| 1. Full House |
| 2. I've Grown Accustomed to Her Face |
| 3. Blue 'N' Boogie |
| 4. Cariba |
| 5. Come Rain or Come Shine [Take 2] |
| 6. Come Rain or Come Shine [Take 1][*] |
| 7. S.O.S. [Take 3] |
| 8. S.O.S. [Take 2][*] |
| 9. Born to Be Blue [*] |
Editorial Reviews
Amazon.com
Recorded live in performance, this 1962 recording is evidence that Wes Montgomery was first and foremost a live player, able to build long, sinewy solos, giving justification to the concept of "stretching out." And the excitement only builds when tenorist Johnny Griffin jumps in. Fiery and articulate, Griffin was at the top of his game as his excellent solos on Montgomery's "Cariba" and Dizzy Gillespie's "Blue 'n' Boogie" testify. Add the Miles Davis rhythm section of Jimmy Cobb on drums, Paul Chambers on bass, and the elegant Wynton Kelly on piano, and you have some truly sparkling live jazz from the classic era. --Wally Shoup
Fronted by a rascal on vocals,Peter Wolf, alongside him the guitar of J.Geils, and the exuberant harmonica and keyboard and driving force of their drummer, this band cut this live album as their 3rd installment bringing their version of "looking For A Love" to a national audience.
Pure non-stop energy, this album preceded their hits of "Give It To Me", "Love Stinks", "Centerfold".
This group achieved later success but this is possibly their best offering that stands up to the test of time.
While I normally enjoy "highlight" cds, this one clocks in at a mere 55 minutes and could have easily included a couple of additional tunes (thus losing one star). Most notably missing: "At The End Of The Day", "Come To Me", "Red And Black", and "In My Life". The show's most memorable songs, however, are included.
Best tracks:
I Dreamed A Dream
Master Of The House
Stars
Do You Hear The People Sing
On My Own
A Little Fall Of Rain
Bring Him Home
Empty Chairs At Empty Tables
Great cast, great score ... even a good buy. But I would suggest the full double-disc score instead.
It's a limetime top fiver, for me.
If the standard of transcendence for this kind of thing is whether or not you can compose songs that sound so traditional that you almost can't believe they weren't written centuries ago, then by reason of "Sloth" and "Doctor of Physick" this record might be the pinnacle achievement of what is called folk-rock. Restoring "Poor Will.." and the sublime "Now Be Thankful" to the mix just takes it over the top, where you could argue convincingly for this album as one of the greatest ever made in any genre.
100 extra spanner points for Richard Thompson's ridiculous, hysterically creepy liner notes, about some kind of Olympics of Esoteric English Games with a heavy accent on mayhem and bloodshed.
I admit, after Angel Delight, I stopped collecting Fairport music. In stead, I collected most of its spinoffs, Ian Matthews, Richard Thompson, Sandy Denny, etc., including Plainsong, Fotheringay, etc, even Steeleye Span.
The extra tracks included on the CD made FULL HOUSE more full!
Of course, I have re-discovered Fairport since, and IMHO, 'Red And Gold' is the best STUDIO LP/CD recorded since the Early Days. :)
FULL HOUSE, though, is still my favourite!
May I also suggest the mag/rag 'Dirty Linen'!
While it's true that Paul nor Chamillionaire are profound lyricists, dropping GZA knowledge on this release, they are both damn good rappers, able to flip sweet punchlines galore. Clever metaphores abound throughout this album, while Chamillionaire sings the hooks in each song. I know Cham gets some flack for singing the hooks in his songs, and has even be labeled "50 Cent Jr." by some people because of it, but for the Chamillionaire detractors, face it; Chamillionaire has a slick voice, and is one of the few rappers who SHOULD handle his own hooks(the only other I can think of is Cee-Lo, and, well, he's made a career out of crooning now).
The Swishahouse crew handle production duties, and as one would expect, that's a good thing. It's hard to get an album sounding this authentic to the Houston sound Screw crafted over a decade ago, but 4 years ago, Swishahouse brought it; and they're still bringing the tight production today. These aren't songs to 'get crunk' to; these are songs to chill to. This is an ideal album to listen to whether you're taking a late night drive, or simply chilling out in your home with your headphones on. Calm, cool, and downright dope, the production on this album matches the charismatic duo perfectly.
If you're a fan of the H-Town sound, then this is perfect for you. Even if you're not, it's still incredibly difficult not to love this release. If you can find it, pick it up. Highly recommended.
This probably isn't the album 4 you if you're looking for a Nas' "Illmatic," Jay-Z "Reasonable Doubt" or Wu-Tang "36 Chambers" type of album -- lyrical masterpieces.
That's not to hate on Paul and Cham b/c they got somethin' 2 say.
This is definitely an album you can ride 2 ... N Luv With My Money is still one of my favorites.
It's really too bad Paul and Cham fell out after this album though I'm not sure I'd even want them to try to top this LP if they got right again.
Fun, fun, fun hip hop album. Recommended for those who like to chill, have a good time and ride to some highly entertaining hiphop music.
The 40 minute version of "Blue Room" and "Towers of Dub" are my favorites, Towers features some nice harmonica work and a great sample from Woody Allen's "Sleeper." One of the most played albums from my collection. Thank you very much Alex Paterson. Highly recommended - buy the album, take it for a spin and go meet Haile Selassie at Babylon & Ting.
I still believe the humble beginnings of techno music, was simply called "electronic music" or by today's terms - "electronica". And that all began in the 1960's with Kraftwerk (Organisation), Silver Apples, and even Walter (now Wendy) Carlos. Moog music was another term for electronic music. In the 1970's, the early stages of "Techno" started to show up even more. Artists like Tomita, Klaus Schulze, Tangerine Dream, and Jean Michel Jarre, were all brave pioneers of a new sound in music, a new cold electronic sound.
I'd be willing to say that the first successful "Techno" album has to be Kraftwerk's 1977 album, "Trans Europe Express". It's even sampled often by many of today's Techno-Ambient House artists. The earliest album that I could call the bravest venture into spacey electronica is Tangerine Dream's 1971 album, Alpha Centauri". Check out "Fly and Collision of Coma Sola" off this album. It's simply mind-blowing!
With the music market suddenly getting slammed with new ventures in Techno, Ambient House, Trance, Electronica, IDM, Ambient Dub, etc., suddenly in the early 1990's comes THE ORB. With their first triple album set "Adventures Beyond the Ultraworld", the world was introduced to another whole new adventure in electronic music, that earns universal success. Their first commercial successful single was "Little Fluffy Clouds". It even received airplay on regular contemporary pop radio. Big time in the UK, I'm sure. Already feeling that this is a new landmark album for the genre, it really blew my mind when their second commercial release "U.F.Orb", came out. When I heard a store playing "Blue Room", I couldn't believe that this was something new from The Orb. They weren't playing the CD of U.F.Orb, they were playing a CD single of "Blue Room" that went on for nearly 40 minutes! Wow! That blew my mind!
