| 1. Time Machine |
| 2. Faithless Breed |
| 3. My Friend My Enemy |
| 4. Runaway |
| 5. Noise |
| 6. A Different Man (I. Part One) |
| 7. A Different Man (II. Part Two) |
| 8. Landscape - Sunrise And Sunset |
Editorial Reviews
Product Description
S & L is a current Italian Progressive rock group, called after the initials of its two musicians' first names. These two goldsmiths are a keyboardist devoted to the big names of Progressive rock music (Salvio SCHIANO), as well as an extremely melodic guitarist (Lino ESPOSITO). "Eternal", the first instrumental album, was released in 2001 under the Musea label. It provides a music which is at the crossway between Seventies Progressive rock Italian people are so fond of, the guitar-hero style which is dear to Joe SATRIANI, a touch of neo Progressive sound and a little bit of symphonic heavy-metal. SAGA and DREAM THEATER are two other references often mentioned... Three years later, S & L is back with "Time Machine" (2004), a second album both more personal and more professional. The feeling we have now that this is a real group is even strenghthened by the participation of lots of guest-musicians. Three tracks also involve singing, one of which is the suite "A Different Man". Embark for a fascinating trip in the windings of the current Progressive heavy-metal sound !
Elfman pioneered the sound that drives today's movie adaptations of comic-books and darker-themed children's stories. Side-One kicks things off with a rollicking, hyper-cartoonish theme from the first Pee-Wee movie - the one where Pee-Wee searches for his beloved bike. Elfman's theme contains layers of different rides - on tightropes, highways, in the middle of a NASCAR rally - which rudely yet melodically crash into each other.
The Batman entry actually contains several pieces - the opening credits, the extended sequence in the cathedral and the climax - which show Batman's darkened extreme at its "Frank Miller" best. (Dir. Tim Burton couldn't sustain the mood in the next sequel, and the franchise took a turn towards the camp of the TV series with the next 2 movies.)
The theme for "Dick Tracy" is perhaps the most romantic on this disc, a quality that surpasses the theme's comic-book origins, but ends on an ironic note that's pure Elfman.
"Beetlejuice" (opening & closing credits) gives Elfman's childish ID a chance to stretch its legs, or in this case, slam-dance.
"Nightbreed" is an enigma wrapped in a dark mystery, and that's just Elfman's score. Elfman's work on this movie is as good as the movie wasn't, having a more powerful narrative than the script - easily the best track on the entire disc, one likely to exceed the movie in its dose of chills.
"Darkman" doesn't quite rise to the occasion, though the score may be hobbled by the movie itself, which seldom surpassed one of the many "Batman" clones of the early 1990's. "Darkman" (the movie, I mean) excelled as a parody of many comicbook staples (the wronged hero, the relentless villain, the scientific breakthrough with just one flaw), but not enough to escape being largely anonymous. Within those constraints, it's still a moving if scary piece.
When is Elfman not like Elfman? When he was in the mid-late `80's and scored "Back to School" (A Rodney Dangerfield vehicle) and "Midnight Run". Horns in "School" bring it closer to Elfman's over-the-top style, while "Run" sounds like a love-theme for the run-down, out-of-the-way parts of America that seldom appear in Elfman-movies. "Run" is a fun score for a fun movie - it's nothing like Elfman's previous work but it perfectly captures the on-the-road-without-a-map craziness of the movie.
To this day, I don't know why I never ventured to Side-two, but it's irrelevant. Even half this disc is worth it
I'd recommend this to anyone who likes film music, or everyone who is even the tiniest bit an Elfman fan. It's amazing!
The score is really gorgeous. It was most certainly the best thing about the film, it has a sense of drama, power, and tension. Klaus Badelt's score for "The Time Machine" is one of my favorite scores of all time. Don't think about those rough moments of the film, just buy this score.
I can't imagine you being disapointed.
The studio record contains performances from a number of sessions-- the new material was all recorded in 1993 for this record. The best of these is probably the title track, "Time Machine", a dense, churning, powerful piece filled with tension begging to explode that never quite does. A large portion of material were outtakes from "The Extremist"-- the album was evidentally heavily pared down to keep it fairly lean ("Flying in a Blue Dream" felt a bit long to me at least, so the change of pace was nice). Some of this material is superb, including the "Tears in the Rain"-styled "Baroque" and ballad "Thinking of You", which really shows how far Satriani has come as a lyrical and emotive soloist. From the "Surfing With the Alien" sessions one leftover is yielded, the frantic "Dweller on the Threshold", a moody and explosive piece not dissimilar to material on "Not of This Earth". There's also a handful of rarities-- most crucially the "Joe Satriani EP" which never received wide distribution. While i tlacks much of the polish even of "Not of This Earth", this hastily assembled material has its own charm, and certainly having it is as valuable as the material simply because of its rarity.
Still, for all this nice material, there's quite a bit of throwaway too-- Billie Holliday's "All Alone" gets a reasonable reading, and Satriani never ceases to surprise with his ability to stretch, but its just not too intriguing, "Banana Mango II" (left off "The Extremist") just seems to lack any real energy to it, and the closing "Woodstock Jam" has a lot of interesting ideas, but ultimately doesn't hold together.
The live disc fares much better, with unnervingly brilliant performances from the course of Satriani's career-- there's really not a bad cut on here, and particularly superb readings of "Always With Me, Always With You" and a ferocious "Big Bad Moon" are real highlights. Of extraordinary note is the presence of several extra pieces from the same performance that produced the live tracks on "Dreaming #11".
All in all, its a pretty mixed bag-- the live disc is better than the studio, and I kept waffling back in forth on three or four stars. Recommended for fans, newcomers should start with "Surfing With the Alien".
EVERY SONG IN THIS SET (except one) TOTALLY BLOWS ME AWAY; the sole bad song is "Woodstock Jam", and that's because it's about 15 minutes of dissonance. Everything else? Pure genius. You get it all - from slow and sexy to full-speed shredding with his Ibanez electric guitar set to kill, Joe Satriani can play anything. Blues, rock, baroque - you name it, JS can do it better than anyone and never break a sweat.
Only Stevie Ray Vaughan knew the electric guitar as well as Joe; even Steve Johnson, Steve Vai and Eddie Van Halen (all Joe's pupils) cannot touch Joe's utter mastery of the instrument.
THIS IS IT; this is the ONE you have to have.
Their paper label wasn't their only distinction; as the "experimental" subsidiary of Philips records, they also intentionally brought us delicious non-commercial music. Unintentionally failing to sell zillions of records in the process. They were hugely responsible for the promotion of progressive jazz a la Ian Carr's Nucleus, Ben, Jade Warrior and (yes) Manfred Mann. The MM boys weigh in with a dark Coltrane-esque "Travelling Lady" (see review of Manfred Mann Chaper III). They brought us marvellous adventurous rock a la Gracious, Doctor Z, Juicy Lucy, May Blitz and Clear Blue Sky. And a stand-up version of "MacArthur Park" by Beggar's Opera, turning this pop classic into something the progressive age could absorb. And, as you see, they brought Rod Stewart to us as a solo act with the splendid "Handbags and Gladrags," written by a young Mike D'Abo with a maturity that made the song an instant standard.
As with all comps, there are a few things on here I can't quite see, for example, I think a better tune by Patto (successor band to the great great Timebox) could have been chosen. But all in all this is very nice, even if you might have to listen a couple of times to really get into it. A deserved celebration of a seminal label of the period.
-Soy partidario de la recopilaciones de 4 cds. Además hay que saber que Vertigo tiene suficiente material para hacerlo.
-La presentación es muy tacaña, creo que bien pudiero hacer una caja más grande con fotografías de un tamaño adecuado. La verdad es que resulta una burla leer en el texto en letras tan pequeñas, en un librillo igual de chico y con fotografías de los álbumes que no superan los 2cm cuadrados. ¿Qué pasó?, ¿falta papel? Es una desconsideración teniendo en cuenta los hermosos trabajos en las carátulas de los grupos del sello, así como las fotografías que las bandas tienen, incluso los pósters (compare esta presentación con Harvest Festival, es otra cosa).
-La selección de los grupos estuvo bien, aunque a mi parecer debieron aparecer otras bandas como Daddy Longless, Fairfield Parlour, John Dummer, Odin, Assagai, Krafwerk, Mike Absalon y un largo etc. que bien merecía un cd extra.
