| 1. Disappear Purusa |
| 2. The June Jar- Simon Walsh |
| 3. Sea of Tranquility Gazpacho |
| 4. Gipsy Heart Arnaly |
| 5. Used Brad Yoder |
| 6. Alibi 20 Dead Camels |
| 7. It Aint Over Naked Soul |
| 8. Live It Up Girl Annette Shepherd |
| 9. Pocket Full of Jewels Ronald Silverlight |
| 10. One Time Too Many Money Puppet |
| 11. Liar Christina Lux |
| 12. Most Promises Toby |
| 13. Kerosene Greg Lamboy |
| 14. Please The Pultonics |
| 15. Biochemical Structure - Divinorum |
Editorial Reviews
Product Description
A wide range of artists and genres are featured in MakeaStar.com compilations. Volume Two features artists from OR, KY, MI, NV, PA, CA, NJ, and Canada, Norway, Germany, and England.
If you have a child w/ADD/ADHD, this cd set is worth a try.
The product was very well handled.
When "Greatest Hits" was released, Linda was still pushing Hasten Down The Wind (also 1976). In early 1977, she had a surprise hit single with "Someone To Lay Down Beside Me", which is included here. The song was not one of Linda's biggest, but it's a powerful, memorable track.
In the fall of 1977, Linda released her biggest album ever, "Simple Dreams". The album contained no less than four major hit singles, two of which ("It's So Easy" and "Blue Bayou") were on Billboard's top 5 at the same time in late 1977. "Blue Bayou" showcases Linda at her best Patsy Cline vocal moment, "It's So Easy" is a classic country-rocker, "Poor Poor Pitiful Me" was a great and sarcastic Warren Zevon number, and her version of The Stone's "Tumbling Dice" shows just what a great female rocker Linda is.
The next year, Linda topped the charts again with "Living In The U.S.A.", in which three hits are culled. "Back In The U.S.A." is sadly one of the weakest hits of her catalog. The Chuck Berry version is classic, but Linda's version is rather aimless. However, all is made up by Linda's smash top 10 jazzy version of "Ooh Baby Baby". Another classic Ronstadt-style track is "Just One Look".
Even though "Living In The U.S.A." was another #1 platinum smash for Linda, it became obvious her formula was getting stale. So Linda decided to shake things up and returned in early 1980 with "Mad Love". Guarenteed to show the Benatar's and Harry's that she is still a force to be reckoned with, "Mad Love" became another huge hit, even if it missed #1. The hard-rocking "How Do I Make You" was the first single and it quickly went top 10, then Linda released a breathtaking remake of "Hurt So Bad" that became an even bigger hit. The third single culled from the album, "I Can't Let Go" harkens back to her Stone Poneys days, but updated to sound 80's.
"Greatest Hits Vol. 2" was released in late 1980 and was the culmination of this stellar hitmaking period in Ronstadt's career. One more rock album (1982's Get Closer) after this and then Linda settled into the world of standards, Adult Contemporary and Spanish music, all genres she has done well at too.
* "Rambler Gambler" (#42 Country) was the B-side of "How Do I Make You," but did not appear on the "Mad Love" album.
* "Lose Again" (#76 Pop) and the Country singles "Crazy" (#6), "I Never Will Marry" (#8) and "Love Me Tender" (#59) are also missing.
My biggest grievance, though, is with the edits of the songs. Many of the songs cut off 5-10 seconds too soon. As a result, the songs end rather abruptly. I don't know whether Asylum has or will correct this. For now, I suggest tracking down a used vinyl version of this album. The sound may not be as pristine, but the songs will at least be complete.
"Mack the Knife" is one of the greatest songs ever. Lots of people have done this, including Sinatra and Louis Armstrong, but no one touches Bobby Darin's version here. This song will live as long as bars have jukeboxes. "Lazy River" is strangely evocative; it somehow combines the hazy, lazy sense with his ferocious delivery. "Beyond the Sea" is right up there with "Mack the Knife." I believe it has undertones of being with the one you love, after death. It's one of the most romantic songs ever.
His "Guys and Dolls" just assassinates this song. It swings like crazy. All the blues numbers in here - "Was There A Call for Me" "I Guess I'm Good For Nothing But the Blues" "Black Coffee" and "Pete Kelly's Blues" - are fine. They draw vivid pictures in the imagination; Darin sells them completely.
"Clementine" is politically incorrect but true to the original and still wonderful; you wouldn't think a corny traditional song like that could be delivered with 10 tons of dynamite like he does. Ditto "Bill Bailey." (This was something he apparently excelled at, resuscitating traditional songs most vocalists wouldn't bother with and making them work.)
Darin wrote "Artificial Flowers" and shows that social consciousness wasn't the sole property of folk-singing pukes with acoustic guitars. At least two people I know cried when I first played this song for them.
"I Didn't Know What Time It Was" and "Just Friends" make a pair on this album that has private meaning for me: My first foray into jazz in college involved Charlie Parker; the first Bird album I ever had also had versions of these two songs on it. This is the only other album I know that does both - I'd never heard the words before - and this says something about the versatility of both the standards songbook and Bobby Darin. Bebopper on the one hand, rock `n roller cum Vegas singer on the other hand.
"Skylark" - you can just see the bluest of skies when he sings this. "Christmas Auld Lang Syne" almost makes me want to celebrate Christmas. (I'm Jewish.) I think it speaks to Christmas as people imagine they'd like to have it.
For me, the melody of MY FAVORITE THINGS is so pretty, so clever, so powerful that I can't hear it once without it bouncing around inside my skull for the next several hours. And yet I know people who are apathetic about it. How can that be? We even find this mystery taking place between people who inhabit the same musical orbit. The "King Of Rock 'N' Roll" might have two devoted fans; the first who loves SUSPICIOUS MINDS and MEMORIES, but is not overly thrilled by HOUND DOG and IN THE GHETTO. The second fan's opinion is the complete reversal.