In the early days of buying The Orb, the first release of "Adventures Beyond the Ultraworld, was a single edited CD of the full double CD that came out of the UK, that is currently released worldwide today. I'm actually glad to have this edited version of "Adventures Beyond..." The tracks "Spanish Castles in Space" and "Backside of the Moon" were omitted from this CD. I heard the both of them on a borrowed copy of the double CD, and I found that those two tracks (that are together on CD One), offered a very long, boring 30+ minutes of very uninteresting sound passages. Plus a few of the other tracks are a little different. "Perpetual Dawn" on my copy, is a shorter more upbeat, reggae-version, which I enjoy more. Thank God I have this (now totally obscure) initial US release.
The early release of "U.F.Orb", offered a bonus CD of a few remixed extras, which included a rare track called "Assassin", and the "ardently sought after", 40 minute version of "Blue Room". I also have an alternate mix on "Towers of Dub", which is really cool.
Notice on "U.F.Orb", the regular version of "Towers of Dub" has the very same percussion used on Pink Floyd's, "On the Run" from the "Dark Side of the Moon" album. The Orb seems to like to mess with your head about making Pink Floyd references. On my two Ultraworld albums, the building that was on the cover of Pink Floyd's 1977 album "Animals", are on these Orb releases. And also, check out the Orb's "Live 93" album. It's not a pig, but it is some sort of animal jumping over a power plant, just like the pig jumping over the building on Pink Floyd's "Animals", album. I am certain that there are probably alot more hidden Pink Floyd references thoughout their other albums. The Orb started to lose their uniqueness for me after "U.F.Orb", They started to sound like typical Ambient House music. No longer the innovators that they use to be.
Another totally hard to find CD is a remix follow-up to their first album. If you can find it, get The Orb's, "Aubrey Mixes: The Ultraworld Excersions". It has a really cool, jazzy version of "Little Fluffy Clouds". Other scarce obscure CD releases of early Orb, are "Ultra Rare Trax", and "Morphology". These two were never commercially released, and were very expensive inside the locked-up glass cabinet of the CD store I bought mine from.
It seems though, that the sound of The Orb has become outdated when compared to today's new "electronic sound" known as IDM (Intelligent Dance Music). Aphex Twin, Autechre, Boards of Canada, Squarepusher, and the such are todays Techno wizards.
The latest releases from The Orb are "Cydonia" and "Bicycles and Tricycles". Nothing fabulous, but I think they are a little more appealing than what The Orb has done with "Pomme Fritz" and beyond. "Orblivion" has a few great tracks, but the album, as a whole, has too many weaknesses that loses my interest quickly. I don't think that The Orb will ever have another "classic" album like their first two. But, those two are certainly to be cherished. I can't wait for their 20th Anniversary re-releases. I believe that The Orb will be praised again for their contribution to Techno-Ambient-Dub at that time.
As a summation of a point in musical time, it's as evocative as 'Revolver' or 'Ziggy Stardust' or 'Sound Affects'. And like all of those, there's something ineffably British about the way The Orb took beats from Detroit, minimalist compositions from New York and dub from Jamaica, and stretched and warped them into a completely new form. If the clubs were full of house and techno, the bedrooms were full of smoke and ambient dub, and The Orb were responsible for much of it.
'U.F.Orb' is their finest achievement, proving that 'Adventures Beyond the Ultraworld' wasn't a novelty record but the herald (along with The KLF's 'Chill Out') of a new genre. The sound here is both denser and more dubby, with more going on but less dependence on the BBC sound effects records and slowed-down house beats that were the backbone of their earlier work. 'Blue Room' (here edited from its 39'58" single length) and 'Towers of Dub' are the standouts, but The Orb's legacy is even more impressive than their music. You can hear it not only in experimental 'dance' music from Shpongle to Monolake, from Portishead to Lemon Jelly; it's embedded in mainstream pop, soundtracks and muzak the world over. And if you still have that triple vinyl release, with the PVC intact, I bet it's worth a fortune.
The first track "O.O.B.E." brings with it, a soothingly cinematic synth arrangement, that is a fair indication of the sort of widescape sound, that you can expect from this stunningly atmospheric track. Think of the sort of Hushed, and delicate ambient textures used on 'Brian Eno's' ambient series of albums, with the serene lilting ambience, that his albums were acclaimed for, but with slight piano keys interspersed & the most restrained use of vocal snippets, that seem to touch on subjective and conscious thoughts...this is electronic music for the mind. And the use of looped beats isn't intergrated until some 6 Min's into the track, signalling the transition into Ambient-House. The theme here (and throughout the album in fact), is 'Travelling Through Space', with various metallic techno-futuristic samples, and dense detached rhythms & free-form ambience, seamlessly intergrated. Yet still retaining that all important balance between subtly detached ambience, and possessing synthesised ambient beats mixed with vocals.
The second track "U.F. Orb" mixes swirling, cascading synth work & expertly modified vocal sampling (alarm sounds, Dialogue from the 'Space Program', Environmental sounds...etc), before being replaced with uptempo techno beats (with a sublime use of high-hat rhythm breaks) moving at a relatively quick pace, that works alongside a superb, heavy echoey reverberated dub bass sound. Although the actual arrangement is simple, in its implementation, the effect is similar to a particularly well-judged fusion of World Music mood and instrumentation, intergrated with the smoked-out sounds/grooves of instrumental Dub. This is a beautiful pairing of Western Dub Fusion, and a complete contrast to the subtle tones of the previous track.
"Blue Room" is a epic track, the likes of which the 'Air-Raid' sirens to signal the beginning of the track should make that painfully clear, this is then mixed with subtle organs playing in the background, with subtle sounds & buzzing electronic sounds (along with a curious bubbling effect) and cold industrial sounds are all skillfully placed, with the effect carefully intergrated through the use of cleverly Cut & Manipulated editing, that fleshes out the long stretches of atmospheric organ. The occasion female vocal sample of "Awwwww- Whoooah" (taken from a early 90's UK Rave Track), provides the perfect canopy for the transition into thumping bass, that feels like its been modified to emulate thumping beats, this is insistent driving bass, with the harsh edges softened to resemble late-night Ambient-techno. Various snippets of mechanical sounds, Dialogue, Turntable effects (turntable spinback effects) & engaging synths, are all overlayed throughout the track, but care has been taken to give ample space to each sound, and thoughtfully stretched out intelligently over the 17Min's that this track runs to, and such is the beautifully devised arrangement, the time literally flys by, when listening to this astonishing track.