Sin embargo, la recopilación se deja escuchar muy bien y la grabación es muy buena. Esperaba encontrar algunas rarezas, piezas en vivo, o incluso más temas folk (por ejemplo a Jim McCarthy). A pesar de estos apuntes, recomiendo esta recopilación para todos aquellos que aún escuchan música hard, progresiva o de alta calidad.
The studio record contains performances from a number of sessions-- the new material was all recorded in 1993 for this record. The best of these is probably the title track, "Time Machine", a dense, churning, powerful piece filled with tension begging to explode that never quite does. A large portion of material were outtakes from "The Extremist"-- the album was evidentally heavily pared down to keep it fairly lean ("Flying in a Blue Dream" felt a bit long to me at least, so the change of pace was nice). Some of this material is superb, including the "Tears in the Rain"-styled "Baroque" and ballad "Thinking of You", which really shows how far Satriani has come as a lyrical and emotive soloist. From the "Surfing With the Alien" sessions one leftover is yielded, the frantic "Dweller on the Threshold", a moody and explosive piece not dissimilar to material on "Not of This Earth". There's also a handful of rarities-- most crucially the "Joe Satriani EP" which never received wide distribution. While i tlacks much of the polish even of "Not of This Earth", this hastily assembled material has its own charm, and certainly having it is as valuable as the material simply because of its rarity.
Still, for all this nice material, there's quite a bit of throwaway too-- Billie Holliday's "All Alone" gets a reasonable reading, and Satriani never ceases to surprise with his ability to stretch, but its just not too intriguing, "Banana Mango II" (left off "The Extremist") just seems to lack any real energy to it, and the closing "Woodstock Jam" has a lot of interesting ideas, but ultimately doesn't hold together.
The live disc fares much better, with unnervingly brilliant performances from the course of Satriani's career-- there's really not a bad cut on here, and particularly superb readings of "Always With Me, Always With You" and a ferocious "Big Bad Moon" are real highlights. Of extraordinary note is the presence of several extra pieces from the same performance that produced the live tracks on "Dreaming #11".
All in all, its a pretty mixed bag-- the live disc is better than the studio, and I kept waffling back in forth on three or four stars. Recommended for fans, newcomers should start with "Surfing With the Alien".
EVERY SONG IN THIS SET (except one) TOTALLY BLOWS ME AWAY; the sole bad song is "Woodstock Jam", and that's because it's about 15 minutes of dissonance. Everything else? Pure genius. You get it all - from slow and sexy to full-speed shredding with his Ibanez electric guitar set to kill, Joe Satriani can play anything. Blues, rock, baroque - you name it, JS can do it better than anyone and never break a sweat.
Only Stevie Ray Vaughan knew the electric guitar as well as Joe; even Steve Johnson, Steve Vai and Eddie Van Halen (all Joe's pupils) cannot touch Joe's utter mastery of the instrument.
THIS IS IT; this is the ONE you have to have.
Let's describe all the songs since the music sample is often deceptive for this CD. "The Big Gundown" aims for creepy. There are ominous piano chords, dissonant noises, and screams. The music resolves somewhat when a Brazilian percussion section begins, and ends with some Rawhide-esque "ha"'s. "Peur Sur La Ville" is built around an unsettling piano figure and noises. It has a unconventional free-jazz aura to it. "Poverty" is a quiet song based on Toots Thielman's whistling. "Milano Odeo" is a catchy, almost rock-n-roll song taken at a brisk pace. As the song goes on, the keyboards get more unsettling and the guitar gets noisier. "Erotico" has bluesy organ, and Bill Frisell's most romantic electric guitar (in an '80's way) paired with female vocalizations. "Battle Of Algiers" might be my favorite (maybe just because of the represented movies I've seen it's my favorite). Wayne Horvitz pounds out the tense piano line while sounds effects explode in the background. "Giu La Testa" has a slow build for about four minutes, then there's a plucking, walking part to take the song out. "Metamorfosi" is a good song to play when you want guests to leave, Diamanda Galas screams on top of tribal drums. "Tre Nel 5000" is credited to Zorn as a composer. To me, it sounds like a 4 1/2 minute dose of ambient noise. "Once Upon A Time In The West" starts quietly and deliberately, with feedback swelling and decaying. Robert Quine and Jody Harris play their guitars otherwise very minimalistically (not minimally, the feedback is constant). That ends the 1985 section of the CD.
The 2000 section uses an updated cast of players. "The Sicilian Clan" is familiar from the "Naked City" CD, though the instrumentation is more acoustic, and Cyro Baptista adds "western movie" percussion. "Macchie Solari" is another unsettling song. It ends in a fit of crashing piano chords and screams. "The Ballad Of Hank McCain" teams Mike Patton's heroic baritone with Jamie Saft's organ and Baptista's background congas. It's one of the more accessible songs, I wonder what it would sound like with a fuller band. The later instrumental version sounds about the same except, of course, without singing. "Svegliatti And Uccidi", with Marc Ribot and Derek Bailey on guitar-mangling duties, is a skronky blow-out. "Chi Mai", with the same musicians as "The Sicilian Clan", has a pretty melody and gentle music.
Some of these songs are very cool and original, others I can go without. Since it's a mixed bag I give it three stars. Zorn is certainly an original, and fans will want to make sure they have this one.
I think in many ways, the opener and title track best illustrates the aesthetic on the record, if you don't like that one, you'll probably not care for the rest of it-- it covers a number of moods, being dark, haunting, theatrical, explosive and esoteric, sometimes all at once. This sort of theatrical mood extends across a number of songs, the haunting circular piano and percussion workout "Peur Sur la Ville" (with a blazing alto sax solo from Tim Berne), an the dark electric guitar workout take of "Once Upon a Time in the West", reduced a funereal pace.
But there are also many moments of delicate beauty as well-- take for instance "Poverty (Once Upon a Time in America)", with an unusual instrumentation of whistling, harmonica (both handled by Toots Theilman), harp and accordian. Particularly when the harmonica takes the melody, the support swells and embraces and holds on, expressing pain and loss and fear for the future. Or consider the brooding and yet someone still light "Giu la Testa (Duck You Sucker!)", building anticipation through its dark motifs and bizarre instrumentation (among others, the Japanese shamisen, english horn, acoustic guitar, gamecalls and keyboards).
The bonus tracks are no less essential-- Zorn brought in about everyone he played with for the originals, these were a chance to catch up. The amazing thing about Zorn is that as an arranger, he's lost none of his flair in the intervening years, in fact, he may have even gotten better. Zorn uses his "Bar Kokhba" sextet (the Masada String Trio augmented by guitarist Marc Ribot, drummer Joey Baron and percussionist Cyro Baptista) to great effect on breathtaking arrangements of "The Sicilian Clan" and "Chi Mai", and adds another great guitar workout feature with Ribot and Derek Bailey in a noisy, disjoint take of "Sveggliatti and Uccidi", but its Mike Patton's Tom growl on "The Ballad of Hank McCain" that is the gem of the material-- stunning delivery that really captures something special (and may be the best vocal Patton has ever done) over a delicate organ (Jamie Saft) and percussion (Baptista) backdrop that matches and perhaps outstrips the best of the original material.
This is essential music for Zorn fans, if you're not, this may well be a good place to start-- the music can be difficult, and it covers a ton of moods, but there is a lot to hear. Highly recommended.
I have always had a weak spot for (good, or maybe even intelligent) science fiction/fantasy and film music, especially its way of evoking mystery, grandure and wide open spaces. Call it a weakness if you want. But it was maybe really kick started off, for as far as I can remember, with Star Trek. But especially Star Trek II, III and IV - essentially a trilogy - because of their very romantic but very warm, human core, set on the broadest canvasses of unlimited and mysterious outer space. But then there was the music for adding that essential extra dimension of emotion and atmosphere. I am happy that much of the music on this album is from the Star Trek series and films, often equaling or sometimes even outclassing the original recordings.
This kind of music (for the movies) should be seen as an art on its own rights with its own merits and qualities. As such, the musical sequences on these CD's are a beautifully played cross section of some of the most evoking orchestral music for science fiction/fantasy film ever created. And I very much like the nicely blended, wide and deep orchestral soundpicture with enough reverberation to evoke a sense of wide open spaces.
