: Second rate vocals.
Emmylou has very little character to her voice. This makes her perfect for singing harmonies on other people's records, (which is where she has had most of her success). Unfortunately it is not much good when singing the lead, which is why her solo success has been much less than that of Dolly Parton and Linda Ronstandt, both of whom exhibit far more "character" in their voice.
I note 2nd rate intonation in some songs. Check out "Wrecking Ball" and "Deeper Well" for example. I know nobody's perfect but I expect better than this at this level. Unless she is doing it deliberately, perhaps to ape Neil Young, but that would be just silly.
Inappropriate and childish is her habit of drifting off into falsetto midway through a word. Sure yodeling is part of the Country and Western tradition but in my opinion it is out of place here. She doesn't do this every song but it's irritating when it happens, especially bad are "Where Will I Be" and "All My Tears".
Most serious of all is her habit on many songs of not pronouncing words fully, especially leaving off the last syllable. This might have been cool in the days of Elvis Presley but at her age she ought to know better. A mature artist should go to some trouble to select songs with good lyrics. To then not pronounce them is a crime. Again this is not every song but it is irritating when it happens, especially bad are "Where Will I Be", "Goodbye", "Wrecking Ball" and "Orphan Girl".
Her singing is not actually bad, it's just that it is not first rate. There are any number of singers who could have done better justice to this material. When you consider the quality of the production it's a shame not to have a first rate singer out front.
THIRD CRITICISM: Poor choice of songs.
When you have the resources at your disposal as they had on this album, why choose second rate songs? In particular "Every Grain Of Sand" is not one of Bob Dylan's better efforts. Considering the vast output of his genius there are plenty of good and great songs of his to cover, "Every Grain Of Sand" is not in that category. There are other examples of second rate songs on this album although not as starkly inferior as this. The fact that no hit was forthcoming from this effort, despite the money and talent poured in, eloquently proves my point about the quality of the songs.
THE PRODUCTION
The great thing about this album is that is has Daniel Lanois producing. He brings a rich, dark and sombre feel to this work that is quite unique. He has really taken Country in a new direction, the Lanois direction! Considering he was been U2's producer on their 2 biggest albums it is not surprising that it sounds at times like a U2 album. In particular check out "Where Will I Be". If Bono were singing it would BE U2! Indeed Emmylou even sounds a bit like Bono on this track.
The mix is dominated by the bass, the bass drum and the snare, as well as the lead vocal. Guitars, harmony vocals, mandolin and banjo etc are well back and almost irrelevant. He gets away with this because the bass is so rich, thick and deep that it carries everything. Check out the amazing bass on "All Mt Tears"... One can only imagine the multi tracking, effects and heavy EQ that made this possible. There is much electric guitar here but it is always heavily loaded with effects and always spacey, similar to Edge's guitar but further back. In fact this album demonstrates quite clearly who is responsible for U2's sound. Daniel could get rid of The Edge, Mullens and Clayton and so long as he kept Bono he could still make U2 records.
CONCLUSION
I am well aware that many people think this is one of the best albums ever made and if they get great enjoyment from it then good luck to them! However that doesn't mean it doesn't have flaws, or that I shouldn't point them out.
I see where these people are coming from. Lanois has produced a rich and addictive sound which does grow on you. And this rare, velvet tapestry tends to make most people, (especially those don't sing), overlook its flaws. The tendency is to unconsciously associate the masterful production with Harris (since it's her album), so that one becomes blind to the grave flaws in her singing. When you realise that the genius in this work is Lanois and not Harris you should be able to see her for what she is, (unless you are a confirmed, one-eyed Harris fan of course, in which case your fate is sealed).
The same psychology applies to the choice of songs. Classy treatment like this could make you think "Mary Had A Little Lamb" was a masterpiece!
Overall, this is a worthwhile and interesting, even classic! but deeply flawed album. Emmylou's singing is not first rate, the songs are mostly weak and the production, though groundbreaking and addictive, is not, in my opinion, the best way to display country music. All would have been forgiven though if it were full of great songs. There were only three that I liked: "All My Tears", "May This Be Love" and "Waltz Across Texas Tonight". If the other 9 had been of that standard or better THEN it would have been a great album.
If you want to get an idea of what this album could have been with its faults corrected get "Achtung Baby" by U2. Now THAT is a great album! Even though the production on Wrecking Ball is more polished than Lanois' earlier effort, yet the first rate singing, the quality songwriting, the cohesive theme and the compelling development from track to track on Achtung Baby really take you somewhere. This is what is missing from Wrecking Ball, CONTENT! and this is why Wrecking Ball cannot be counted amongst the greats.
