Blue Alibi

From the Artist
"If Kurt Vonnegut and Harvey Pekar had a bastard son, it would be Hank Kim"--Mike Daly, producer of "Blue Alibi"

Product Description
Informed by such masters as the late Warren Zevon, Paul Westerberg of The Replacements, Graham Parker, XTC's Andy Partridge, and Elvis Costello, reclusive NYC singer-songwriter Hank Kim had been quietly chipping away, without fanfare.

Meanwhile, south of 14th Street, indie rock mainstay Mike Daly was hunkered down in the downtown New York scene as an emerging producing force. Daly,along with Ryan Adams and Caitlin Cary, had formed the creative nucleus of alt-country fave Whiskeytown.

After the breakup of the band, Daly, the self-professed "pop guy" in Whiskeytown, was introduced to Kim by a mutual friend. Daly became intrigued with the singer's raw, idiosyncratic voice and melodic hooks, chronicling the jagged tales of misfits, rebels and other bruised souls, flailing at the ghosts of redemption, in turns that are both comic and heartbreaking.

Together,Kim and Daly walked into Soho's Magic Shop to cut the basic tracks for the first group of tunes that would become "Blue Alibi." Kim, Daly and their cadre of ringers--some of the music industry's finest players--went to work. Drummer Dan Rieser, he of Marcy Playground fame, and one of the primary collaborators on Norah Jones' Grammy-sweeping juggernaut, "Come Away With Me", made his presence felt.

Other talents gracing the proceedings included drummer Alan Bezozi(Freedy Johnston), keyboardist John Deley(Dido) and Ben E. King bassist Joe Quigley.

What they created, "Blue Alibi", is a heartfelt paean to the often misplaced musical forms of storytelling and songcraft. It is power pop that is both immediate and ethereal.

Blue Alibi

Blue Alibi,Hank Kim,Independent,"Blue Alibi" is power pop that is both immediate and ethereal.,Rock/Pop

Average customer rating: Remembering Past Enchantments And Past Ills Delightful scores from Ennio Morricone

An Ennio Morricone Anthology: All Music Composed & Conducted By Ennio Morricone - From The EMI General Music Vaults Manufacturer: Drg ProductGroup: Music Binding: Audio CD Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Classical | Styles | Music Soundtracks | Box Sets | Stores | Music General | Soundtracks | Indie Music | Stores | Music Movie Soundtracks | Soundtracks | Indie Music | Stores | Music Similar Items: Ennio Morricone - Film Music, Vol.1 Film Music, Vol. 2 Very Best of Ennio Morricone Ennio Morricone, Vol.3: Main Titles With Love: Music Composed & Conducted By ASIN: B000000PIZ Release Date: 1995-09-19

Tracks:

1. The Lady Caliph
2. Women at the River
3. Without Apparent Motive
4. Night Search
5. A Friend
6. The Ballad of Hank McCain
7. Rosemary
8. God With Us
9. What Am I Doing?
10. Like Maddalena
11. Moscow Farewell
12. Amusing Diversion
13. End Credits
14. A Neighborhood Song
15. The Wind, The Shout
16. My Name Is Nobody
17. March in F
18. The Unholy Three
19. Dedication
20. Belinda May
21. Lullaby in Blue
22. Companeros

Tracks:

1. Slalom
2. Sestriere
3. Viva la revolucion
4. Chi mai
5. A Far Away Italy
6. To Forget Palermo
7. Three Columns on Front Page
8. The Lamb is Going to Die?
9. Song of Nostalgia
10. This Kind of Love
11. To the People of Parma
12. A Little Bitter Irony
13. Place of Spain
14. Reason, Heart, Love
15. Veruschka
16. The Cousin
17. The Hellbenders
18. To Serenity
19. The Venetian Woman
20. Western?
21. Theme for a Woman Alone
22. Castles in Scotland
23. The Outsider

Customer Reviews:

Remembering Past Enchantments And Past Ills.......2004-06-07

Few composers outside of the classical canon have expressed the ineffable as beautifully as Ennio Morricone. The Italian Morricone, who has written scores of wildly varying quality for over 400 films, came to international prominence with and is still best - known in America for his "Spaghetti Western" scores of several classic Sergio Leone films of the Sixties, such as A Fistful of Dollars (1964), The Good, The Bad, And The Ugly (1966), and Once Upon A Time In The West (1969).