I am quite thrilled by tracks like the evocative music from Dune, truly transporting one to the vastly sands of Arrakis (the music is wonderful, but to my great regret I think the movie itself is a flawed masterpiece at best, alas.). And then there is the very different, goofy music for Ghostbusters (memories of childhood), the spoofy but electrifying music from Mars Attacks (lovingly parodist music, this, with not a little touch of irony) and the happily adventurous, forward driving Theme from Galaxy Quest ('Never give up, never surrender!'), now also used for the internet-based fan-series Star Trek: The Hidden Frontier. On the other side of the spectrum we have the atmospheric music for Enemy Mine (an underestimated 'little' movie), the Theme from The Right Stuff (actually science FACT, not fiction, this film, just like Apollo 13, of course), the eerily attractive music for Species, the original End Title for Alien (not used in the theatrical version of the movie, where it was replaced by music from howard Hanson's Second Symphony), the exquisitely exotic music for Stargate, the sweet and warmly sympathetic, beautifully re-orchestrated, theme for Starman, the title cue for Star Trek: TOS (much more melodiously played than the original! If only a series nowadays could continue to be as thought provoking and as original as Star Trek was during its launch, fourty years ago ...) and a truly overpowering End Titles Suite from Star Trek VI: The Undiscovered Country. I especially like the thrillingly grandiloquent rendition here of the music for Star Trek II: The Wrath of Khan. And how nice it is to hear the (thematic) similarities between James Horner's music for The Wrath of Khan, his great break-through as a film music composer, and his (two years) earlier music for Battle Beyond the Stars (which did indeed help him earn the job for writing the music for Star Trek II) ...
But on the 'down side', if one is looking for - for example - the gorgeously expansively played End Titles from Cocoon, it is not included here: one has to acquire the album that 'kicked it all off', so to say, namely 'Space and Beyond', also on Silva Screen. I was very pleased also with the inclusion on that album of some of the music from the series Star Trek: The Next Generation, namely where one of the characters, Tasha Yar, in one of the episodes (Skin of Evil) is saying goodbye to her crewmmates: sweetly sentimental and simple music which I have always wanted to own on CD. I guess that a few cues from the other two sequals ('Alien Invasion: Space and Beyond II' and 'Space3: Beyond the Final Frontier') didn't make it onto this 4 CD collection-album as well, but I guess that it would be the 'better part of the bargain' to opt to buy this 'The Science Fiction Album' instead of buying all three albums separately. Well, of course it is for yourself to ultimately decide what you really want ;-)
If I were to nitpick (which is not easy with such a marvellous project as this one), then I would say that while all music is performed with magnificent grandure and with style, some of it is not performed as crisply and as technically 'on the spot' as some of the original recordings: ensemble is a little slack and the playing somewhat stilted sometimes, losing some of the edge and the originality of the writing. ET and Star Wars spring to mind, but then the soundtracks for Star Wars are traditionally recorded with the magnificent London Symphony Orchestra, conducted by maestro John Williams himself, and these superior recordings (especially the ones for Episode I, II and III) can't really be bettered, IMHO. Likewise for the music from Star Trek: The Motion Picture, I believe that in the end one really has to resort to the ultimate reference, namely the original recording (which is true in many other instances of 'original recordings'), and then the 20th anniversay colector's edition of this soundtrack on Columbia/Legacy (truly unmissable, this veritable classic of sci-fi/film music soundtracks!).
But all in all this 4CD-collection amounts to probably being the penultimate high quality sci-fi music album collection (I certainly know of no other project that comes as close quality as well as quantity wise), with some of the most memorable musical moments from classic to modern sci-fi/fantasy film captured in lavish orchestrations.
Collection-wise: five *stars*. Playing: generally four *stars*, sometimes more. The recording quality: five *stars*. The music (qualified on its own merits as film music) and its (re)orchestrations: generally five *stars*. In the end this is all highly recommended, and certainly not to be missed by science fiction and fantasy film music fans. Klaatu barada nikto.
The moment I ripped off the shrink-wrap and popped it into my cd player was a moment of great trepidation. Believe me when I tell that I've seen my fair share of sub-par orchestral recording in my lifetime. Very often they are in those big super-packs of music, and suffer from poor direction, improper mastering, and sometime even pathetic orchestration (or worse yet have something sounding like a cheap synthesizer and a kazoo in place of a full orchestra). I needn't have worried though. This sucker is fantastic.
Many people who are not audiophiles will probably miss the point of this cd collection. It is not the original versions of the pieces. It is re-orchestrations, mostly by the phenomenal Prague Symphony Orchestra. Many of these themes didn't sound all that hot in there original versions because they were low budget films or were not recorded in high-fidelity. Here they are given the full treatment, mastered with the most loving care imaginable. Often the version found in these cds is SUPERIOR to the original.
Remember the theme from 2001: A Space Odyssey? Of course you do. But how many times have you heard a cheap imitation of the original version from the movie, starting too low in volume and ending too high (and missing the essential pipe-organ that gives it that extra oomph)? Well, this first track in the entire collection is not only everything it should be instrumental and timing-wise, but it also has been oh-so-carefully adjusted during the mastering process so that at no time is the music either too low or too high in volume (surely a benchmark for every other recording ever to be made of the piece).
Or what about the theme from the (at-the-time) uber-creepy The Black Hole? The orchestration of this piece of music goes from tiumphant to terrifying and back again, with a splendor and cleanness that I CERTAINLY don't remember being in the original recording.
Then there's the new version of the theme from Independence Day, complete with a violin solo, a far more electrifying ending climax, and a chorus so thunderous that you feel like applauding at the end. Simply indescribable. Kind of like the MIND-BLOWING rendition of the theme from The Last Star Fighter. This has been one of my favorite themes for a long time now, but I've never heard it played like this. I think the original version of the theme is something like 1 minute long, but this new version doesn't just fade out (HAHAHAHA!!!!) THIS version is THREE minutes long, goes through the main theme THREE times, with the final strains being so triumphant and joyous I could not help but feel an electrifying charge the first dozen or so times (come to think of it, I still feel that way). This is superior to the original in EVERY way. AWESOME.
And let's not forget the incredible new rendition of Stargate with it's heavy use of clarinets (for Egyptian effect!) and a triumphant new ending (completely lacking the chanting from the original version. This version is so different that for the first minute it is very hard to tell that it is in fact Stargate. But then the main theme kicks in, and then you get this incredible flute solo for my favorite part of theme (the whole thing is played slower, but arguably more powerfully than the original). My goodness. At first I found the thing so different I didn't like it. But then I listened to it again. And again. And again.
I could go on and on, talking about the fantastic new rendition of Moon Raker, the ear-popping Battlestar Galactica, the classic Star Trek (First Contact has a minute or two of the theme from Star Trek:The Motion Picture before going into the main theme), or the sweet renditions of music from the Star Wars movies (or the music from E.T.).
I have to mention though that this collection was not picked based merely on what people want, or on what is popular. No, the people who made it obviously thought a GOOD music collection was better than a popular one. That's why you get a heartbreakingly beautiful theme from A.I. instead of the main theme. It's why you get music from movies that you probably never gave a second thought to the music (because the movie was lousy). It's why you get Armageddon, Judge Dredd, and Robocop (who would have guessed their music was so COOL when there was all that crazy action and bad-acting going on on-screen).
I said it before and I'll say it again. This cd-set was mastered with tender-loving-care, and it shows BIG-TIME. High-fidelity the likes of which I have not seen since the days when cds were brand-new in the world. Dolby Surround. Perfectly balanced. BEAUTIUFL orchestrations. About the only thing that makes me scratch my head is the weird sound-effect tracks (Oooookay.....). Other than that, it's PERFECT. Obviously they could not include every sci-fi theme ever (no one can), but this collection is REALLY GOOD. A lot of great themes that got away (forgotten gems :), new versions of old favorites, and under-appreciated classics aplenty, but ALWAYS the full and complete versions with nothing cut-out (the theme from Dune is quite extended).
If you love movie music (and sci-fi movie music in particular) you MUST buy this awesome collection). It is not the original recordings. Almost always the new ones are better (if they aren't better they're just equal). This is what you have been waiting for. I for one am going to be buying quite a few cds from this company in the future. Give your ears the treat they deserve. Buy it NOW.