The overriding musical theme for "Towers of Dub" is (Obviously) DUB!!, a recorded telephone message or someone ringing "London Weekend Television" (UK television Broadcast), and getting through to a security guard to leave a message, is a highly amusing (or disorientating if you live outside the UK), start to the track. Bizarrely, the frequent use of : dogs barking, chirping birds and rhythmic sounds float in and out of the mix, are all firmly put in the shade by a truly stunning Harmonica sample playing throughout the track, mixing wonderfully with the heavy instrumental Dub, that is produced with pin-point keyboard and electronic sampling, and skitting drum beats audible in the background, the effect of these decidedly synthetic dubby basslines, could arguably have been the work of some of the Dub greats such as "The Mad Professor" or legendary "Lee 'Scratch' Perry", had they decided to make a more electronically orientated album, it's in turns, sophisticated, sprawling and hypnotic, and yet uptempo enough for either late night or daytime listening...working equally as well, whether your chilling out, or merely need some music to lose yourself into. And is so expertly judged and produced that is highlights one of the finest examples of Ambient-House.
The remaining 3 Tracks are all equally up the stunning quality of previous tracks, "Close Encounters" shifts the tempo, and moves into a combination of a blended Chicago electro-house orientated track, matched against the stylisation and experimentation of IDM (Intelligent Dance Music), and the low-end ambience of "Majestic", manages to feel like a surreal dreamlike track, encapsulating rhythmically and conceptally, the best attributes of 'The Orb' in an 11 minute breakdown, that at times feels like tightly crafted melodies, and creative samples, working in perfect unison.
There should be absolutely no doubt, that If you are a fan of either 'Ambient House' or 'Ambient Dub', (albums Such as: "Aphex Twins - Selected Ambient Works", "The KLF - Chill Out", "Future Sound of Londons - Lifeforms", "The Black Dogs - Bytes"), that this album is an absolutely essential purchase.
I'm reviewing this album have listened to it for the first time now in 2005, even though it was intially release back in 1992....and surprisingly it still feels vital, and doesn't feel dated. Admittedly if this is your first 'Orb' purchase, then (takes deep breath), you should pick up their incredible "The Orb's Adventures Beyond the Ultraworld" (Double Cd) first, as it is the Duo's Definitive work, with this album a very, very close second. But that album's a sprawlling masterpiece which is a concentrated listen, whereas this albums single cd, is far more manageable listen. And unquestionably stands as one of the genre greatest exponents.
It's also a nostalgic album, for people in their early 30s. The pre-internet 'Wired'-era computer whizz-bang space-age techno-pagan futurism of it all was mirrored in contemporary releases by the Future Sound of London, System 7 and so forth, and although this kind of ambient space music is now as dated as krautrock was in 1992, it's heartbreaking to listen to. So many dreams and hopes smashed to bits.
Excellent way to show off a hi-fi system, too, because it has quiet bits and loud bits and they all sound top-notch. 'Sticky End' is a short joke track and 'Majesty' is a bit irritating, but it's otherwise an excellent way to spend fifty minutes or so. Shame they didn't include the lengthy 'Blue Room' single as a pack-in or bonus track (it was basically the album version looped a couple of times, with a different bassline).
And it's "Teilhard de Chardin", it took me ages to find that out; he's the one who conceived of a third world, a world of objective contents of thoughts.
Bands like the Spice Girls and the All Saints are big reasons why the 1990's will always be my favourite decade for music. In England the All Saints released their debut album at the back end of 1997 and it went on to sell almost 2 million. Their debut single had just gone Top 5 and they were gearing up for the release of their second single which would go on to become one of the most popular break-up songs of the decade. They were seen as a cooler, more hip version of the Spice Girls. They were older, wiser, more mature, and their music had a certain artistry to it that the Spicies never possessed. Infact, in Britain, for a short while in early 1998 it seemed like a backlash against the Spicies was setting in whilst everyone favoured the All Saints...
The debut album from the All Saints opens with that infamous classic ballad "Never Ever." It opens the album in fine style, and clocks in at six and half minutes of pure vocal bliss. The song made it to No.1 after months on the chart and spent something like seven months in the Top 40, selling more than 1 million copies. Shaznay Lewis wrote the song and her true talent is revealed here. "Bootie Call" was the fourth single to released from the album and became the girls' third consecutive No.1 UK single. This is as raunchy as the girls ever got, and it quite indeed. Simmering beats bubble over the saucy lyrics and deep vocals to make a hot and sweaty R'n'B/pop hybrid classic. "I Know Where It's At" is where it all began. The debut single from the girls, this is a very catchy slice of pop perfection that made them a hit. "Under The Bridge" was the girls' third single and a cover of the Red Hot Chili Peppers' original. It's no way as good obviously, but I like the funky R'n'B edge that is brought to it. It was the third single to be taken from the album and went straight to No.1 - the video is bad though, gives me vertigo!
"Heaven" opens mysteriously before breaking it down with a hip bass. This is a mid-tempo number that doesn't quite get off the ground, but it's very mature and was very fresh at the time of its production. "Alone" begins off well with a stop-start beat and the chorus makes this even funkier. The beat is very catchy and the chorus is sung in a very stylish and cool way. "If You Want To Party (I Found Lovin')" is a song that follows a similar style to the girls' debut single with a great party vibe and cheesy pop synth! You hear people cheering in the back like it's in a club - very typical of the time it was made. "Trapped" and "Beg" are purely filled to keep the album afloat, but they are the real downers on an otherwise class album
"Lady Marmalade ('98 Remix)" is the second of two cover versions on this album and was released as a Double A-Side along with Under The Bridge in May 1998. Of course, the song went to No.1 as I said before. The girls make this version very poppy and funky - one to definitely get your groove on to. Having said that, the version that Christina Aguilera and co. did three years later is much better! "Take The Key" is another filler and rather disappointing, but is redeemed with the smashing and beautiful ballad "War Of Nerves." Shaznay claimed she wrote this song around the time of Princess Diana's death in August 1997. This was the fifth and final single to be taken from the album and made the Top 10 in the UK. I love the video and this is an overall great song to unwind to, and a fantastic closer to the album.
OVERALL GRADE: 7/10
The All Saints were a very photogenic girl group. Melanie Blatt was often considered the sexiest, whilst the sisters Natalie and Nicole Appleton just stood there and look pretty. Because of this, Shaznay was often the least popular member of the group when in reality she was the driving force behind them! She wrote those awesome lyrics, and had the best voice. It was obvious that with inflated egos and a battle between talent that the girls would split up, and they did in early 2001 just a few months after the release of their sophomore album "Saints And Sinners." Their success was short lived as a group, but the All Saints will definitely be one of the most remembered bands of their generation.