Great Music!!!.......2007-03-20
Give it time.......2006-07-24
Stunning Masterpiece .......2006-06-25
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Hasten Down the Wind
Linda Ronstadt Manufacturer: Asylum Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000002GY7 Release Date: 1990-10-25 |
Tracks:
- Lose Again
- The Tattler
- If He's Ever Near
- That'll Be The Day
- Lo Siento Mi Vida
- Hasten Down The Wind
- Rivers Of Babylon
- Give One Heart
- Try Me Again
- Crazy
- Down So Low
- Someone To Lay Down Beside Me
Amazon.com essential recording
After the critical and commercial smash Heart Like a Wheel, Linda Ronstadt could have had her pick of material from the day's top songwriters. Instead, she chose the wares of a couple of young artists on the rise, Warren Zevon and Karla Bonoff. Each provided her with first-rate material for Hasten Down the Wind: Zevon wrote the title track and Bonoff supplied "Someone to Lay Down Beside Me," "Lose Again," and "If He's Ever Near." Ronstadt also bravely covers songs already done definitively by others--Patsy Cline's "Crazy," Buddy Holly's "That'll Be the Day," and Tracy Nelson's "Down So Low"--and emerges not merely unscathed, but triumphant. She also presages the turn toward Spanish material her career took in the '80s with "Lo Siento Mi Vida." It's easy to see why the public went wild for Hasten, Ronstadt's first platinum album. --Daniel DurchholzCustomer Reviews:
Still Crazy (For Linda) After All These Years.......2007-04-23
for her sex appeal (me, too). But, that voice just blew you away. Still
does. This album (especially "Give One Heart" {love the reaggae sounding
tag to the cut} and "Try Me Again") had been spun from September through
May, when school was out. Sounded great then on the stereo, then the tape
deck and soon, the CD in the vehicle. Another gem in Ronstadt's wide
repetoire of covering familiar and new songwriter material.
ONE OF THE BEST ..........2007-03-19
We did not know.......2007-01-18
Linda's Voice is Angelic.......2006-07-01
Brings back childhood memories.......2006-05-21
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Prisoner in Disguise
Linda Ronstadt Manufacturer: Asylum Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000002GY0 Release Date: 1990-10-25 |
Tracks:
- Love Is A Rose
- Hey Mister, That's Me Up On The Jukebox
- Roll Um Easy
- Tracks Of My Tears
- Prisoner In Disguise
- Heat Wave
- Many Rivers To Cross
- The Sweetest Gift
- You Tell Me That I'm Falling Down
- I Will Always Love You
- Silver Blue
Amazon.com essential recording
"Hey mister, that's me up on the jukebox," Linda Ronstadt sings on her 1975 album Prisoner in Disguise, and it was no idle boast. The album yielded two of her finest singles, thanks to the retooled Motown classics "Heat Wave" and "Tracks of My Tears." The album's support material is just as strong, ranging from a banjo-strumming version of Neil Young's "Love Is a Rose" to a plaintive pop reading of Jimmy Cliff's reggae classic "Many Rivers to Cross." There's also a simple but lovely cover of Dolly Parton's "I Will Always Love You" that predates Whitney Houston's glass-shattering take on it (for the movie The Bodyguard) by more than a decade and a half. One thing about Ronstadt and producer-manager Peter Asher: they knew good material when they heard it and almost always turned it into something truly special. --Daniel DurchholzCustomer Reviews:
The sweetest gift.......2006-11-05
Great, Varied CD.......2006-08-23
As for the sound, even though the packaging reads AAD, the disc itself has the HDCD seal; the sound is loud and full with no hiss. Sometimes I think they don't redo the packaging to save money, which can be confusing to those waiting for the remastered version. I've discovered on older titles it's best to buy new, so you are guaranteed the most up to date pressing.
Well, enjoy. I'm glad that Linda is still recording and stepping into new genres.
Prisoner in Disguise.......2006-02-22
This album contains such classic tracks as Love is a Rose, Prisoner in Disguise and Silverblue. The arrangements are fabulous. There are many different styles tackled but the album has a wonderful flow.
It is so exciting to be able to have this album on CD as my old vinyl was well and truly worn out. Even today this album stands up - my 18 year old son commented 'wow who's that singing!'. He was hearing the voice of an angel that can still move people 30 years on! Thankyou Amazon for bringing this CD to my attention.
The Sweetest Gift with Emmylou Harris.......2004-04-07
The sequence of songs, "The Sweetest Gift", "You Tell Me That I'm Falling Down" and "I Will Always Love You" has to be some of the best song sequencing ever done on an album, and ironically they are all related: Linda and Emmylou on "The Sweetest Gift" are good friends and frequent singing buddies. Both are good friends with Anna McGarrigle who wrote "You Tell Me That I'm Falling Down" and then Dolly Parton's "I Will Always Love You" who of course is the other third of the famous Trio.