S & L is a current Italian Progressive rock group, called after the initials of its two musicians' first names. These two goldsmiths are a keyboardist devoted to the big names of Progressive rock music (Salvio SCHIANO), as well as an extremely melodic guitarist (Lino ESPOSITO). "Eternal", the first instrumental album, was released in 2001 under the Musea label. It provides a music which is at the crossway between Seventies Progressive rock Italian people are so fond of, the guitar-hero style which is dear to Joe SATRIANI, a touch of neo Progressive sound and a little bit of symphonic heavy-metal. SAGA and DREAM THEATER are two other references often mentioned... Three years later, S & L is back with "Time Machine" (2004), a second album both more personal and more professional. The feeling we have now that this is a real group is even strenghthened by the participation of lots of guest-musicians. Three tracks also involve singing, one of which is the suite "A Different Man". Embark for a fascinating trip in the windings of the current Progressive heavy-metal sound !
Time Machine,S & L,Musea
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Classic Country: Great Duets
Johnny Cash & June Carter , Conway Twitty & Loretta Lynn , Bill Anderson & Jan Howard , Porter Wagoner & Dolly Parton , and David Frizzell & Shelly West Manufacturer: Time Life Records ProductGroup: Music Binding: Audio CD  General
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ASIN: B0006419N2 Release Date: 2004-10-26 |
Tracks:
- Jackson -- Johnny Cash with June Carter
- Louisiana Woman, Mississippi Man -- Loretta Lynn with Conway Twitty
- Golden Ring -- George Jones with Tammy Wynette
- Don't Let Me Cross Over -- Carl Butler and Pearl Butler
- Holding On to Nothin' -- Porter Wagoner with Dolly Parton
- Loose Talk -- Buck Owens with Rose Maddox
- For Loving You -- Bill Anderson with Jan Howard
- We've Got Tonight -- Kenny Rogers with Sheena Easton
- You're the Reason God Made Oklahoma -- David Frizzell with Shelly West
- Suspicious Minds -- Waylon Jennings with Jessi Colter
- My Elusive Dreams -- David Houston with Tammy Wynette
- A Place to Fall Apart -- Merle Haggard with Janie Fricke
- Feelin's -- Conway Twitty with Loretta Lynn
- Islands in the Stream -- Kenny Rogers with Dolly Parton
- You and I -- Eddie Rabbitt with Crystal gayle
- Meet Me in Montana -- Marie Osmond with Dan Seals
- If I Were A Carpenter -- Johnny Cash with June Carter Cash
- We're Gonna Hold On -- George Jones with Tammy Wynette
- I Will Always Love You -- Dolly Parton with Vince Gill
- We Believe in Happy Endings -- Earl thomas Conley with Emmylou Harris
Album Description
Johnny & June. George & Tammy. Kenny & Dolly. Conway & Loretta. Individually they're stars, but together these artists are stellar. These unforgettable pairings of distinctive voices produced No. 1 chart toppers in the '60s, '70s and '80s—and only the biggest hits made it on Classic Country: Great Duets.Customer Reviews:
Classic Country: Great Duets.......2007-01-22
Missing Some Major Duets!! .......2005-07-26
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Music for a Darkened Theatre, Vol. 1: Film & Television Music
Manufacturer: Fontana Mca ProductGroup: Music Binding: Audio CD Elfman, Danny
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ASIN: B000002OEB Release Date: 1990-10-15 |
Tracks:
- Excerpts From: Pee Wee's Big Adventure
- Excerpts From: Batman
- Excerpts From: Dick Tracy
- Excerpts From: Beetlejuice
- Excerpts From: Nightbreed
- Excerpts From: Darkman
- Excerpts From: Back To School
- Excerpts From: Midnight Run
- Excerpts From: Wisdom
- Excerpts From: Hot To Trot
- Excerpts From: Big Top Pee Wee
- Excerpts From: The Simpsons
- Excerpts From: Alfred Hitchcock Presents: The Jar
- Excerpts From: Tales From The Crypt
- Excerpts From: Face Like A Frog
- Excerpts From: Forbidden Zone
- Excerpts From: Scrooged
Customer Reviews:
Great compilation - and that's just the first half........2005-09-14
Elfman pioneered the sound that drives today's movie adaptations of comic-books and darker-themed children's stories. Side-One kicks things off with a rollicking, hyper-cartoonish theme from the first Pee-Wee movie - the one where Pee-Wee searches for his beloved bike. Elfman's theme contains layers of different rides - on tightropes, highways, in the middle of a NASCAR rally - which rudely yet melodically crash into each other.
The Batman entry actually contains several pieces - the opening credits, the extended sequence in the cathedral and the climax - which show Batman's darkened extreme at its "Frank Miller" best. (Dir. Tim Burton couldn't sustain the mood in the next sequel, and the franchise took a turn towards the camp of the TV series with the next 2 movies.)
The theme for "Dick Tracy" is perhaps the most romantic on this disc, a quality that surpasses the theme's comic-book origins, but ends on an ironic note that's pure Elfman.
"Beetlejuice" (opening & closing credits) gives Elfman's childish ID a chance to stretch its legs, or in this case, slam-dance.
"Nightbreed" is an enigma wrapped in a dark mystery, and that's just Elfman's score. Elfman's work on this movie is as good as the movie wasn't, having a more powerful narrative than the script - easily the best track on the entire disc, one likely to exceed the movie in its dose of chills.
"Darkman" doesn't quite rise to the occasion, though the score may be hobbled by the movie itself, which seldom surpassed one of the many "Batman" clones of the early 1990's. "Darkman" (the movie, I mean) excelled as a parody of many comicbook staples (the wronged hero, the relentless villain, the scientific breakthrough with just one flaw), but not enough to escape being largely anonymous. Within those constraints, it's still a moving if scary piece.
When is Elfman not like Elfman? When he was in the mid-late `80's and scored "Back to School" (A Rodney Dangerfield vehicle) and "Midnight Run". Horns in "School" bring it closer to Elfman's over-the-top style, while "Run" sounds like a love-theme for the run-down, out-of-the-way parts of America that seldom appear in Elfman-movies. "Run" is a fun score for a fun movie - it's nothing like Elfman's previous work but it perfectly captures the on-the-road-without-a-map craziness of the movie.
To this day, I don't know why I never ventured to Side-two, but it's irrelevant. Even half this disc is worth it
The best of Elfman!!!.......2005-09-05
I'd recommend this to anyone who likes film music, or everyone who is even the tiniest bit an Elfman fan. It's amazing!
Great Collection, A LIttle Too Eclectic.......2003-08-19
What Great Music.......2003-05-11
super.......2003-04-17
Average customer rating:
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Time Machine (Score)
Klaus Badelt Manufacturer: Varese Sarabande ProductGroup: Music Binding: Audio CD Movie Soundtracks
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ASIN: B0000639BZ Release Date: 2002-03-26 |
Tracks:
- Professor Alexander Hartdegen
- Wish Me Luck
- Emma
- The Time Machine
- Bleeker Street
- I Don't Belong Here
- Time Travel
- Eloi
- Good Night
- Stone Language
- Morlocks Attack
- Where The Ghosts Are
- The Master
- "What If?"
- Godspeed
Amazon.com
H.G. Wells's Time Machine has been one of the most inspirational of sci-fi source materials. Indeed, it's remarkable that it went four decades between big-screen incarnations. But aside from being a brisk showcase for the latest in CGI gimmickry, this edition of the evergreen time travelogue features a surprisingly intimate and pastoral score from Klaus Badelt, the German-born former TV composer (and frequent Hans Zimmer collaborator). The story's Victorian roots have seldom sounded this loose fitting and inviting, while its Morlock-dominated 800-millennia-from-now future world is dotted with bold rhythmic touches and pagan choral flourishes that underscore the story's cautionary undercurrent of human devolution. While some heroic passages occasionally lapse into predictable McAction Score clichés, Badelt's handling of the familiar material is surprisingly subtle and promises great things to come. --Jerry McCulleyCustomer Reviews:
KLAUS BADELT.......2007-03-09
Fantastic Album.......2006-08-09
The Time Machine OST.......2006-07-13
An ASTOUNDING listening experience!.......2006-07-12
An excellent score!.......2006-04-13
The score is really gorgeous. It was most certainly the best thing about the film, it has a sense of drama, power, and tension. Klaus Badelt's score for "The Time Machine" is one of my favorite scores of all time. Don't think about those rough moments of the film, just buy this score.
I can't imagine you being disapointed.