The 40 minute version of "Blue Room" and "Towers of Dub" are my favorites, Towers features some nice harmonica work and a great sample from Woody Allen's "Sleeper." One of the most played albums from my collection. Thank you very much Alex Paterson. Highly recommended - buy the album, take it for a spin and go meet Haile Selassie at Babylon & Ting.
I still believe the humble beginnings of techno music, was simply called "electronic music" or by today's terms - "electronica". And that all began in the 1960's with Kraftwerk (Organisation), Silver Apples, and even Walter (now Wendy) Carlos. Moog music was another term for electronic music. In the 1970's, the early stages of "Techno" started to show up even more. Artists like Tomita, Klaus Schulze, Tangerine Dream, and Jean Michel Jarre, were all brave pioneers of a new sound in music, a new cold electronic sound.
I'd be willing to say that the first successful "Techno" album has to be Kraftwerk's 1977 album, "Trans Europe Express". It's even sampled often by many of today's Techno-Ambient House artists. The earliest album that I could call the bravest venture into spacey electronica is Tangerine Dream's 1971 album, Alpha Centauri". Check out "Fly and Collision of Coma Sola" off this album. It's simply mind-blowing!
With the music market suddenly getting slammed with new ventures in Techno, Ambient House, Trance, Electronica, IDM, Ambient Dub, etc., suddenly in the early 1990's comes THE ORB. With their first triple album set "Adventures Beyond the Ultraworld", the world was introduced to another whole new adventure in electronic music, that earns universal success. Their first commercial successful single was "Little Fluffy Clouds". It even received airplay on regular contemporary pop radio. Big time in the UK, I'm sure. Already feeling that this is a new landmark album for the genre, it really blew my mind when their second commercial release "U.F.Orb", came out. When I heard a store playing "Blue Room", I couldn't believe that this was something new from The Orb. They weren't playing the CD of U.F.Orb, they were playing a CD single of "Blue Room" that went on for nearly 40 minutes! Wow! That blew my mind!
In the early days of buying The Orb, the first release of "Adventures Beyond the Ultraworld, was a single edited CD of the full double CD that came out of the UK, that is currently released worldwide today. I'm actually glad to have this edited version of "Adventures Beyond..." The tracks "Spanish Castles in Space" and "Backside of the Moon" were omitted from this CD. I heard the both of them on a borrowed copy of the double CD, and I found that those two tracks (that are together on CD One), offered a very long, boring 30+ minutes of very uninteresting sound passages. Plus a few of the other tracks are a little different. "Perpetual Dawn" on my copy, is a shorter more upbeat, reggae-version, which I enjoy more. Thank God I have this (now totally obscure) initial US release.
The early release of "U.F.Orb", offered a bonus CD of a few remixed extras, which included a rare track called "Assassin", and the "ardently sought after", 40 minute version of "Blue Room". I also have an alternate mix on "Towers of Dub", which is really cool.
Notice on "U.F.Orb", the regular version of "Towers of Dub" has the very same percussion used on Pink Floyd's, "On the Run" from the "Dark Side of the Moon" album. The Orb seems to like to mess with your head about making Pink Floyd references. On my two Ultraworld albums, the building that was on the cover of Pink Floyd's 1977 album "Animals", are on these Orb releases. And also, check out the Orb's "Live 93" album. It's not a pig, but it is some sort of animal jumping over a power plant, just like the pig jumping over the building on Pink Floyd's "Animals", album. I am certain that there are probably alot more hidden Pink Floyd references thoughout their other albums. The Orb started to lose their uniqueness for me after "U.F.Orb", They started to sound like typical Ambient House music. No longer the innovators that they use to be.
Another totally hard to find CD is a remix follow-up to their first album. If you can find it, get The Orb's, "Aubrey Mixes: The Ultraworld Excersions". It has a really cool, jazzy version of "Little Fluffy Clouds". Other scarce obscure CD releases of early Orb, are "Ultra Rare Trax", and "Morphology". These two were never commercially released, and were very expensive inside the locked-up glass cabinet of the CD store I bought mine from.
It seems though, that the sound of The Orb has become outdated when compared to today's new "electronic sound" known as IDM (Intelligent Dance Music). Aphex Twin, Autechre, Boards of Canada, Squarepusher, and the such are todays Techno wizards.
The latest releases from The Orb are "Cydonia" and "Bicycles and Tricycles". Nothing fabulous, but I think they are a little more appealing than what The Orb has done with "Pomme Fritz" and beyond. "Orblivion" has a few great tracks, but the album, as a whole, has too many weaknesses that loses my interest quickly. I don't think that The Orb will ever have another "classic" album like their first two. But, those two are certainly to be cherished. I can't wait for their 20th Anniversary re-releases. I believe that The Orb will be praised again for their contribution to Techno-Ambient-Dub at that time.
As a summation of a point in musical time, it's as evocative as 'Revolver' or 'Ziggy Stardust' or 'Sound Affects'. And like all of those, there's something ineffably British about the way The Orb took beats from Detroit, minimalist compositions from New York and dub from Jamaica, and stretched and warped them into a completely new form. If the clubs were full of house and techno, the bedrooms were full of smoke and ambient dub, and The Orb were responsible for much of it.
'U.F.Orb' is their finest achievement, proving that 'Adventures Beyond the Ultraworld' wasn't a novelty record but the herald (along with The KLF's 'Chill Out') of a new genre. The sound here is both denser and more dubby, with more going on but less dependence on the BBC sound effects records and slowed-down house beats that were the backbone of their earlier work. 'Blue Room' (here edited from its 39'58" single length) and 'Towers of Dub' are the standouts, but The Orb's legacy is even more impressive than their music. You can hear it not only in experimental 'dance' music from Shpongle to Monolake, from Portishead to Lemon Jelly; it's embedded in mainstream pop, soundtracks and muzak the world over. And if you still have that triple vinyl release, with the PVC intact, I bet it's worth a fortune.
The first track "O.O.B.E." brings with it, a soothingly cinematic synth arrangement, that is a fair indication of the sort of widescape sound, that you can expect from this stunningly atmospheric track. Think of the sort of Hushed, and delicate ambient textures used on 'Brian Eno's' ambient series of albums, with the serene lilting ambience, that his albums were acclaimed for, but with slight piano keys interspersed & the most restrained use of vocal snippets, that seem to touch on subjective and conscious thoughts...this is electronic music for the mind. And the use of looped beats isn't intergrated until some 6 Min's into the track, signalling the transition into Ambient-House. The theme here (and throughout the album in fact), is 'Travelling Through Space', with various metallic techno-futuristic samples, and dense detached rhythms & free-form ambience, seamlessly intergrated. Yet still retaining that all important balance between subtly detached ambience, and possessing synthesised ambient beats mixed with vocals.