Some might think that this is comparable to our myriad responses to food flavors, but in that example there is a physiological explanation - something to do with chemical reactions in the glands, the taste buds. With music it's entirely intangible; some "it" within the inner being that responds, makes the body move, the toes tap, the mind rejoice. . .or mourn.
That "it" within me loves Bobby Darin's music, but "it" is selective. "It" doesn't care for Darin's pop hits, of which only a few appear on this collection. And although "it" digs LAZY RIVER which has one of the greatest, most energetic vocal performances ever, we play this album for the fabulously moving standard ballads (some with big band arrangements.) WAS THERE A CALL FOR ME; I GUESS I'M GOOD FOR NOTHING BUT THE BLUES; DON'T DREAM OF ANYBODY BUT ME; WHAT A DIFFERENCE A DAY MADE; BLACK COFFEE; SKYLARK; and even CHRISTMAS AULD LANG SYNE, these are the reasons you find me in this place. "It" likes 'em!
There is a certain something, a quality, in Darin's voice that can be discerned on his ballads; an innate melancholia that can't be taught, nor faked. I have found this in the voices of only two other singers: the jazz vocalist, Astrud Gilberto, and Karen Carpenter, who had it in spades! In fact, so much so that it sometimes bled through even on her uptempo numbers like TOP OF THE WORLD and SING. It's a kind of faint whisper of an intense inner aloneness, or a vague remembrance of something; a wistful yearning for what has passed and can't be retrieved, like a dream of something that glowed golden way back when, in the recesses of the mind. Hell, I don't know what it is, but "it" sure loves it! Anyway, that quality permeates so much of these recordings and that's why "it" makes me play them so often.
If you know what I'm yakking about here, and if it appeals to your "it" too, then also obtain a used copy of the "out-of-print", 'CLASSIC DARIN' if you can locate one at a reasonable price. This collection also contains many ballad tracks like WHERE LOVE HAS GONE; FLY ME TO THE MOON; A TASTE OF HONEY; SOFTLY, AS I LEAVE YOU; and SOMEWHERE with Bobby's "blue" voice thang goin' on.
According to his 2004, July 14th review, it seems that The Big Dong, doesn't have this same "it" inside of him. You think maybe I should go see if his priest can exorcise my "it" too?
Without spending space here reiterating the specific pieces, their titles and lengths, I will simply list the composers whose works Bream presents so nicely in this collection. They span a range of about five centuries beginning in the time of England's Elizabeth I and spanning the years through to the 20th Century's premier Spanish and Brazilian classical guitar composers. The list reads like a `Whose Who" of classical plucked-string instrument music and of composers whose keyboard compositions work particularly well on the strings of a lute or guitar, and includes;
- John Dowland
- Francis Cutting
- Antonio Vivaldi
- Gaspar Sanz (*)
- Mateo Albeniz (*)
- Manuel de Falla
- Enrique Granados (*)
- Hector Villa-Lobos, and
- Joaquin Rodrigo
(*) = Pieces originally written for keyboard play.
Every classical guitarist has his own recognizable style and approach to the instrument and the material. An experience listener would not confuse Bream's work with that of Andres Segovia, for example: but it is not that one is better than the other. Each, in his own distinctive way, is simply superb. Though the Spanish influence is clearly audible with both musicians, Bream's stylings have a more contemporary lilt and inflection than do those of Segovia; he makes each piece his own. One suspects that each time he plays a piece it comes out differently according to the moment, his mood, the instrument and God knows what else. Segovia, on the other hand, was well known for his constancy once he had found a version of each piece that fully suited his own ear and temperament.
While I am admittedly a Segovia fan, I find Bream's renditions to be noticeably fresher and each infused with an aura of presence in the here-and-now which I find especially enjoyable.
The collection is neither complete not `ultimate', but it is VERY good and well worth having in any collection of classical guitar music. In fact, for audiophiles not familiar with this genre, it is a fair place to begin to develop an ear for and a listener's knowledge of and experience with the classical guitar.
Overall, this CD consists of a good variety of masterfully played music. I only wish most of Bream's recordings were recorded using later technology, which would make his playing shine even more.
The premise is pretty basic: six songs exceeding the 6-minute mark (in fact, five of them go over the 10-minute mark), showing off some of the band's most ellaborate work, to balance off volume one, which focused more on the singles and short songs. Starting off the album, standing tall at almost 20 minutes of duration, is a medley of reaaaaaaaly old Genesis, where 1975's "Dance on a Volcano", 1974's "Lamb Lies Down on Broadway", 1971's "Musical Box" and 1973's "Firth of Fifth" and "I Know What I Like" all are brought back to life, if at least for minutes at a time each... reviving the spirit of one of the world's best progressive rock bands ever.
Following the opening track come two tracks from their "We Can Dance" production, along with the "Domino" bundle (from their "Invisible Touch" album) and the "Home By the Sea" bundle (from their self-titled 1983 album). Taking it all home is their classic Drum Duet, featuring Phil alongside Chester Thompson, delivering a massive drum discharge that will electrify you.