Average customer rating:
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Time Machine
Joe Satriani Manufacturer: Relativity ProductGroup: Music Binding: Audio CD Jazz Fusion
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ASIN: B000003BX9 Release Date: 1993-10-26 |
Tracks:
- Time Machine
- Mighty Turtle Head
- All Alone
- Banana Mango II
- Thinking of You
- Crazy
- Speed of Light
- Baroque
- Dweller on the Threshold
- Banana Mango
- Dreaming #11
- I Am Become Death
- Saying Goodbye
- Woodstock Jam
Tracks:
- Satch Boogie
- Summer Song
- Flying in a Blue Dream
- Cryin'
- Crush of Love
- Tears in the Rain
- Always With Me, Always with You
- Big Bad Moon
- Surfing With the Alien
- Rubina
- Circles
- Drum Solo
- Lords of Karma
- Echo
Customer Reviews:
Brilliant release!.......2006-04-27
great stuff.......2006-03-24
3 1/2 stars really, nice compilation for fans........2005-10-26
The studio record contains performances from a number of sessions-- the new material was all recorded in 1993 for this record. The best of these is probably the title track, "Time Machine", a dense, churning, powerful piece filled with tension begging to explode that never quite does. A large portion of material were outtakes from "The Extremist"-- the album was evidentally heavily pared down to keep it fairly lean ("Flying in a Blue Dream" felt a bit long to me at least, so the change of pace was nice). Some of this material is superb, including the "Tears in the Rain"-styled "Baroque" and ballad "Thinking of You", which really shows how far Satriani has come as a lyrical and emotive soloist. From the "Surfing With the Alien" sessions one leftover is yielded, the frantic "Dweller on the Threshold", a moody and explosive piece not dissimilar to material on "Not of This Earth". There's also a handful of rarities-- most crucially the "Joe Satriani EP" which never received wide distribution. While i tlacks much of the polish even of "Not of This Earth", this hastily assembled material has its own charm, and certainly having it is as valuable as the material simply because of its rarity.
Still, for all this nice material, there's quite a bit of throwaway too-- Billie Holliday's "All Alone" gets a reasonable reading, and Satriani never ceases to surprise with his ability to stretch, but its just not too intriguing, "Banana Mango II" (left off "The Extremist") just seems to lack any real energy to it, and the closing "Woodstock Jam" has a lot of interesting ideas, but ultimately doesn't hold together.
The live disc fares much better, with unnervingly brilliant performances from the course of Satriani's career-- there's really not a bad cut on here, and particularly superb readings of "Always With Me, Always With You" and a ferocious "Big Bad Moon" are real highlights. Of extraordinary note is the presence of several extra pieces from the same performance that produced the live tracks on "Dreaming #11".
All in all, its a pretty mixed bag-- the live disc is better than the studio, and I kept waffling back in forth on three or four stars. Recommended for fans, newcomers should start with "Surfing With the Alien".
Hey "MTV Rocks" - Stop embrassing yourself.......2005-05-27
The one to have if you have room for only one Satch disk.......2004-12-29
EVERY SONG IN THIS SET (except one) TOTALLY BLOWS ME AWAY; the sole bad song is "Woodstock Jam", and that's because it's about 15 minutes of dissonance. Everything else? Pure genius. You get it all - from slow and sexy to full-speed shredding with his Ibanez electric guitar set to kill, Joe Satriani can play anything. Blues, rock, baroque - you name it, JS can do it better than anyone and never break a sweat.
Only Stevie Ray Vaughan knew the electric guitar as well as Joe; even Steve Johnson, Steve Vai and Eddie Van Halen (all Joe's pupils) cannot touch Joe's utter mastery of the instrument.
THIS IS IT; this is the ONE you have to have.
Average customer rating:
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Time Machine: A Vertigo Retrospective
Various Artists Manufacturer: Umvd Import ProductGroup: Music Binding: Audio CD General
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ASIN: B0007Q6QWI Release Date: 2005-04-11 |
Tracks:
- Kettle - Colosseum
- Who Do You Love? - Juicy Lucy
- My Heaven - Clear Blue Sky
- Travelling Lady - Manfred Mann Chapter Three,
- Behind the Wall of Sleep - Black Sabbath
- To Play Your Little Games - Cressida
- Introduction - Gracious,
- Three Sisters - Affinity
- Walking On - Bob Downes
- I Don't Know - May Blitz
- Torrid Zone - Nucleus
- Handbags and Gladrags [Album Version] - Rod Stewart
- Nothing at All - Gentle Giant
- Influence - Ben
Tracks:
- Evil Woman's Manly Child - Doctor Z,
- Borne on the Solar Wind - Jade Warrior
- Man - Patto
- Thinking of My Life - Juicy Lucy
- Half Baked
- For Madmen Only - May Blitz
- Lady's Changing Home - Tudor Lodge
- Time Machine - Beggars Opera
- Bring Out Your Dead - Colosseum
- Mouthpiece - Warhorse
- Lady in Black - Uriah Heep
- Through the Years - Freedom & Whiskey
- Midnight Moses - The Sensational Alex Harvey Band,
- Lord of the Ages [Album Version] - Magna Carta
Tracks:
- Living at the End of Times - Atlantis
- Life Child - Ramases
- MacArthur Park - Beggars Opera
- Song for the Bearded Lady - Nucleus
- Pantagruel's Nativity - Gentle Giant
- (A Ballad Of) A Peaceful Man - Gravy Train
- Powers of Darkness - Ronno
- Paper Plane - Status Quo
- Little Known - Ian Matthews
- Let It Happen - Vangelis Papathanassiou,
- Mwenga Sketch - Jade Warrior
- Four Horsemen - Aphrodite's Child
- Spiral Architect - Black Sabbath
Album Description
Time Machine is a 3CD Box Set containing 41 tracks from the first golden age of the Vertigo label featuring rare and classic tracks from the likes of Aphrodite's Child, Black Sabbath, Colosseum, Gentle Giant, Jade Warrior and The Sensational Alex Harvey Band. Also contains a 48-Page Booklet containing biogs, rare photographs and exclusive interviews. Vertigo/Universal.Customer Reviews:
The black and white swirl.........2007-05-18
Their paper label wasn't their only distinction; as the "experimental" subsidiary of Philips records, they also intentionally brought us delicious non-commercial music. Unintentionally failing to sell zillions of records in the process. They were hugely responsible for the promotion of progressive jazz a la Ian Carr's Nucleus, Ben, Jade Warrior and (yes) Manfred Mann. The MM boys weigh in with a dark Coltrane-esque "Travelling Lady" (see review of Manfred Mann Chaper III). They brought us marvellous adventurous rock a la Gracious, Doctor Z, Juicy Lucy, May Blitz and Clear Blue Sky. And a stand-up version of "MacArthur Park" by Beggar's Opera, turning this pop classic into something the progressive age could absorb. And, as you see, they brought Rod Stewart to us as a solo act with the splendid "Handbags and Gladrags," written by a young Mike D'Abo with a maturity that made the song an instant standard.
As with all comps, there are a few things on here I can't quite see, for example, I think a better tune by Patto (successor band to the great great Timebox) could have been chosen. But all in all this is very nice, even if you might have to listen a couple of times to really get into it. A deserved celebration of a seminal label of the period.
Pudo ser mejor.......2006-02-28
-Soy partidario de la recopilaciones de 4 cds. Además hay que saber que Vertigo tiene suficiente material para hacerlo.
-La presentación es muy tacaña, creo que bien pudiero hacer una caja más grande con fotografías de un tamaño adecuado. La verdad es que resulta una burla leer en el texto en letras tan pequeñas, en un librillo igual de chico y con fotografías de los álbumes que no superan los 2cm cuadrados. ¿Qué pasó?, ¿falta papel? Es una desconsideración teniendo en cuenta los hermosos trabajos en las carátulas de los grupos del sello, así como las fotografías que las bandas tienen, incluso los pósters (compare esta presentación con Harvest Festival, es otra cosa).
-La selección de los grupos estuvo bien, aunque a mi parecer debieron aparecer otras bandas como Daddy Longless, Fairfield Parlour, John Dummer, Odin, Assagai, Krafwerk, Mike Absalon y un largo etc. que bien merecía un cd extra.
Sin embargo, la recopilación se deja escuchar muy bien y la grabación es muy buena. Esperaba encontrar algunas rarezas, piezas en vivo, o incluso más temas folk (por ejemplo a Jim McCarthy). A pesar de estos apuntes, recomiendo esta recopilación para todos aquellos que aún escuchan música hard, progresiva o de alta calidad.