The second track "U.F. Orb" mixes swirling, cascading synth work & expertly modified vocal sampling (alarm sounds, Dialogue from the 'Space Program', Environmental sounds...etc), before being replaced with uptempo techno beats (with a sublime use of high-hat rhythm breaks) moving at a relatively quick pace, that works alongside a superb, heavy echoey reverberated dub bass sound. Although the actual arrangement is simple, in its implementation, the effect is similar to a particularly well-judged fusion of World Music mood and instrumentation, intergrated with the smoked-out sounds/grooves of instrumental Dub. This is a beautiful pairing of Western Dub Fusion, and a complete contrast to the subtle tones of the previous track.
"Blue Room" is a epic track, the likes of which the 'Air-Raid' sirens to signal the beginning of the track should make that painfully clear, this is then mixed with subtle organs playing in the background, with subtle sounds & buzzing electronic sounds (along with a curious bubbling effect) and cold industrial sounds are all skillfully placed, with the effect carefully intergrated through the use of cleverly Cut & Manipulated editing, that fleshes out the long stretches of atmospheric organ. The occasion female vocal sample of "Awwwww- Whoooah" (taken from a early 90's UK Rave Track), provides the perfect canopy for the transition into thumping bass, that feels like its been modified to emulate thumping beats, this is insistent driving bass, with the harsh edges softened to resemble late-night Ambient-techno. Various snippets of mechanical sounds, Dialogue, Turntable effects (turntable spinback effects) & engaging synths, are all overlayed throughout the track, but care has been taken to give ample space to each sound, and thoughtfully stretched out intelligently over the 17Min's that this track runs to, and such is the beautifully devised arrangement, the time literally flys by, when listening to this astonishing track.
The overriding musical theme for "Towers of Dub" is (Obviously) DUB!!, a recorded telephone message or someone ringing "London Weekend Television" (UK television Broadcast), and getting through to a security guard to leave a message, is a highly amusing (or disorientating if you live outside the UK), start to the track. Bizarrely, the frequent use of : dogs barking, chirping birds and rhythmic sounds float in and out of the mix, are all firmly put in the shade by a truly stunning Harmonica sample playing throughout the track, mixing wonderfully with the heavy instrumental Dub, that is produced with pin-point keyboard and electronic sampling, and skitting drum beats audible in the background, the effect of these decidedly synthetic dubby basslines, could arguably have been the work of some of the Dub greats such as "The Mad Professor" or legendary "Lee 'Scratch' Perry", had they decided to make a more electronically orientated album, it's in turns, sophisticated, sprawling and hypnotic, and yet uptempo enough for either late night or daytime listening...working equally as well, whether your chilling out, or merely need some music to lose yourself into. And is so expertly judged and produced that is highlights one of the finest examples of Ambient-House.
The remaining 3 Tracks are all equally up the stunning quality of previous tracks, "Close Encounters" shifts the tempo, and moves into a combination of a blended Chicago electro-house orientated track, matched against the stylisation and experimentation of IDM (Intelligent Dance Music), and the low-end ambience of "Majestic", manages to feel like a surreal dreamlike track, encapsulating rhythmically and conceptally, the best attributes of 'The Orb' in an 11 minute breakdown, that at times feels like tightly crafted melodies, and creative samples, working in perfect unison.
There should be absolutely no doubt, that If you are a fan of either 'Ambient House' or 'Ambient Dub', (albums Such as: "Aphex Twins - Selected Ambient Works", "The KLF - Chill Out", "Future Sound of Londons - Lifeforms", "The Black Dogs - Bytes"), that this album is an absolutely essential purchase.
I'm reviewing this album have listened to it for the first time now in 2005, even though it was intially release back in 1992....and surprisingly it still feels vital, and doesn't feel dated. Admittedly if this is your first 'Orb' purchase, then (takes deep breath), you should pick up their incredible "The Orb's Adventures Beyond the Ultraworld" (Double Cd) first, as it is the Duo's Definitive work, with this album a very, very close second. But that album's a sprawlling masterpiece which is a concentrated listen, whereas this albums single cd, is far more manageable listen. And unquestionably stands as one of the genre greatest exponents.
It's also a nostalgic album, for people in their early 30s. The pre-internet 'Wired'-era computer whizz-bang space-age techno-pagan futurism of it all was mirrored in contemporary releases by the Future Sound of London, System 7 and so forth, and although this kind of ambient space music is now as dated as krautrock was in 1992, it's heartbreaking to listen to. So many dreams and hopes smashed to bits.
Excellent way to show off a hi-fi system, too, because it has quiet bits and loud bits and they all sound top-notch. 'Sticky End' is a short joke track and 'Majesty' is a bit irritating, but it's otherwise an excellent way to spend fifty minutes or so. Shame they didn't include the lengthy 'Blue Room' single as a pack-in or bonus track (it was basically the album version looped a couple of times, with a different bassline).
And it's "Teilhard de Chardin", it took me ages to find that out; he's the one who conceived of a third world, a world of objective contents of thoughts.
Recorded live in performance, this 1962 recording is evidence that Wes Montgomery was first and foremost a live player, able to build long, sinewy solos, giving justification to the concept of "stretching out." And the excitement only builds when tenorist Johnny Griffin jumps in. Fiery and articulate, Griffin was at the top of his game as his excellent solos on Montgomery's "Cariba" and Dizzy Gillespie's "Blue 'n' Boogie" testify. Add the Miles Davis rhythm section of Jimmy Cobb on drums, Paul Chambers on bass, and the elegant Wynton Kelly on piano, and you have some truly sparkling live jazz from the classic era. --Wally Shoup
Full House,Wes Montgomery,Ojc,Hard Bop,Jazz,Jazz Music,Pop,United States of America
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"Live" Full House
J. Geils Band Manufacturer: Atlantic / Wea ProductGroup: Music Binding: Audio CD  General
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ASIN: B000002J69 Release Date: 1995-10-31 |
Tracks:
- First I Look At The Purse
- Homework
- Pack Fair And Square
- Whammer Jammer
- Hard Drivin' Man
- Serves You Right To Suffer
- Cruisin' For A Love
- Looking For A Love
Customer Reviews:
best J. geils .......2007-05-07
Should be rated 10 stars........2007-02-06
Great live album by a band best heard live.......2006-11-15
One Of The Great Live Albums Of ANY Day.......2006-10-30
Fronted by a rascal on vocals,Peter Wolf, alongside him the guitar of J.Geils, and the exuberant harmonica and keyboard and driving force of their drummer, this band cut this live album as their 3rd installment bringing their version of "looking For A Love" to a national audience.