If you ask me, this last glimpse at their great work is a good as it gets... I am thankful I had an opportunity of catching them during this tour, back in Knebworth, in 1992. They don't do them like this any more. ;)
When I look at Genesis as band, I see four distinct phases the band has gone through. Phase 1 is the Peter Gabriel Era. This spans from 1969 ("From Genesis to Revelation") to 1974 ("The Lamb Lies Down on Broadway"). It was during Phase 1 that Peter Gabriel was the lead vocalist and Genesis could easily be categorized as a progressive Rock band. Phase 2 is the Early Phil Collins Era spanning from 1976 ("A Trick of the Tail") to 1982 ("Three Sides Live"). In this era, Phil Collins took over as lead singer. The band was still very much a progressive rock band, but as the progressive rock landscape would change - so would Genesis. This might indirectly have led to Phase 3 which is the Late Phil Collins Era from 1983 ("Genesis") to 1993 ("The Way We Walk Volume 2: The Longs"). This is the commercial/pop era that I referred to earlier. At this point, there would be a lot less progressive rock flavor to Genesis' music. The fourth phase, Phase 4 is the Ray Wilson Era. This was when Ray Wilson took over as lead vocalist for Phil Collins. There would only be one album in this era - 1997's "Calling All Stations" and it seemed like Genesis tried to recapture some of their progressive rock roots - but 90s style. "Calling All Stations" would do poor commercially and Ray Wilson would take the fall and be asked to leave the band.
In Phase 3, Genesis would grow more and more successful commercially with each album release. Some of this probably would do to the fact that Phil Collins' solo career was also taking off. The last studio album that Phil Collins would do with Genesis was "We Can't Dance". It was a huge commercial success and resulted in a hugely successful World Tour. Naturally, the band decided to capitalize on the success of that World Tour by releasing a live album and video. Genesis had done live albums before ("Three Sides Live", "Seconds Out", "Genesis Live"). On each live album, the focus of the live material would on the studio releases that had not been done live up until that point. Genesis had not done a live release for Phase 3, thus "The Way We Walk" would have a focus on this material. For this live release, Genesis would employ a unique formula - they would release the material in a two volume set called "The Way We Walk". Volume 1 would focus on the shorter (normal) length songs. Volume 2 would focus on Genesis' trademark longer songs. This review focuses on Volume 2.
Normally when there is a live release, I prefer the album to be a live recording from a single concert performance. I prefer it to be delivered in the order in which the songs were actually delivered. By having things from a single night and in order - I feel there is continuity and the magic of the concert is captured perfectly. Since Genesis took this unique approach to the way they were presenting this live material, this was going to be very hard to do. However, the material was strong enough to overcome this. Yes, I still would have preferred a two volume CD that contained a night from the 1992 "We Can't Dance" Tour in its entirety, but I do like the unique two volume approach. I find it very convienient to listen to either the "short" songs or "long" songs (depending on my mood)".
Four of the six songs come from Phase 3. The first song is a 19+ minute medley of songs from Phases 1 and 2 called "Old Medley". A unique thing about "Old Medley" is that it features a medley within a medley - namely "I Know What I Like" also has a mini medley of "That's All", "Illegal Alien", and "Follow You Follow Me". This medley will help the new Genesis fan appreciate the older material. The band does a terrific job delivering emotional performances of the newer classics - "Domino" (from "Invisible Touch") and "Driving the Last Spike" (from "We Can't Dance"). There is a terrific version of "Home By the Sea" which includes "Second Home By the Sea". (I always prefer listening to "Home By the Sea" and Second Home By the Sea" together - so this works). "Fading Lights", a song from "We Can't Dance" is also included. I think this isn't the strongest Genesis tune, but the band does a nice instrumental which gives the song a boost. Finally there is a terrific "Drum Duet" featuring Phil Collins and Chester Thompson in a double drum "solo" performance. Because of the copyright date listed for "Drum Duet" (1989), I wonder if this was actually recorded on the "We Can't Dance" tour or if this was when it was written?
The liner notes are weak. There are no lyrics and nothing to provide insight into the Tour - or when and where these songs were recorded. The production credits are pretty light as well. There are some decent photos from the Tour included. There may be some "old-time" fans who don't like the newer material by Genesis, but these longer performances still show that Genesis hasn't completely morphed into a pop band. These performances will appeal to the old Genesis fan as well as the newer fan.
Along with the inclusion of his longtime signature song, 'Baby The Rain Must Fall', Glenn also scores high marks on his versions of 'Somewhere My Love', 'Always On My Mind', the beloved classic 'Green Green Grass Of Home' and 'Blue Eyes Crying In The Rain' in which he includes some of his wonderfully melodic whistling.
If you liked volume 1, you'll love volume 2!
ness or I remembered or expected.
Also, if you want to listen to the early works of Alan Silvestri and film scores as well, this is for you.
A wide range of artists and genres are featured in MakeaStar.com compilations. Volume Two features artists from OR, KY, MI, NV, PA, CA, NJ, and Canada, Norway, Germany, and England.
Volume Two,Make a Star,MakeaStar Records,Pop,Rock,Rock/Pop
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Music For The Mozart Effect, Volume 4, Focus & Clarity
Manufacturer: Spring Hill ProductGroup: Music Binding: Audio CD  Quartets
| Chamber Music
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All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
| Featured Composers, A-Z
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Salzburg Chamber Orchestra
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Compilations
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ASIN: B000050GA3 Release Date: 2000-10-24 |
Tracks:
- Focus & Activate The Mind: Vc Con No.3 in G, K 216: Allegro - Takako Nishizaki
- Focus & Activate The Mind: Sym No.13 in F, K 112: Andante - Nicholas Ward
- Focus & Activate The Mind: Son in F, K 376: Allegro - Takako Nishizaki
- Focus & Activate The Mind: Sym No.8 in D, K 48: Andante - Nicholas Ward
- Focus & Activate The Mind: Son No.11 in G, K 379: Andantino Cantabile - Takako Nishizaki
- Focus & Activate The Mind: Son in B flat, K 379: Andantino Sostenuto E Cantabile - Takako Nishizaki
- Focus & Activate The Mind: Sym No.4 in D, K 19: Andante - Nicholas Ward
- Focus & Activate The Mind: Vn Con No.5 in A, K 219: Tempo Di Menuetto - Takako Nishizaki
- Focus & Activate The Mind: Son in D, K 448: Allegro Con Spirito - Nadine Palmier
Tracks:
- Clarity & Restful Attention: Cassination in B flat, K 99: Andante - Harald Nerat
- Clarity & Restful Attention: Sym No.27 in G, K 199/161b: Andante Grazioso - Capella Istropolitana
- Clarity & Restful Attention: Ser in D, K 250: Andante - Capella Istropolitana
- Clarity & Restful Attention: Qt No.23 in F, K 590: Andante (Allegretto) - Eder Quartet
- Clarity & Restful Attention: Ser in D, K 250: Andante - Takako Nishizaki/Capella Istropolitana/Johannes Wildner
- Clarity & Restful Attention: Con No.20 in d, K 466: Romance - Jeno Jando/Concentus Hungaricus/Andras Ligeti
- Clarity & Restful Attention: Divert in D, K 131: Allgretto - Capella Istropolitana/Harald Nerat
- Clarity & Restful Attention: Vn Son No.2 in E flat, K 302: Rondeau: Andante Grazioso - Takako Nishizaki/Jeno Jando
Customer Reviews:
Mozart effective.......2007-04-07
Mozart is #1!.......2007-02-20
must have for ADHD.......2006-03-09
If you have a child w/ADD/ADHD, this cd set is worth a try.