A Real Audio Trip Thru Time.......2005-10-07
Average customer rating:
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Time Machine
Joe Satriani Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
| Alternative Rock
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Jazz Fusion
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ASIN: B000002BWJ Release Date: 1998-02-17 |
Tracks:
- Time Machine
- The Mighty Turtle Head
- All Alone (Also Known As Left Alone)
- Banana Mango II
- Thinking Of You
- Crazy
- Speed Of Light
- Baroque
- Dweller On The Threshold
- Banana Mango
- Dreaming #11
- I Am Become Death
- Saying Goodbye
- Woodstock Jam
Tracks:
- Satch Boogie
- Summer Song
- Flying In A Blue Dream
- Cryin'
- The Crush Of Love
- Tears In The Rain
- Always With Me, Always With You
- Big Bad Moon
- Surfing With The Alien
- Rubina
- Circles
- Drum Solo
- Lords Of Karma
- Echo
Customer Reviews:
Brilliant release!.......2006-04-27
great stuff.......2006-03-24
3 1/2 stars really, nice compilation for fans........2005-10-26
The studio record contains performances from a number of sessions-- the new material was all recorded in 1993 for this record. The best of these is probably the title track, "Time Machine", a dense, churning, powerful piece filled with tension begging to explode that never quite does. A large portion of material were outtakes from "The Extremist"-- the album was evidentally heavily pared down to keep it fairly lean ("Flying in a Blue Dream" felt a bit long to me at least, so the change of pace was nice). Some of this material is superb, including the "Tears in the Rain"-styled "Baroque" and ballad "Thinking of You", which really shows how far Satriani has come as a lyrical and emotive soloist. From the "Surfing With the Alien" sessions one leftover is yielded, the frantic "Dweller on the Threshold", a moody and explosive piece not dissimilar to material on "Not of This Earth". There's also a handful of rarities-- most crucially the "Joe Satriani EP" which never received wide distribution. While i tlacks much of the polish even of "Not of This Earth", this hastily assembled material has its own charm, and certainly having it is as valuable as the material simply because of its rarity.
Still, for all this nice material, there's quite a bit of throwaway too-- Billie Holliday's "All Alone" gets a reasonable reading, and Satriani never ceases to surprise with his ability to stretch, but its just not too intriguing, "Banana Mango II" (left off "The Extremist") just seems to lack any real energy to it, and the closing "Woodstock Jam" has a lot of interesting ideas, but ultimately doesn't hold together.
The live disc fares much better, with unnervingly brilliant performances from the course of Satriani's career-- there's really not a bad cut on here, and particularly superb readings of "Always With Me, Always With You" and a ferocious "Big Bad Moon" are real highlights. Of extraordinary note is the presence of several extra pieces from the same performance that produced the live tracks on "Dreaming #11".
All in all, its a pretty mixed bag-- the live disc is better than the studio, and I kept waffling back in forth on three or four stars. Recommended for fans, newcomers should start with "Surfing With the Alien".
Hey "MTV Rocks" - Stop embrassing yourself.......2005-05-27
The one to have if you have room for only one Satch disk.......2004-12-29
EVERY SONG IN THIS SET (except one) TOTALLY BLOWS ME AWAY; the sole bad song is "Woodstock Jam", and that's because it's about 15 minutes of dissonance. Everything else? Pure genius. You get it all - from slow and sexy to full-speed shredding with his Ibanez electric guitar set to kill, Joe Satriani can play anything. Blues, rock, baroque - you name it, JS can do it better than anyone and never break a sweat.
Only Stevie Ray Vaughan knew the electric guitar as well as Joe; even Steve Johnson, Steve Vai and Eddie Van Halen (all Joe's pupils) cannot touch Joe's utter mastery of the instrument.
THIS IS IT; this is the ONE you have to have.
Average customer rating:
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The Big Gundown: John Zorn Plays the Music of Ennio Morricone
Manufacturer: Tzadik ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz
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ASIN: B00004W3KY Release Date: 2000-08-22 |
Tracks:
- The Big Gundown
- Peur Sur La Ville
- Poverty (Once Upon A Time In America)
- Milano Odea
- Erotico (The Burglars)
- Battle Of Algiers
- Giu La Testa (Duck You Sucker!)
- Metamorfosi (La Classe Operaia Va In Paradiso)
- Tre Nel 5000
- Once Upon A Time In The West
- The Sicilian Clan
- Macchie Solari
- The Ballad Of Hank McCain (Vocal)
- Svegliatti & Uccidi
- Chi Mai
- The Ballad Of Hank McCain (Instrumental)
Amazon.com
As if John Zorn's super-creative take on film composer Ennio Morricone weren't essential in its first iteration on Nonesuch Records, Zorn is celebrating the album's 15th anniversary with an updated, remastered version. The darker lows and brighter highs make this Gundown clearly superior--with its original cast of characters (Bill Frisell, Arto Lindsay, Diamanda Galas, and many more) sounding alternately darker, sultrier, and more cinematic than ever. Zorn's reticence to record the original album's 10 pieces looks altogether unreasonable, as his genius for adding color and dimension to Morricone's tunes shows profusely. To make this an even better deal, there are six new bonus tracks that feature Marc Ribot as part of an ad hoc string quartet on "The Sicilian Clan" and "Chi Mai," and as sparring partner with British avant guitar god Derek Bailey on the roaring "Svegliatti and Uccidi." This one's magnificently important. --Andrew BartlettCustomer Reviews:
Lots of variety.......2007-06-10
Let's describe all the songs since the music sample is often deceptive for this CD. "The Big Gundown" aims for creepy. There are ominous piano chords, dissonant noises, and screams. The music resolves somewhat when a Brazilian percussion section begins, and ends with some Rawhide-esque "ha"'s. "Peur Sur La Ville" is built around an unsettling piano figure and noises. It has a unconventional free-jazz aura to it. "Poverty" is a quiet song based on Toots Thielman's whistling. "Milano Odeo" is a catchy, almost rock-n-roll song taken at a brisk pace. As the song goes on, the keyboards get more unsettling and the guitar gets noisier. "Erotico" has bluesy organ, and Bill Frisell's most romantic electric guitar (in an '80's way) paired with female vocalizations. "Battle Of Algiers" might be my favorite (maybe just because of the represented movies I've seen it's my favorite). Wayne Horvitz pounds out the tense piano line while sounds effects explode in the background. "Giu La Testa" has a slow build for about four minutes, then there's a plucking, walking part to take the song out. "Metamorfosi" is a good song to play when you want guests to leave, Diamanda Galas screams on top of tribal drums. "Tre Nel 5000" is credited to Zorn as a composer. To me, it sounds like a 4 1/2 minute dose of ambient noise. "Once Upon A Time In The West" starts quietly and deliberately, with feedback swelling and decaying. Robert Quine and Jody Harris play their guitars otherwise very minimalistically (not minimally, the feedback is constant). That ends the 1985 section of the CD.
The 2000 section uses an updated cast of players. "The Sicilian Clan" is familiar from the "Naked City" CD, though the instrumentation is more acoustic, and Cyro Baptista adds "western movie" percussion. "Macchie Solari" is another unsettling song. It ends in a fit of crashing piano chords and screams. "The Ballad Of Hank McCain" teams Mike Patton's heroic baritone with Jamie Saft's organ and Baptista's background congas. It's one of the more accessible songs, I wonder what it would sound like with a fuller band. The later instrumental version sounds about the same except, of course, without singing. "Svegliatti And Uccidi", with Marc Ribot and Derek Bailey on guitar-mangling duties, is a skronky blow-out. "Chi Mai", with the same musicians as "The Sicilian Clan", has a pretty melody and gentle music.
Some of these songs are very cool and original, others I can go without. Since it's a mixed bag I give it three stars. Zorn is certainly an original, and fans will want to make sure they have this one.
Zorn's first masterpiece.......2005-04-30
I think in many ways, the opener and title track best illustrates the aesthetic on the record, if you don't like that one, you'll probably not care for the rest of it-- it covers a number of moods, being dark, haunting, theatrical, explosive and esoteric, sometimes all at once. This sort of theatrical mood extends across a number of songs, the haunting circular piano and percussion workout "Peur Sur la Ville" (with a blazing alto sax solo from Tim Berne), an the dark electric guitar workout take of "Once Upon a Time in the West", reduced a funereal pace.
But there are also many moments of delicate beauty as well-- take for instance "Poverty (Once Upon a Time in America)", with an unusual instrumentation of whistling, harmonica (both handled by Toots Theilman), harp and accordian. Particularly when the harmonica takes the melody, the support swells and embraces and holds on, expressing pain and loss and fear for the future. Or consider the brooding and yet someone still light "Giu la Testa (Duck You Sucker!)", building anticipation through its dark motifs and bizarre instrumentation (among others, the Japanese shamisen, english horn, acoustic guitar, gamecalls and keyboards).