Pure non-stop energy, this album preceded their hits of "Give It To Me", "Love Stinks", "Centerfold".
This group achieved later success but this is possibly their best offering that stands up to the test of time.
Just Buy It!.......2006-05-03
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Les Miserables (Highlights from the 1987 Original Broadway Cast)
Alain Boublil , Claude-Michel Schonberg , and Colm Wilkinson Manufacturer: Decca U.S. ProductGroup: Music Binding: Audio CD General
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ASIN: B000084TRM Release Date: 2003-01-28 |
Tracks:
- Overture/Work Song
- I Dreamed a Dream
- Who Am I?
- Castle on a Cloud
- Master of the House
- Stars
- Do You Hear the People Sing?
- A Heart Full of Love
- One Day More
- On My Own
- A Little Fall of Rain
- Drink with Me
- Bring Him Home
- Javert's Suicide
- Empty Chairs at Empty Tables
- Wedding Chorale/Beggars at the Feast
- Finale
Amazon.com
While not overly generous at 55 minutes, the highlights album of the 1987 original Broadway cast recording of Les Miserables is intelligently selected and likely to prove satisfying to most fans. It includes the best-loved numbers of Alain Boublil and Claude-Michel Schönberg's score, beautiful ballads ("Bring Him Home," "I Dreamed a Dream") and rousing anthems ("One Day More," "Do You Hear the People Sing?") alike, but eliminates some choral numbers ("Lovely Ladies"), redundancies ("Red and Black"), and connective tissue that propels the plot along ("Valjean Arrested," "Come to Me (Fantine's Death)"). Sure, a more perfect selection could have lasted longer than half of the two-disc set's 104 minutes by adding "At the End of the Day" and "In My Life," among others, but it's still a good representation on a convenient single disc. Of course, those who always want to re-create the theatrical experience will never be satisfied with a highlights album.Re-creating their roles from the London production, Colm Wilkinson plays the heroic Valjean and Frances Ruffelle is the despondent Eponine. Randy Graff (Fantine), Terrence Mann (Javert), David Bryant (Marius), Judy Kuhn (Cosette), Michael Maguire (Enjolras), and Leo Burmester and Jennifer Butt (the Thénardiers) fill out the cast. --David Horiuchi
Customer Reviews:
BEST OPERA MUSIC EVER.......2006-11-03
Time well spent........2005-09-14
Great Score, But Highlights Missing Critical Songs.......2005-08-05
While I normally enjoy "highlight" cds, this one clocks in at a mere 55 minutes and could have easily included a couple of additional tunes (thus losing one star). Most notably missing: "At The End Of The Day", "Come To Me", "Red And Black", and "In My Life". The show's most memorable songs, however, are included.
Best tracks:
I Dreamed A Dream
Master Of The House
Stars
Do You Hear The People Sing
On My Own
A Little Fall Of Rain
Bring Him Home
Empty Chairs At Empty Tables
Great cast, great score ... even a good buy. But I would suggest the full double-disc score instead.
Buy the full version, please.......2005-01-20
Argh Matey!.......2004-11-22
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Full House
Fairport Convention Manufacturer: Polygram Int'l ProductGroup: Music Binding: Audio CD General
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ASIN: B00005NILD Release Date: 2001-10-15 |
Tracks:
- Walk Awhile
- Doctor of Physick
- Dirty Linen
- Sloth
- Sir Patrick Spens
- Flatback Caper
- Poor Will and the Jolly Hangman
- Flowers of the Forest
- Now Be Thankful [Mono Version]
- Sir B. McKenzie's Daughter's Lament for the 77th Mounted Lancers ...
- Bonny Bunch of Roses
- Now Be Thankful [New Stereo Mix]
Album Description
UK digitally remastered reissue of the 1970 album for Hannibal. Includes four bonus tracks, 'Now Be Thankful' (mono & new stereo mix), 'Sir B. McKenzie's Daughter's Lament...' & 'Bonny Bunch Of Roses'.Album Description
UK digitally remastered reissue of 1970 album for Hannibal that's out-of-print domestically. Now with four added bonus tracks, 'Now Be Thankful' (mono & new stereo mix), 'Sir B. McKenzie's Daughter's Lament...' & 'Bonny Bunch Of Roses'. 2001.Customer Reviews:
Perhaps Their Best.......2006-07-23
It's a limetime top fiver, for me.
I can never really get enough of Fairport Convention.......2006-03-09
when the stone has grown too cold to kneel.......2006-01-11
If the standard of transcendence for this kind of thing is whether or not you can compose songs that sound so traditional that you almost can't believe they weren't written centuries ago, then by reason of "Sloth" and "Doctor of Physick" this record might be the pinnacle achievement of what is called folk-rock. Restoring "Poor Will.." and the sublime "Now Be Thankful" to the mix just takes it over the top, where you could argue convincingly for this album as one of the greatest ever made in any genre.
100 extra spanner points for Richard Thompson's ridiculous, hysterically creepy liner notes, about some kind of Olympics of Esoteric English Games with a heavy accent on mayhem and bloodshed.
Full House, even more complete........2005-02-11
I admit, after Angel Delight, I stopped collecting Fairport music. In stead, I collected most of its spinoffs, Ian Matthews, Richard Thompson, Sandy Denny, etc., including Plainsong, Fotheringay, etc, even Steeleye Span.
The extra tracks included on the CD made FULL HOUSE more full!
Of course, I have re-discovered Fairport since, and IMHO, 'Red And Gold' is the best STUDIO LP/CD recorded since the Early Days. :)
FULL HOUSE, though, is still my favourite!
May I also suggest the mag/rag 'Dirty Linen'!
and god said, let there be "folk-pop".......2004-08-04
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Full House
Wes Montgomery Manufacturer: Riverside ProductGroup: Music Binding: Audio CD Bebop General
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ASIN: B000NDEXQQ Release Date: 2007-03-27 |
Tracks:
- Full House
- I've Grown Accustomed To Her Face
- Blue 'N' Boogle
- Cariba
- Come Rain Or Come Shine
- S.O.S.
- Cariba
- Come Rain Or Come Shine
- S.O.S.