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Music For The Mozart Effect, Volume 2, Heal the Body
Manufacturer: Spring Hill ProductGroup: Music Binding: Audio CD Quartets
| Chamber Music
| Classical
| Styles
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Quintets
| Chamber Music
| Classical
| Styles
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General
| Chamber Music
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All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Concertinos
| Concertos
| Forms & Genres
| Classical
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General
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| Forms & Genres
| Classical
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| Music
Divertimentos
| Serenades & Divertimentos
| Forms & Genres
| Classical
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Chamber Music
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| Classical (c.1770-1830)
| Historical Periods
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General
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Piano
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ASIN: B000006Q4E Release Date: 1998-04-28 |
Tracks:
- Piano Concerto #21 In C Major, K 467: Andate
- String Quartet #16 In Eb Major, K 428: Andate con moto
- Concerto For Flute And Harp In C Major, K 299: Andantino From The Concerto For Flute And Harp In C Major, K 299
- Flute Quartet In D Major, K 285: Adagio From The Flute Quartet In D Major, K 285
- Violin Sonata In C Major, K 296: Andante sostenuto From The Violin Sonata In C Major, K 296
- Piano Concerto #20 In D Minor, K 466: Romance
- Clarinet Quintet In A Major, K 581: Larghetto From The Clarinet Quintet In A Major, K 581
- 'Posthorn' Serenade #9 In D Major, K.320: Concertante- Andante grazioso
- Andante In C For Flute, K 315
- Divertimento In D Major, K 205: Adagio
- Sonate #1 For Organ And Orchestra In Eb Major, K 67
Customer Reviews:
one 3rd of the greatest album of all time!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!.......2005-08-18
Music for concentration and focus.......2001-05-14
There is sufficient variety to avoid monotony, and while the musicianship will not garner critical acclaim it is competent and acceptable for the purpose of this recording. I enjoy it immensely. It is one of the rare pieces I will play in the background while doing work that requires serious focus.
good news, bad news.......2000-07-23
Bad news: These music are so well known that to many, it feels redundant. These are not world-class performers or conductors, so the music doesn't have a new intereptation or anything out of the ordinary. Also, I tend to like to have the entire three (or four) movements of the song, not just one movement. And practically all of these songs are the slow movement so it gets redundant.
I would recommend this to any beginning listeners but for more experienced listners, try investing in a slightly more expensive but better performed recordings.
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Obsessions Volume Two
Manufacturer: Malicious Damage Records/Darla ProductGroup: Music Binding: Audio CD Ambient
| Dance & DJ
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General
| Dance & DJ
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ASIN: B000QGE78E Release Date: 2007-06-26 |
Album Description
2007 second volume of unreleased Orb treasures. Few artists have created such visionary and influential Electronic music as Alex Paterson and his various incarnations of The Orb. The Orb's blissed-out music helped define the emerging Ambient-Techno/House genres blending natural sounds, spoken-word, heavy dub bass lines and constantly shifting beats with a wry sense of humor, rolling rhythms and exhilarating samples to revolutionize UK dance clubs, '90s rave culture and influence a whole generation of artists now plying their trade in the 21st century. This second collection features collaborations with legendary German composer Hans-Joachim Roedelius, Thomas Fehlmann, Andy Hughes, Vincent "vin100" Crane and Alex's long-standing friend and musical accomplice Youth. Malicious Damage.
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Linda Ronstadt: Greatest Hits, Volume Two
Linda Ronstadt Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD General
| Country
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Contemporary
| Bluegrass
| Country
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| Contemporary Folk
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Soft Rock
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ASIN: B000002GX4 Release Date: 1990-10-25 |
Tracks:
- It's So Easy
- I Can't Let Go
- Hurt So Bad
- Blue Bayou
- How Do I Make You
- Back In The U.S.A.
- Ooh Baby Baby
- Poor Poor Pitiful Me
- Tumbling Dice
- Just One Look
- Someone To Lay Down Beside Me
Amazon.com essential recording
The latter part of the '70s found Ronstadt roughing up her image a bit, covering songs by the Rolling Stones and Warren Zevon and eventually taking inspiration from the burgeoning punk and new-wave scenes. All of this was a long way away from the laid-back country-rock sound that established her as one of the top female artists of the day. On the material collected here, Ronstadt remains as strong a singles artist as ever. Greatest Hits, Vol. 2 contains winners such as "It's So Easy," "Blue Bayou," and the Chuck Berry romp "Living in the U.S.A.," as well as edgier material such as the Stones' "Tumbling Dice" and Zevon's "Poor Poor Pitiful Me." --Daniel DurchholzCustomer Reviews:
Long time memories.......2007-01-26
The product was very well handled.