I give the album 3 stars because there are a few songs I don't care for, but it is among the best of Linda's pop albums. Once again, and I can't stress this enough, but the duet with Emmylou is worth getting this album.
I miss this voice on the radio.......2004-04-01
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For Everyman
Jackson Browne Manufacturer: Asylum Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000002GYU Release Date: 1990-10-25 |
Tracks:
- Take It Easy
- Our Lady Of The Well
- Colors Of The Sun
- I Thought I Was A Child
- These Days
- Red Neck Friend
- The Times You've Come
- Ready Of Not
- Sing My Songs To Me
- For Everyman
Amazon.com
Jackson Browne's second album defined the idea of the Southern California singer-songwriter--one part country, one part folk, eight parts introspection. It would be disgustingly maudlin except for the fact that Browne has some powerful songs, like the title track and "Lady of the Well." But he can up the volume a little, turning out a version of his own "Take It Easy" that outdoes the Eagles and cranking up the bar-band boogie on "Redneck Friend." For the most part, though, it's late nights in the dark and candlelight, and Jackson Browne did it well. --Chris NicksonCustomer Reviews:
sophomore jinx?.......2007-07-09
music for the heart.......2007-05-13
REMASTER ????.......2007-04-11
I think it is his best.......2007-02-20
For Everyman .......2007-02-11
far his best.Saturate,Everyman and Late for the Sky are classic albums.
These albums never get old ,they just get better everytime you listen.
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Dublin Blues
Guy Clark Manufacturer: Asylum Records ProductGroup: Music Binding: Audio CD Alt-Country & Americana
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ASIN: B000002HGU Release Date: 1995-04-04 |
Tracks:
- Dublin Blues
- Black Diamond Strings
- Shut Up And Talk To Me
- Stuff That Works
- Hank Williams Said It Best
- The Cape
- Baby Took A Limo To Memphis
- Tryin' To Try
- Hangin' Your Life In Wall
- The Randall Knife
Amazon.com
Guy Clark is a slow worker. Dublin Blues is only his seventh album since his debut, "Old No. 1," appeared in '75. The silver-haired Texan has praised the patient, meticulous process of hands-on craftmanship in songs like "The Carpenter," "Boats to Build," and "Jack of All Trades," and obviously applies the same approach to his own songwriting. The time is well spent, for this batch of songs resembles fine furniture; the words and music fit together so precisely that there's nary a seam nor a wobble. Clark's limitations are the same as ever. The cramped dimensions of his vocal tone and range make Johnny Cash sound like Luciano Pavarotti, and his easy-going, clip-clop midtempo rhythms are too unvarying for their own good. Admiring friends such as Nanci Griffith, Emmylou Harris, Kathy Mattea, and Sam Bush make the harmonies surrounding Clark especially rich on "Dublin Blues," and Ramblin' Jack Elliott (the subject of an earlier Clark song) sings a duet vocal on "Hangin' Your Life on the Wall," a defiant anthem on old folks who refuse to slow down. The heart of any Guy Clark album, though, is the writing, and the writing on Dublin Blues is the work of a dogged perfectionist. --Geoffrey HimesCustomer Reviews:
masterpiece.......2006-06-03
The highlight though is a beautiful version of what is arguably the best song Guy has ever written, "The Randall Knife." It's one of those songs that when its over you say if I could write anything as good as any line in that song I could die a happy man. The tune about a relationship with a father is one most of us can relate to.
This is one another of those take it to a desert island records. Buy it today
One of Guy's Best.......2004-09-04
Listen to the words and absorb the rhythms of the title track, IMO simply one of the finest songs written by any modern singer-songwriter. Who else could write a love song that admits to being too proud to come in out of the rain; unapologetically equates the works of Michelangelo, da Vinci, and Doc Watson; and book-ends it all with the unforgettable, acidic verse, "I wish I was in Austin, in the Chili Parlor Bar, drinking Mad Dog margaritas, and not caring where you are" -- all in 4:20 ?
From the sage wisdom of "Stuff that Works" (w/R. Crowell, a long-time friend of his), to the uplifting message and wry humor of "The Cape", to the painful mourning of his father's death in "Randall Knife", this disk includes some of his finest songwriting. If you are new to Guy Clark's music, this is a fine way to start appreciating his poetry set to music.
Wonderful Words.......2002-02-23
I highly recommend this album.
Guy Clark rules.......2001-09-20
texastentialism at its best.......2000-05-11
Rock Music:
- As Your Greens Turn Brown
- Barracuda
- Between Us [Import]
- Bless It's Pointed Little Head [Original recording remastered]
- Blonde Exodus/Ultimate Seaside Companion [Import]
- Brainwasher [Import]
- Carnivorous Lunar Activities of Lupine Howl [Limited Edition] [Import]
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- Christopher Cross
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