- Born to Be Blue
- Born To Be Blue
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Get Ya Mind Correct
Paul Wall & Chamillionaire , and Swishahouse Manufacturer: Paid in Full ProductGroup: Music Binding: Audio CD General
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ASIN: B000068QV5 Release Date: 2002-06-25 |
Tracks:
- My Money Gets Jealous
- N Luv Wit My Money
- Thinkin' Thoed
- Skit
- Falsifying
- U Owe Me
- Skit
- The Other Day
- Game Over
- I Wanna Get
- Balla Talk II
- Go Grind
- Skit
- Luv N My Life
- U Already Know
- Play Dirty
- Outro
Customer Reviews:
Sweet, and syrupy; just the way it should be........2006-10-12
While it's true that Paul nor Chamillionaire are profound lyricists, dropping GZA knowledge on this release, they are both damn good rappers, able to flip sweet punchlines galore. Clever metaphores abound throughout this album, while Chamillionaire sings the hooks in each song. I know Cham gets some flack for singing the hooks in his songs, and has even be labeled "50 Cent Jr." by some people because of it, but for the Chamillionaire detractors, face it; Chamillionaire has a slick voice, and is one of the few rappers who SHOULD handle his own hooks(the only other I can think of is Cee-Lo, and, well, he's made a career out of crooning now).
The Swishahouse crew handle production duties, and as one would expect, that's a good thing. It's hard to get an album sounding this authentic to the Houston sound Screw crafted over a decade ago, but 4 years ago, Swishahouse brought it; and they're still bringing the tight production today. These aren't songs to 'get crunk' to; these are songs to chill to. This is an ideal album to listen to whether you're taking a late night drive, or simply chilling out in your home with your headphones on. Calm, cool, and downright dope, the production on this album matches the charismatic duo perfectly.
If you're a fan of the H-Town sound, then this is perfect for you. Even if you're not, it's still incredibly difficult not to love this release. If you can find it, pick it up. Highly recommended.
Still N Luv Wit My $$$.......2006-02-12
This probably isn't the album 4 you if you're looking for a Nas' "Illmatic," Jay-Z "Reasonable Doubt" or Wu-Tang "36 Chambers" type of album -- lyrical masterpieces.
That's not to hate on Paul and Cham b/c they got somethin' 2 say.
This is definitely an album you can ride 2 ... N Luv With My Money is still one of my favorites.
It's really too bad Paul and Cham fell out after this album though I'm not sure I'd even want them to try to top this LP if they got right again.
Fun, fun, fun hip hop album. Recommended for those who like to chill, have a good time and ride to some highly entertaining hiphop music.
Worthwhile.......2006-02-08
weak !.......2006-01-05
The Only Good Album With Paul Wall.......2005-11-06
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U.F.Orb (Limited initial quantities include 2nd disc with full length 40 minute "Blue Room" +3)
The Orb Manufacturer: Island Red / Pgd ProductGroup: Music Binding: Audio CD Ambient
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ASIN: B000005HTY Release Date: 1994-03-01 |
Tracks:
- O.O.B.E.
- U.F. Orb
- Blue Room
- Towers Of Dub
- Close Encounters
- Majestic
- Sticky End
Amazon.com essential recording
An ambient-techno classic, UFOrb captures Alex Patterson and his sonic henchman at their early peak. While the Orb had already created a dance-floor and chill-out-room sensation in 1991 with Little Fluffy Clouds, this follow-up disc displays Patterson's talent for fusing ambient music with dub science and a club culture mindset. Incorporating psychedelicized samples over the era's reigning techno beats and deep reggae bass lines, heady compositions such as "Towers of Dub" and "Close Encounters" are excessive in length but consistently entertaining. The album's highlight is an 18-minute version of "Blue Room" (there's a 40-minute version out there, too), which features the sensual bass playing of Jah Wobble and the oscillating guitar of coproducer Steve Hillage. A most serious contribution to the legacy of the modern DJ. --Mitch MyersCustomer Reviews:
Drone ship in orbit..........2006-11-26
The 40 minute version of "Blue Room" and "Towers of Dub" are my favorites, Towers features some nice harmonica work and a great sample from Woody Allen's "Sleeper." One of the most played albums from my collection. Thank you very much Alex Paterson. Highly recommended - buy the album, take it for a spin and go meet Haile Selassie at Babylon & Ting.
If "Ambient Dub" could have a classic album, this is it!.......2005-08-27
I still believe the humble beginnings of techno music, was simply called "electronic music" or by today's terms - "electronica". And that all began in the 1960's with Kraftwerk (Organisation), Silver Apples, and even Walter (now Wendy) Carlos. Moog music was another term for electronic music. In the 1970's, the early stages of "Techno" started to show up even more. Artists like Tomita, Klaus Schulze, Tangerine Dream, and Jean Michel Jarre, were all brave pioneers of a new sound in music, a new cold electronic sound.
I'd be willing to say that the first successful "Techno" album has to be Kraftwerk's 1977 album, "Trans Europe Express". It's even sampled often by many of today's Techno-Ambient House artists. The earliest album that I could call the bravest venture into spacey electronica is Tangerine Dream's 1971 album, Alpha Centauri". Check out "Fly and Collision of Coma Sola" off this album. It's simply mind-blowing!
With the music market suddenly getting slammed with new ventures in Techno, Ambient House, Trance, Electronica, IDM, Ambient Dub, etc., suddenly in the early 1990's comes THE ORB. With their first triple album set "Adventures Beyond the Ultraworld", the world was introduced to another whole new adventure in electronic music, that earns universal success. Their first commercial successful single was "Little Fluffy Clouds". It even received airplay on regular contemporary pop radio. Big time in the UK, I'm sure. Already feeling that this is a new landmark album for the genre, it really blew my mind when their second commercial release "U.F.Orb", came out. When I heard a store playing "Blue Room", I couldn't believe that this was something new from The Orb. They weren't playing the CD of U.F.Orb, they were playing a CD single of "Blue Room" that went on for nearly 40 minutes! Wow! That blew my mind!
In the early days of buying The Orb, the first release of "Adventures Beyond the Ultraworld, was a single edited CD of the full double CD that came out of the UK, that is currently released worldwide today. I'm actually glad to have this edited version of "Adventures Beyond..." The tracks "Spanish Castles in Space" and "Backside of the Moon" were omitted from this CD. I heard the both of them on a borrowed copy of the double CD, and I found that those two tracks (that are together on CD One), offered a very long, boring 30+ minutes of very uninteresting sound passages. Plus a few of the other tracks are a little different. "Perpetual Dawn" on my copy, is a shorter more upbeat, reggae-version, which I enjoy more. Thank God I have this (now totally obscure) initial US release.
The early release of "U.F.Orb", offered a bonus CD of a few remixed extras, which included a rare track called "Assassin", and the "ardently sought after", 40 minute version of "Blue Room". I also have an alternate mix on "Towers of Dub", which is really cool.