Greatest songs of all time #2.......2006-09-09
Linda at her peak.......2005-01-08
When "Greatest Hits" was released, Linda was still pushing Hasten Down The Wind (also 1976). In early 1977, she had a surprise hit single with "Someone To Lay Down Beside Me", which is included here. The song was not one of Linda's biggest, but it's a powerful, memorable track.
In the fall of 1977, Linda released her biggest album ever, "Simple Dreams". The album contained no less than four major hit singles, two of which ("It's So Easy" and "Blue Bayou") were on Billboard's top 5 at the same time in late 1977. "Blue Bayou" showcases Linda at her best Patsy Cline vocal moment, "It's So Easy" is a classic country-rocker, "Poor Poor Pitiful Me" was a great and sarcastic Warren Zevon number, and her version of The Stone's "Tumbling Dice" shows just what a great female rocker Linda is.
The next year, Linda topped the charts again with "Living In The U.S.A.", in which three hits are culled. "Back In The U.S.A." is sadly one of the weakest hits of her catalog. The Chuck Berry version is classic, but Linda's version is rather aimless. However, all is made up by Linda's smash top 10 jazzy version of "Ooh Baby Baby". Another classic Ronstadt-style track is "Just One Look".
Even though "Living In The U.S.A." was another #1 platinum smash for Linda, it became obvious her formula was getting stale. So Linda decided to shake things up and returned in early 1980 with "Mad Love". Guarenteed to show the Benatar's and Harry's that she is still a force to be reckoned with, "Mad Love" became another huge hit, even if it missed #1. The hard-rocking "How Do I Make You" was the first single and it quickly went top 10, then Linda released a breathtaking remake of "Hurt So Bad" that became an even bigger hit. The third single culled from the album, "I Can't Let Go" harkens back to her Stone Poneys days, but updated to sound 80's.
"Greatest Hits Vol. 2" was released in late 1980 and was the culmination of this stellar hitmaking period in Ronstadt's career. One more rock album (1982's Get Closer) after this and then Linda settled into the world of standards, Adult Contemporary and Spanish music, all genres she has done well at too.
Chopped off ..........2004-09-16
* "Rambler Gambler" (#42 Country) was the B-side of "How Do I Make You," but did not appear on the "Mad Love" album.
* "Lose Again" (#76 Pop) and the Country singles "Crazy" (#6), "I Never Will Marry" (#8) and "Love Me Tender" (#59) are also missing.
My biggest grievance, though, is with the edits of the songs. Many of the songs cut off 5-10 seconds too soon. As a result, the songs end rather abruptly. I don't know whether Asylum has or will correct this. For now, I suggest tracking down a used vinyl version of this album. The sound may not be as pristine, but the songs will at least be complete.
Rock On, Miss Ronstadt!.......2003-07-26
Much of her seminal work is included here for you casual enjoyment, from "Hurt So Bad" to "Back In The USA", from "Poor. Poor Pitiful Me" to "It's So Easy", and all the others, including "Just One Look", "Tumbling Dice", "Oh, Baby, Baby", "Someone To lay Down beside Me", and several others. This album give us many of Linda's formidable hits, with a definitive play list that anyone would want to have to ensure an accurate representation of her volumes of work, from dozens of hit albums recorded and released over more than a decade of popular work. This is an essential album for your collection, and one I have both in the house and in the car. For easy listening as I zoom down the highway. Other than the Beach Boys, on the one hand, or Jackson Browne on the other, nobody articulates the southern California folk rock style as well or as consistently as Linda Ronstadt, the little woman with the big, big voice. Enjoy!
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Mack The Knife - The Best Of Bobby Darin Volume Two
Bobby Darin Manufacturer: Atco ProductGroup: Music Binding: Audio CD General
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ASIN: B000002JOT Release Date: 1991-11-12 |
Tracks:
- Mack The Knife
- Lazy River
- That's The Way Love Is
- Beyond The Sea
- Was There A Call For Me
- I Guess I'm Good For Nothing Blues
- Don't Dream Of Anybody But Me
- Guys And Dolls
- Down With Love
- Black Coffee
- Pete Kelly's Blues
- Clementine
- Bill Bailey Won't You Please Come Home
- Artificial Flowers
- I Didn't Know What Time It Was
- What A Difference A Day Made
- Skylark
- Just Friends
- Don't Get Around Much Anymore
- I Guess I'll Have To Change My Plan
- Christmas Auld Lang Syne
Amazon.com
Best known for his early rock hits such as "Splish Splash," by the early '60s Bobby Darrin had pretty much abandoned rock and recast himself as something of a finger poppin', tuxedo wearing, youth-camp version of Sinatra. Surprisingly, it worked. While he lacks Frank's chops, the swinging "By the Sea" and "Mack The Knife" are two of the best latter-day Sinatra imitations, and there's no denying his light touch on "Lazy River." He even had the guts to take on "Guys and Dolls," a song identified with the Chairman. As good as this album is, it only gives a fraction of Darrin's talents. For a broader picture (including his late 60's transformation into a jeans wearing folkie), check out Rhino's Darrin box, As Long As I'm Singing. --Steven MirkinCustomer Reviews:
Darrin the best.......2005-09-07
Fabulous.......2005-02-18
"Mack the Knife" is one of the greatest songs ever. Lots of people have done this, including Sinatra and Louis Armstrong, but no one touches Bobby Darin's version here. This song will live as long as bars have jukeboxes. "Lazy River" is strangely evocative; it somehow combines the hazy, lazy sense with his ferocious delivery. "Beyond the Sea" is right up there with "Mack the Knife." I believe it has undertones of being with the one you love, after death. It's one of the most romantic songs ever.