The bonus tracks are no less essential-- Zorn brought in about everyone he played with for the originals, these were a chance to catch up. The amazing thing about Zorn is that as an arranger, he's lost none of his flair in the intervening years, in fact, he may have even gotten better. Zorn uses his "Bar Kokhba" sextet (the Masada String Trio augmented by guitarist Marc Ribot, drummer Joey Baron and percussionist Cyro Baptista) to great effect on breathtaking arrangements of "The Sicilian Clan" and "Chi Mai", and adds another great guitar workout feature with Ribot and Derek Bailey in a noisy, disjoint take of "Sveggliatti and Uccidi", but its Mike Patton's Tom growl on "The Ballad of Hank McCain" that is the gem of the material-- stunning delivery that really captures something special (and may be the best vocal Patton has ever done) over a delicate organ (Jamie Saft) and percussion (Baptista) backdrop that matches and perhaps outstrips the best of the original material.
This is essential music for Zorn fans, if you're not, this may well be a good place to start-- the music can be difficult, and it covers a ton of moods, but there is a lot to hear. Highly recommended.
Definitely a must-have Zorn album!.......2004-04-27
This is on my must-have list for Zorn albums.
This is the first major Zorn album.......2003-03-15
The result is CD that's all over the place, ranging from beautiful to ugly, from very complex to painfully simple. "Chi Mai," for example is a song you'll listen to over and over. It never gets old. But then there's "Metamorfosi," in which a woman howls and screams over the sound of slowly pounding drums.
Yes, better than the original.......2002-08-14
Morricone fans, you should give this a try too! This will challenge your ears and your notions of one of your favorites, and that's a good thing. Zorn is always true both to the themes from the movies and the context of those movies, which is the most remarkable thing. But for those only used to straight renditions of the music, this CD will shock, because the music is put through a cut-and-paste technique that owes much to cartoon music, and a recontextualization that owes is all to a free-improvisation aesthetic. Don't let those ears and minds get flaccid, folks!
Average customer rating: 
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Spare Time Machine
Pepe Deluxe Manufacturer: Catskills UK ProductGroup: Music Binding: Audio CD General
| Dance & DJ
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| Dance & DJ
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ASIN: B000PY30XU Release Date: 2007-07-02 |
Tracks:
- Mischief of Cloud Six
- Ms. Wilhelmina and Her Hat
- Go for Blue
- Last of the Great Explorers
- Pussy Cat Rock
- Apple Thief
- Lucky the Blind vs. Vacuum Cleaning Monster
- Captain Carter's Fathomas
- Forgotten Knights (Prelude)
- Forgotten Knights
Album Description
2007 studio album from Finland's Pepe Deluxe, their first since 2003. It will assault your ears with astonishing sounds and music you've never heard before. A tripped-out, Psychedelic masterpiece! Anyone who owns any of Finland's musical innovators Pepe Deluxe 's music, knows that every new album is an event worth waiting for, and an experience to savor. It's been four long years since their last studio opus Beatitude, a free-wheeling, genre-hopping sonic assault of styles. So, start up the Spare Time Machine and set the controls for the heart of a bold new musical frontier! Catskills.Album Details
The First Studio Album from Finland's Pepe Deluxe Since 2003 is Finally Here, to Assault Your Ears with Astonishing Sounds and Music You've Never Heard Before.
Average customer rating:
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The Science Fiction Album
Various Artists Manufacturer: Silva America ProductGroup: Music Binding: Audio CD Movie Soundtracks
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Star Wars
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Star Trek
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ASIN: B000066HE5 Release Date: 2005-02-08 |
Tracks:
- 2001: A Space Odyssey
- Aliens
- Sound Effect - The Nostromo
- Alien
- A.I.
- Armageddon
- Sound Effect - Apollo 13 Lift-off
- Apollo 13
- Back To The Future
- Battle Beyond The Stars
- Battlestar Galactica
- The Black Hole
- Contact
- Capricorn One
- Close Encounters of the Third Kind
- The Day The Earth Stood Still
- Dune
Tracks:
- Galaxy Quest
- Sound Effect - Dogfight in Space
- Enemy Mine
- Ghostbusters
- Gremlins
- Heavy Metal
- Independence Day
- E.T.
- Judge Dredd
- The Last Starfighter
- Lifeforce
- Sound Effect - Crash Landing
- Lost In Space
- Mars Attacks
- The Matrix
- Predator
- The Right Stuff
Tracks:
- Moonraker
- Robocop
- Silent Running
- Sound Effect - Alien Organism
- Species
- Stargate
- Starship Troopers
- Starman
- Star Trek - TV Theme
- Star Trek: The Motion Picture End Title
- Klingon Attack
- Sound Effect - Warp Drive
- Star Trek II: The Wrath of Khan
- Star Trek: Deep Space Nine
- Star Trek: Generations
- Star Trek IV: The Voyage Home
Tracks:
- Star Trek VI: The Undiscovered Country
- Sound Effect - Transporter Crew
- Star Trek: Deep Space Nine - Main Theme
- Star Trek First Contact
- Star Wars
- The Empire Strikes Back
- The Empire Strikes Back
- Return of the Jedi
- Sound Effect - Battle Stations
- Star Wars Episode 1: The Phantom Menace - The Flag Parade
- Anakin's Theme
- The Adventures of Jar Jar
- Duel of the Fates
- The Time Machine
- Things to Come
- The Thing From Another World
- War of the Worlds
- When Worlds Collide
- Total Recall
- You Only Live Twice
- Superman
Customer Reviews:
The penultimate collection ..........2006-12-07
I have always had a weak spot for (good, or maybe even intelligent) science fiction/fantasy and film music, especially its way of evoking mystery, grandure and wide open spaces. Call it a weakness if you want. But it was maybe really kick started off, for as far as I can remember, with Star Trek. But especially Star Trek II, III and IV - essentially a trilogy - because of their very romantic but very warm, human core, set on the broadest canvasses of unlimited and mysterious outer space. But then there was the music for adding that essential extra dimension of emotion and atmosphere. I am happy that much of the music on this album is from the Star Trek series and films, often equaling or sometimes even outclassing the original recordings.
This kind of music (for the movies) should be seen as an art on its own rights with its own merits and qualities. As such, the musical sequences on these CD's are a beautifully played cross section of some of the most evoking orchestral music for science fiction/fantasy film ever created. And I very much like the nicely blended, wide and deep orchestral soundpicture with enough reverberation to evoke a sense of wide open spaces.
I am quite thrilled by tracks like the evocative music from Dune, truly transporting one to the vastly sands of Arrakis (the music is wonderful, but to my great regret I think the movie itself is a flawed masterpiece at best, alas.). And then there is the very different, goofy music for Ghostbusters (memories of childhood), the spoofy but electrifying music from Mars Attacks (lovingly parodist music, this, with not a little touch of irony) and the happily adventurous, forward driving Theme from Galaxy Quest ('Never give up, never surrender!'), now also used for the internet-based fan-series Star Trek: The Hidden Frontier. On the other side of the spectrum we have the atmospheric music for Enemy Mine (an underestimated 'little' movie), the Theme from The Right Stuff (actually science FACT, not fiction, this film, just like Apollo 13, of course), the eerily attractive music for Species, the original End Title for Alien (not used in the theatrical version of the movie, where it was replaced by music from howard Hanson's Second Symphony), the exquisitely exotic music for Stargate, the sweet and warmly sympathetic, beautifully re-orchestrated, theme for Starman, the title cue for Star Trek: TOS (much more melodiously played than the original! If only a series nowadays could continue to be as thought provoking and as original as Star Trek was during its launch, fourty years ago ...) and a truly overpowering End Titles Suite from Star Trek VI: The Undiscovered Country. I especially like the thrillingly grandiloquent rendition here of the music for Star Trek II: The Wrath of Khan. And how nice it is to hear the (thematic) similarities between James Horner's music for The Wrath of Khan, his great break-through as a film music composer, and his (two years) earlier music for Battle Beyond the Stars (which did indeed help him earn the job for writing the music for Star Trek II) ...