With the Leone scores, Morricone created musical pieces structured like complex mathematical equations, many of which were suffused with a driving, hypnotic, and archetypal power. In fact, the soundtrack for The Good, The Bad, And The Ugly was so dramatically dynamic that it thoroughly outstripped the finished film in terms of imaginative potential. Only with Once Upon A Time In The West did Leone create a film well crafted and realized enough to match Morricone's entrancing, playful, and occasionally perditious score. Similarly, Dario Argento's The Bird With The Crystal Plumage (1969) almost completely failed to utilize Morricone's contribution, the best portions of which were heard only dimly and sporadically in the finished film. Leone's late masterpiece, Once Upon A Time In America (1984), two - thirds a perfect film, also failed to fully rise to the occasion of Morricone's simultaneously poignant, wistful, and wonderfully exuberant score.

Today, Morricone's work is available on literally hundreds of soundtracks and soundtrack compilations dedicated to the composer, very few of which are entirely satisfying. An Ennio Morricone Anthology (1995), which contains 45 tracks from 39 films produced in Italy from 1965 onward, perpetuates this frustrating tradition.

Of the 45 tracks, about a third represent Morricone realizing or approaching the height of his talent, another third are fairly interesting but ultimately repetitious and self-cannibalizing, and the final third, which may have worked reasonably well within the context of the films they were written for, never rise above the status of shrill, discordant, and bellowing kitsch (several attempt a Henry Mancini - like levity and fall flat). In fact, there is a great deal of healthy, raw, and leveling vulgarity even in some of Morricone's most famous compositions, such as "Le Vent, Le Cri" from 1981's The Professional and "Chi Mai" from 1971's Maddalena, both of which are included.

Those seeking haunting compositions on the scale of "L'Estasi Dell 'Oro" or "Il Triello" from The Good, The Bad, And The Ugly or "Poverty" from Once Upon A Time In America will be disappointed to find very few pieces approaching their caliber here, especially if already familiar with such well - known pieces such as "Moscow Farewell" from the 1987 film of the same name or the otherworldly "Il Gatto A Nove Code" from The Cat O' Nine Tails (1971).

As compositions of vastly different quality are interspersed amongst one another in dizzying array, many may find An Ennio Morricone Anthology virtually impossible to listen to from beginning to end without skipping tracks repeatedly. As a genius whose greatest compositions address both the immanent and the transcendent, both perdition and salvation, both the archaic and the modern, Morricone and his admirers deserve a more carefully selected and thoughtfully produced anthology than this haphazard collection offers.

Delightful scores from Ennio Morricone.......1998-12-19

Few composers in film music today are as greatly admired as Ennio Morricone whose scores for a wide range of screen fares and many Oscar nominations and wins have attracted the attention of fans all over the world. This compilation is one of the best and contains very fine original musics and rare tracks of this Italian composer.

Average customer rating:

Blue Alibi Hank Kim Manufacturer: Independent ProductGroup: Music Binding: Audio CD General | Rock | Styles | Music Pop Rock | Pop | Styles | Music General | Rock | Indie Music | Stores | Music ASIN: B0006GSB6S Release Date: 2005-02-01

Tracks:

1. So Late
2. Once Upon A Rhyme
3. Candy Bar Killer
4. Sarasota
5. May-December Girl
6. Partly Sunny
7. She's Not The One
8. Blue Alibi
9. Happy Accidents
10. Another Broken Heart(At The 7-Eleven)

Album Description

Informed by such masters as the late Warren Zevon, Paul Westerberg of The Replacements, Graham Parker, XTC's Andy Partridge, and Elvis Costello, reclusive NYC singer-songwriter Hank Kim had been quietly chipping away, without fanfare.

Meanwhile, south of 14th Street, indie rock mainstay Mike Daly was hunkered down in the downtown New York scene as an emerging producing force. Daly,along with Ryan Adams and Caitlin Cary, had formed the creative nucleus of alt-country fave Whiskeytown.

After the breakup of the band, Daly, the self-professed "pop guy" in Whiskeytown, was introduced to Kim by a mutual friend. Daly became intrigued with the singer's raw, idiosyncratic voice and melodic hooks, chronicling the jagged tales of misfits, rebels and other bruised souls, flailing at the ghosts of redemption, in turns that are both comic and heartbreaking.

Together,Kim and Daly walked into Soho's Magic Shop to cut the basic tracks for the first group of tunes that would become "Blue Alibi." Kim, Daly and their cadre of ringers--some of the music industry's finest players--went to work. Drummer Dan Rieser, he of Marcy Playground fame, and one of the primary collaborators on Norah Jones' Grammy-sweeping juggernaut, "Come Away With Me", made his presence felt.

Other talents gracing the proceedings included drummer Alan Bezozi(Freedy Johnston), keyboardist John Deley(Dido) and Ben E. King bassist Joe Quigley.

What they created, "Blue Alibi", is a heartfelt paean to the often misplaced musical forms of storytelling and songcraft. It is power pop that is both immediate and ethereal.

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