His "Guys and Dolls" just assassinates this song. It swings like crazy. All the blues numbers in here - "Was There A Call for Me" "I Guess I'm Good For Nothing But the Blues" "Black Coffee" and "Pete Kelly's Blues" - are fine. They draw vivid pictures in the imagination; Darin sells them completely.
"Clementine" is politically incorrect but true to the original and still wonderful; you wouldn't think a corny traditional song like that could be delivered with 10 tons of dynamite like he does. Ditto "Bill Bailey." (This was something he apparently excelled at, resuscitating traditional songs most vocalists wouldn't bother with and making them work.)
Darin wrote "Artificial Flowers" and shows that social consciousness wasn't the sole property of folk-singing pukes with acoustic guitars. At least two people I know cried when I first played this song for them.
"I Didn't Know What Time It Was" and "Just Friends" make a pair on this album that has private meaning for me: My first foray into jazz in college involved Charlie Parker; the first Bird album I ever had also had versions of these two songs on it. This is the only other album I know that does both - I'd never heard the words before - and this says something about the versatility of both the standards songbook and Bobby Darin. Bebopper on the one hand, rock `n roller cum Vegas singer on the other hand.
"Skylark" - you can just see the bluest of skies when he sings this. "Christmas Auld Lang Syne" almost makes me want to celebrate Christmas. (I'm Jewish.) I think it speaks to Christmas as people imagine they'd like to have it.
SHARIN' DARIN.......2004-11-15
For me, the melody of MY FAVORITE THINGS is so pretty, so clever, so powerful that I can't hear it once without it bouncing around inside my skull for the next several hours. And yet I know people who are apathetic about it. How can that be? We even find this mystery taking place between people who inhabit the same musical orbit. The "King Of Rock 'N' Roll" might have two devoted fans; the first who loves SUSPICIOUS MINDS and MEMORIES, but is not overly thrilled by HOUND DOG and IN THE GHETTO. The second fan's opinion is the complete reversal.
Some might think that this is comparable to our myriad responses to food flavors, but in that example there is a physiological explanation - something to do with chemical reactions in the glands, the taste buds. With music it's entirely intangible; some "it" within the inner being that responds, makes the body move, the toes tap, the mind rejoice. . .or mourn.
That "it" within me loves Bobby Darin's music, but "it" is selective. "It" doesn't care for Darin's pop hits, of which only a few appear on this collection. And although "it" digs LAZY RIVER which has one of the greatest, most energetic vocal performances ever, we play this album for the fabulously moving standard ballads (some with big band arrangements.) WAS THERE A CALL FOR ME; I GUESS I'M GOOD FOR NOTHING BUT THE BLUES; DON'T DREAM OF ANYBODY BUT ME; WHAT A DIFFERENCE A DAY MADE; BLACK COFFEE; SKYLARK; and even CHRISTMAS AULD LANG SYNE, these are the reasons you find me in this place. "It" likes 'em!
There is a certain something, a quality, in Darin's voice that can be discerned on his ballads; an innate melancholia that can't be taught, nor faked. I have found this in the voices of only two other singers: the jazz vocalist, Astrud Gilberto, and Karen Carpenter, who had it in spades! In fact, so much so that it sometimes bled through even on her uptempo numbers like TOP OF THE WORLD and SING. It's a kind of faint whisper of an intense inner aloneness, or a vague remembrance of something; a wistful yearning for what has passed and can't be retrieved, like a dream of something that glowed golden way back when, in the recesses of the mind. Hell, I don't know what it is, but "it" sure loves it! Anyway, that quality permeates so much of these recordings and that's why "it" makes me play them so often.
If you know what I'm yakking about here, and if it appeals to your "it" too, then also obtain a used copy of the "out-of-print", 'CLASSIC DARIN' if you can locate one at a reasonable price. This collection also contains many ballad tracks like WHERE LOVE HAS GONE; FLY ME TO THE MOON; A TASTE OF HONEY; SOFTLY, AS I LEAVE YOU; and SOMEWHERE with Bobby's "blue" voice thang goin' on.
According to his 2004, July 14th review, it seems that The Big Dong, doesn't have this same "it" inside of him. You think maybe I should go see if his priest can exorcise my "it" too?
It has his swingers, but too many ballads, which Darrin.......2004-07-14
the PERFECT Darin collection.......2004-03-04
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Julian Bream: The Ultimate Guitar Collection-Volume 2
Manufacturer: RCA ProductGroup: Music Binding: Audio CD Quintets
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ASIN: B00004UEH6 Release Date: 2000-08-08 |
Tracks:
- I: Allegretto
- Capricho Arabe
- A Fancy
- Etude No. 5 In C
- I. Allegretto
- I. Allegretto
- I. Allegro
- The Wood So Wild
- Adante; Molto Adagio; Adante
- Fandango
- Segovia, Op. 29
- Fantasia XXII
- II. Andante
- Preludio
- II. Andantino Grazioso
- Fantasia
- Bourree
- Gigue
- Polonaise, Op.2, No.2
- Canario
Customer Reviews:
Not ultimate- but wonderful, none-the-less.......2007-04-14
Without spending space here reiterating the specific pieces, their titles and lengths, I will simply list the composers whose works Bream presents so nicely in this collection. They span a range of about five centuries beginning in the time of England's Elizabeth I and spanning the years through to the 20th Century's premier Spanish and Brazilian classical guitar composers. The list reads like a `Whose Who" of classical plucked-string instrument music and of composers whose keyboard compositions work particularly well on the strings of a lute or guitar, and includes;
- John Dowland
- Francis Cutting
- Antonio Vivaldi
- Gaspar Sanz (*)
- Mateo Albeniz (*)
- Manuel de Falla
- Enrique Granados (*)
- Hector Villa-Lobos, and
- Joaquin Rodrigo
(*) = Pieces originally written for keyboard play.