But on the 'down side', if one is looking for - for example - the gorgeously expansively played End Titles from Cocoon, it is not included here: one has to acquire the album that 'kicked it all off', so to say, namely 'Space and Beyond', also on Silva Screen. I was very pleased also with the inclusion on that album of some of the music from the series Star Trek: The Next Generation, namely where one of the characters, Tasha Yar, in one of the episodes (Skin of Evil) is saying goodbye to her crewmmates: sweetly sentimental and simple music which I have always wanted to own on CD. I guess that a few cues from the other two sequals ('Alien Invasion: Space and Beyond II' and 'Space3: Beyond the Final Frontier') didn't make it onto this 4 CD collection-album as well, but I guess that it would be the 'better part of the bargain' to opt to buy this 'The Science Fiction Album' instead of buying all three albums separately. Well, of course it is for yourself to ultimately decide what you really want ;-)
If I were to nitpick (which is not easy with such a marvellous project as this one), then I would say that while all music is performed with magnificent grandure and with style, some of it is not performed as crisply and as technically 'on the spot' as some of the original recordings: ensemble is a little slack and the playing somewhat stilted sometimes, losing some of the edge and the originality of the writing. ET and Star Wars spring to mind, but then the soundtracks for Star Wars are traditionally recorded with the magnificent London Symphony Orchestra, conducted by maestro John Williams himself, and these superior recordings (especially the ones for Episode I, II and III) can't really be bettered, IMHO. Likewise for the music from Star Trek: The Motion Picture, I believe that in the end one really has to resort to the ultimate reference, namely the original recording (which is true in many other instances of 'original recordings'), and then the 20th anniversay colector's edition of this soundtrack on Columbia/Legacy (truly unmissable, this veritable classic of sci-fi/film music soundtracks!).
But all in all this 4CD-collection amounts to probably being the penultimate high quality sci-fi music album collection (I certainly know of no other project that comes as close quality as well as quantity wise), with some of the most memorable musical moments from classic to modern sci-fi/fantasy film captured in lavish orchestrations.
Collection-wise: five *stars*. Playing: generally four *stars*, sometimes more. The recording quality: five *stars*. The music (qualified on its own merits as film music) and its (re)orchestrations: generally five *stars*. In the end this is all highly recommended, and certainly not to be missed by science fiction and fantasy film music fans. Klaatu barada nikto.
Muisic of the Spheres.......2006-11-06
The Ulllllltimate Sci-Fi Music Collection.......2005-10-23
The moment I ripped off the shrink-wrap and popped it into my cd player was a moment of great trepidation. Believe me when I tell that I've seen my fair share of sub-par orchestral recording in my lifetime. Very often they are in those big super-packs of music, and suffer from poor direction, improper mastering, and sometime even pathetic orchestration (or worse yet have something sounding like a cheap synthesizer and a kazoo in place of a full orchestra). I needn't have worried though. This sucker is fantastic.
Many people who are not audiophiles will probably miss the point of this cd collection. It is not the original versions of the pieces. It is re-orchestrations, mostly by the phenomenal Prague Symphony Orchestra. Many of these themes didn't sound all that hot in there original versions because they were low budget films or were not recorded in high-fidelity. Here they are given the full treatment, mastered with the most loving care imaginable. Often the version found in these cds is SUPERIOR to the original.
Remember the theme from 2001: A Space Odyssey? Of course you do. But how many times have you heard a cheap imitation of the original version from the movie, starting too low in volume and ending too high (and missing the essential pipe-organ that gives it that extra oomph)? Well, this first track in the entire collection is not only everything it should be instrumental and timing-wise, but it also has been oh-so-carefully adjusted during the mastering process so that at no time is the music either too low or too high in volume (surely a benchmark for every other recording ever to be made of the piece).
Or what about the theme from the (at-the-time) uber-creepy The Black Hole? The orchestration of this piece of music goes from tiumphant to terrifying and back again, with a splendor and cleanness that I CERTAINLY don't remember being in the original recording.
Then there's the new version of the theme from Independence Day, complete with a violin solo, a far more electrifying ending climax, and a chorus so thunderous that you feel like applauding at the end. Simply indescribable. Kind of like the MIND-BLOWING rendition of the theme from The Last Star Fighter. This has been one of my favorite themes for a long time now, but I've never heard it played like this. I think the original version of the theme is something like 1 minute long, but this new version doesn't just fade out (HAHAHAHA!!!!) THIS version is THREE minutes long, goes through the main theme THREE times, with the final strains being so triumphant and joyous I could not help but feel an electrifying charge the first dozen or so times (come to think of it, I still feel that way). This is superior to the original in EVERY way. AWESOME.
And let's not forget the incredible new rendition of Stargate with it's heavy use of clarinets (for Egyptian effect!) and a triumphant new ending (completely lacking the chanting from the original version. This version is so different that for the first minute it is very hard to tell that it is in fact Stargate. But then the main theme kicks in, and then you get this incredible flute solo for my favorite part of theme (the whole thing is played slower, but arguably more powerfully than the original). My goodness. At first I found the thing so different I didn't like it. But then I listened to it again. And again. And again.
I could go on and on, talking about the fantastic new rendition of Moon Raker, the ear-popping Battlestar Galactica, the classic Star Trek (First Contact has a minute or two of the theme from Star Trek:The Motion Picture before going into the main theme), or the sweet renditions of music from the Star Wars movies (or the music from E.T.).
I have to mention though that this collection was not picked based merely on what people want, or on what is popular. No, the people who made it obviously thought a GOOD music collection was better than a popular one. That's why you get a heartbreakingly beautiful theme from A.I. instead of the main theme. It's why you get music from movies that you probably never gave a second thought to the music (because the movie was lousy). It's why you get Armageddon, Judge Dredd, and Robocop (who would have guessed their music was so COOL when there was all that crazy action and bad-acting going on on-screen).
I said it before and I'll say it again. This cd-set was mastered with tender-loving-care, and it shows BIG-TIME. High-fidelity the likes of which I have not seen since the days when cds were brand-new in the world. Dolby Surround. Perfectly balanced. BEAUTIUFL orchestrations. About the only thing that makes me scratch my head is the weird sound-effect tracks (Oooookay.....). Other than that, it's PERFECT. Obviously they could not include every sci-fi theme ever (no one can), but this collection is REALLY GOOD. A lot of great themes that got away (forgotten gems :), new versions of old favorites, and under-appreciated classics aplenty, but ALWAYS the full and complete versions with nothing cut-out (the theme from Dune is quite extended).
If you love movie music (and sci-fi movie music in particular) you MUST buy this awesome collection). It is not the original recordings. Almost always the new ones are better (if they aren't better they're just equal). This is what you have been waiting for. I for one am going to be buying quite a few cds from this company in the future. Give your ears the treat they deserve. Buy it NOW.
SciFi Album gift.......2005-07-20
Away From to be a Collectible Peace.......2004-12-16
Average customer rating:
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Angel Melendez & The 911 Mambo Orchestra
Angel Meléndez & The 911 Mambo Manufacturer: Latin Street Music ProductGroup: Music Binding: Audio CD General
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ASIN: B0001LASUK Release Date: 2004-02-19 |
Tracks:
- Ven Pa' Que Goze
- Chango
- Que Rico el mambo (Mambo Jambo)
- Besame Mucho
- El Cumbanchero
- A Gozar Timbero
- Si Una Vez
- Havah Nagilah
- Cereza Rosa (Cherry Pink and Apple Blossom White)
- Amor Mio
- Hablame
- Mambo a la Sandoval
Album Description
Chicago's very own 20 piece Mambo Orchestra. Latin music at it's finest! 47th Annual Grammy Awards for "Best Traditional Tropical Album" nominee. 4th Annual Independent Music Awards for "Best Latin Album" nominee "Mambo Kings of the Midwest" Oct 2004. Chicago Social Magazine.Customer Reviews:
Great Old-Time Mambo Orchestra.......2006-03-05
Amazing.......2005-04-05
Grammy?.......2005-01-04
AWESOME Minus 1.......2004-07-18
Awesome !.......2004-06-03
Rock Music:
- To Die Again Tomorrow
- Troubled Ground
- Twice As Nice & Half the Price [Import] [Original recording remastered]
- Under the Tree
- Unsuperficial Madness
- What's the Meaning
- World Beaters V.1: Mondo Sixties Garage Mania [Import]
- 20th Century Masters - The Millennium Collection: The Best of Chris de Burgh [Enhanced] [Import]
- 60's-Rolling Back the Years [Import]
- 70's-Rolling Back the Years [Import]