Every classical guitarist has his own recognizable style and approach to the instrument and the material. An experience listener would not confuse Bream's work with that of Andres Segovia, for example: but it is not that one is better than the other. Each, in his own distinctive way, is simply superb. Though the Spanish influence is clearly audible with both musicians, Bream's stylings have a more contemporary lilt and inflection than do those of Segovia; he makes each piece his own. One suspects that each time he plays a piece it comes out differently according to the moment, his mood, the instrument and God knows what else. Segovia, on the other hand, was well known for his constancy once he had found a version of each piece that fully suited his own ear and temperament.
While I am admittedly a Segovia fan, I find Bream's renditions to be noticeably fresher and each infused with an aura of presence in the here-and-now which I find especially enjoyable.
The collection is neither complete not `ultimate', but it is VERY good and well worth having in any collection of classical guitar music. In fact, for audiophiles not familiar with this genre, it is a fair place to begin to develop an ear for and a listener's knowledge of and experience with the classical guitar.
Very Nice Bream Collection.......2005-03-03
Overall, this CD consists of a good variety of masterfully played music. I only wish most of Bream's recordings were recorded using later technology, which would make his playing shine even more.
Not what I thought!.......2004-11-08
Ultimately Satisfying.......2004-02-03
Spectacular.......2002-02-11
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Live: The Way We Walk VOLUME TWO: THE LONGS
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ASIN: B000002IV2 Release Date: 1993-02-09 |
Tracks:
- Old Medley: Dance On A Volcano-Lamb Lies down On Broadway...
- Driving the Last Spike
- Domino: Part I-In The Glow Of The Night Part II-The Last Domino
- Fading Lights
- Home By the Sea/Second Home By The Sea
- Drum Duet
Amazon.com
This live set of 10-minute-plus epics will, for diehard fans, lay to rest the fantasy that these cagey old troupers can still evoke the mystery and drama of the Gabriel era. Competent, dry, and downright cadaverous. --Jeff BatemanAlbum Details
Japanese Version featuring a LP Style Slipcase for Initial PressingCustomer Reviews:
A great deception.......2007-02-18
A last glimpse into the greatness of Genesis.......2005-04-15
The premise is pretty basic: six songs exceeding the 6-minute mark (in fact, five of them go over the 10-minute mark), showing off some of the band's most ellaborate work, to balance off volume one, which focused more on the singles and short songs. Starting off the album, standing tall at almost 20 minutes of duration, is a medley of reaaaaaaaly old Genesis, where 1975's "Dance on a Volcano", 1974's "Lamb Lies Down on Broadway", 1971's "Musical Box" and 1973's "Firth of Fifth" and "I Know What I Like" all are brought back to life, if at least for minutes at a time each... reviving the spirit of one of the world's best progressive rock bands ever.
Following the opening track come two tracks from their "We Can Dance" production, along with the "Domino" bundle (from their "Invisible Touch" album) and the "Home By the Sea" bundle (from their self-titled 1983 album). Taking it all home is their classic Drum Duet, featuring Phil alongside Chester Thompson, delivering a massive drum discharge that will electrify you.
If you ask me, this last glimpse at their great work is a good as it gets... I am thankful I had an opportunity of catching them during this tour, back in Knebworth, in 1992. They don't do them like this any more. ;)
The Trio Hasn't Morphed Completely into a Pop Band.......2004-11-04
When I look at Genesis as band, I see four distinct phases the band has gone through. Phase 1 is the Peter Gabriel Era. This spans from 1969 ("From Genesis to Revelation") to 1974 ("The Lamb Lies Down on Broadway"). It was during Phase 1 that Peter Gabriel was the lead vocalist and Genesis could easily be categorized as a progressive Rock band. Phase 2 is the Early Phil Collins Era spanning from 1976 ("A Trick of the Tail") to 1982 ("Three Sides Live"). In this era, Phil Collins took over as lead singer. The band was still very much a progressive rock band, but as the progressive rock landscape would change - so would Genesis. This might indirectly have led to Phase 3 which is the Late Phil Collins Era from 1983 ("Genesis") to 1993 ("The Way We Walk Volume 2: The Longs"). This is the commercial/pop era that I referred to earlier. At this point, there would be a lot less progressive rock flavor to Genesis' music. The fourth phase, Phase 4 is the Ray Wilson Era. This was when Ray Wilson took over as lead vocalist for Phil Collins. There would only be one album in this era - 1997's "Calling All Stations" and it seemed like Genesis tried to recapture some of their progressive rock roots - but 90s style. "Calling All Stations" would do poor commercially and Ray Wilson would take the fall and be asked to leave the band.
In Phase 3, Genesis would grow more and more successful commercially with each album release. Some of this probably would do to the fact that Phil Collins' solo career was also taking off. The last studio album that Phil Collins would do with Genesis was "We Can't Dance". It was a huge commercial success and resulted in a hugely successful World Tour. Naturally, the band decided to capitalize on the success of that World Tour by releasing a live album and video. Genesis had done live albums before ("Three Sides Live", "Seconds Out", "Genesis Live"). On each live album, the focus of the live material would on the studio releases that had not been done live up until that point. Genesis had not done a live release for Phase 3, thus "The Way We Walk" would have a focus on this material. For this live release, Genesis would employ a unique formula - they would release the material in a two volume set called "The Way We Walk". Volume 1 would focus on the shorter (normal) length songs. Volume 2 would focus on Genesis' trademark longer songs. This review focuses on Volume 2.
Normally when there is a live release, I prefer the album to be a live recording from a single concert performance. I prefer it to be delivered in the order in which the songs were actually delivered. By having things from a single night and in order - I feel there is continuity and the magic of the concert is captured perfectly. Since Genesis took this unique approach to the way they were presenting this live material, this was going to be very hard to do. However, the material was strong enough to overcome this. Yes, I still would have preferred a two volume CD that contained a night from the 1992 "We Can't Dance" Tour in its entirety, but I do like the unique two volume approach. I find it very convienient to listen to either the "short" songs or "long" songs (depending on my mood)".
Four of the six songs come from Phase 3. The first song is a 19+ minute medley of songs from Phases 1 and 2 called "Old Medley". A unique thing about "Old Medley" is that it features a medley within a medley - namely "I Know What I Like" also has a mini medley of "That's All", "Illegal Alien", and "Follow You Follow Me". This medley will help the new Genesis fan appreciate the older material. The band does a terrific job delivering emotional performances of the newer classics - "Domino" (from "Invisible Touch") and "Driving the Last Spike" (from "We Can't Dance"). There is a terrific version of "Home By the Sea" which includes "Second Home By the Sea". (I always prefer listening to "Home By the Sea" and Second Home By the Sea" together - so this works). "Fading Lights", a song from "We Can't Dance" is also included. I think this isn't the strongest Genesis tune, but the band does a nice instrumental which gives the song a boost. Finally there is a terrific "Drum Duet" featuring Phil Collins and Chester Thompson in a double drum "solo" performance. Because of the copyright date listed for "Drum Duet" (1989), I wonder if this was actually recorded on the "We Can't Dance" tour or if this was when it was written?
The liner notes are weak. There are no lyrics and nothing to provide insight into the Tour - or when and where these songs were recorded. The production credits are pretty light as well. There are some decent photos from the Tour included. There may be some "old-time" fans who don't like the newer material by Genesis, but these longer performances still show that Genesis hasn't completely morphed into a pop band. These performances will appeal to the old Genesis fan as well as the newer fan.
This Album.......2004-06-18
Loved it!.......2004-05-18
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Glenn Yarbrough - All Time Favorites, Volume Two
Glenn Yarborough Manufacturer: Calabasas Record Company/Sumth ProductGroup: Music Binding: Audio CD Traditional Folk
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ASIN: B00003Q07C Release Date: 1995-03-01 |
Tracks:
- To All The Girls I've Loved Before
- Somewhere My Love
- You'll Never Walk Alone
- She Believes In Me
- Help Me Make It Through The Night
- The Impossible dream
- Baby The Rain Must Fall
- Some Enchanted Evening
- Always On My Mind
- Green Green Grass Of Home
- Release Me
- Blue Eyes Crying In The Rain
Album Description
More of Glenn Yarbrough's All Time Favorites.Customer Reviews:
An American Classic Sings All Time Favorites.......2006-02-17
Along with the inclusion of his longtime signature song, 'Baby The Rain Must Fall', Glenn also scores high marks on his versions of 'Somewhere My Love', 'Always On My Mind', the beloved classic 'Green Green Grass Of Home' and 'Blue Eyes Crying In The Rain' in which he includes some of his wonderfully melodic whistling.
If you liked volume 1, you'll love volume 2!
Not What I Remembered.......2004-09-30
ness or I remembered or expected.
great album.......2004-06-19
Remembering.......2001-01-07
Average customer rating:
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Trance Party (Volume Two)
Various Artists Manufacturer: Robbins Ent. Llc ProductGroup: Music Binding: Audio CD General
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ASIN: B000068FVK Release Date: 2002-06-25 |
Tracks:
- Heaven - DJ Sammy & Yanou (featuring Do)
- Something - Lasgo
- Resurection - PPK
- I See Right Through To You - DJ Encore (featuring Engelina)
- Tremble - Marc Et Claude
- Light A Rainbow - Tukan
- Feel The Beat - Darude
- The Sound Of Goodbye - Perpetuous Dreamer
- Blinded - Hannah
- In My Dreams - Noemi
- Obscura - Out of Grace
- Damaged - Plummet
- Is This Love - Terra Skye
- 4 O'clock (In The Morning) - Lazard
- Will I? - Ian Van Dahl
- Forever - Dee Dee
Customer Reviews:
The best vocal trance ever combine.......2006-12-27
The best in this series!.......2006-11-16
good intro to trance, but not much else.......2006-05-23
This is what trance is all about!.......2005-11-24
Extremely awesome!!.......2005-08-05
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Chips Volume 1: Season Two 1978-79
Manufacturer: FSM ProductGroup: Music Binding: Audio CD Similar Items:
ASIN: B000HWKZDS |
Product Description
CHiPs Volume One: Season Two 197879 1. Main Title (Parker, arr. Silvestri) 1:18 2. Peaks and Valleys 3:52 3. Family Crisis 5:41 4. Disaster Squad 6:19 5. Neighborhood Watch 3:33 6. High Flyer 6:15 7. Trick or Treat (Bruce Broughton) 5:56 8. The Grudge 5:12 9. The Sheik 5:44 10. Return of the Turks 5:37 11. Supercycle 2:45 12. High Explosive 4:46 13. Down Time 2:48 14. Repo Man 2:12 15. Mait Team 4:03 16. Pressure Point 2:43 17. Rally 'Round the Bank 2:24 18. Matchmakers 2:39 19. Ponch's Disco (From "Peaks and Valleys") 3:59 20. End Credits (Parker, arr. Silvestri) :26Customer Reviews:
Legendary 70th's TV show with superb score!.......2007-07-13
A fun look back in time.......2007-04-03
Also, if you want to listen to the early works of Alan Silvestri and film scores as well, this is for you.
CHiP's Jamm.......2007-02-21
10-4, "CHiPs" still holds up !!.......2007-01-12
Rock Music:
- Wake
- What's the Problem Is...? [Enhanced]
- Wide Outside
- Wild Human Condition
- Wonders of the World [Import]
- Yemenite Songs [Import]
- Young Forever
- 1 Love [Import]
- All Killer No Filler [Import]
- All Strings Considered