Notice on "U.F.Orb", the regular version of "Towers of Dub" has the very same percussion used on Pink Floyd's, "On the Run" from the "Dark Side of the Moon" album. The Orb seems to like to mess with your head about making Pink Floyd references. On my two Ultraworld albums, the building that was on the cover of Pink Floyd's 1977 album "Animals", are on these Orb releases. And also, check out the Orb's "Live 93" album. It's not a pig, but it is some sort of animal jumping over a power plant, just like the pig jumping over the building on Pink Floyd's "Animals", album. I am certain that there are probably alot more hidden Pink Floyd references thoughout their other albums. The Orb started to lose their uniqueness for me after "U.F.Orb", They started to sound like typical Ambient House music. No longer the innovators that they use to be.
Another totally hard to find CD is a remix follow-up to their first album. If you can find it, get The Orb's, "Aubrey Mixes: The Ultraworld Excersions". It has a really cool, jazzy version of "Little Fluffy Clouds". Other scarce obscure CD releases of early Orb, are "Ultra Rare Trax", and "Morphology". These two were never commercially released, and were very expensive inside the locked-up glass cabinet of the CD store I bought mine from.
It seems though, that the sound of The Orb has become outdated when compared to today's new "electronic sound" known as IDM (Intelligent Dance Music). Aphex Twin, Autechre, Boards of Canada, Squarepusher, and the such are todays Techno wizards.
The latest releases from The Orb are "Cydonia" and "Bicycles and Tricycles". Nothing fabulous, but I think they are a little more appealing than what The Orb has done with "Pomme Fritz" and beyond. "Orblivion" has a few great tracks, but the album, as a whole, has too many weaknesses that loses my interest quickly. I don't think that The Orb will ever have another "classic" album like their first two. But, those two are certainly to be cherished. I can't wait for their 20th Anniversary re-releases. I believe that The Orb will be praised again for their contribution to Techno-Ambient-Dub at that time.
The sound of an epoch.......2005-07-23
As a summation of a point in musical time, it's as evocative as 'Revolver' or 'Ziggy Stardust' or 'Sound Affects'. And like all of those, there's something ineffably British about the way The Orb took beats from Detroit, minimalist compositions from New York and dub from Jamaica, and stretched and warped them into a completely new form. If the clubs were full of house and techno, the bedrooms were full of smoke and ambient dub, and The Orb were responsible for much of it.
'U.F.Orb' is their finest achievement, proving that 'Adventures Beyond the Ultraworld' wasn't a novelty record but the herald (along with The KLF's 'Chill Out') of a new genre. The sound here is both denser and more dubby, with more going on but less dependence on the BBC sound effects records and slowed-down house beats that were the backbone of their earlier work. 'Blue Room' (here edited from its 39'58" single length) and 'Towers of Dub' are the standouts, but The Orb's legacy is even more impressive than their music. You can hear it not only in experimental 'dance' music from Shpongle to Monolake, from Portishead to Lemon Jelly; it's embedded in mainstream pop, soundtracks and muzak the world over. And if you still have that triple vinyl release, with the PVC intact, I bet it's worth a fortune.
One of 'Ambient House's' Most Enduring Classics............2005-07-21
The first track "O.O.B.E." brings with it, a soothingly cinematic synth arrangement, that is a fair indication of the sort of widescape sound, that you can expect from this stunningly atmospheric track. Think of the sort of Hushed, and delicate ambient textures used on 'Brian Eno's' ambient series of albums, with the serene lilting ambience, that his albums were acclaimed for, but with slight piano keys interspersed & the most restrained use of vocal snippets, that seem to touch on subjective and conscious thoughts...this is electronic music for the mind. And the use of looped beats isn't intergrated until some 6 Min's into the track, signalling the transition into Ambient-House. The theme here (and throughout the album in fact), is 'Travelling Through Space', with various metallic techno-futuristic samples, and dense detached rhythms & free-form ambience, seamlessly intergrated. Yet still retaining that all important balance between subtly detached ambience, and possessing synthesised ambient beats mixed with vocals.
The second track "U.F. Orb" mixes swirling, cascading synth work & expertly modified vocal sampling (alarm sounds, Dialogue from the 'Space Program', Environmental sounds...etc), before being replaced with uptempo techno beats (with a sublime use of high-hat rhythm breaks) moving at a relatively quick pace, that works alongside a superb, heavy echoey reverberated dub bass sound. Although the actual arrangement is simple, in its implementation, the effect is similar to a particularly well-judged fusion of World Music mood and instrumentation, intergrated with the smoked-out sounds/grooves of instrumental Dub. This is a beautiful pairing of Western Dub Fusion, and a complete contrast to the subtle tones of the previous track.
"Blue Room" is a epic track, the likes of which the 'Air-Raid' sirens to signal the beginning of the track should make that painfully clear, this is then mixed with subtle organs playing in the background, with subtle sounds & buzzing electronic sounds (along with a curious bubbling effect) and cold industrial sounds are all skillfully placed, with the effect carefully intergrated through the use of cleverly Cut & Manipulated editing, that fleshes out the long stretches of atmospheric organ. The occasion female vocal sample of "Awwwww- Whoooah" (taken from a early 90's UK Rave Track), provides the perfect canopy for the transition into thumping bass, that feels like its been modified to emulate thumping beats, this is insistent driving bass, with the harsh edges softened to resemble late-night Ambient-techno. Various snippets of mechanical sounds, Dialogue, Turntable effects (turntable spinback effects) & engaging synths, are all overlayed throughout the track, but care has been taken to give ample space to each sound, and thoughtfully stretched out intelligently over the 17Min's that this track runs to, and such is the beautifully devised arrangement, the time literally flys by, when listening to this astonishing track.
The overriding musical theme for "Towers of Dub" is (Obviously) DUB!!, a recorded telephone message or someone ringing "London Weekend Television" (UK television Broadcast), and getting through to a security guard to leave a message, is a highly amusing (or disorientating if you live outside the UK), start to the track. Bizarrely, the frequent use of : dogs barking, chirping birds and rhythmic sounds float in and out of the mix, are all firmly put in the shade by a truly stunning Harmonica sample playing throughout the track, mixing wonderfully with the heavy instrumental Dub, that is produced with pin-point keyboard and electronic sampling, and skitting drum beats audible in the background, the effect of these decidedly synthetic dubby basslines, could arguably have been the work of some of the Dub greats such as "The Mad Professor" or legendary "Lee 'Scratch' Perry", had they decided to make a more electronically orientated album, it's in turns, sophisticated, sprawling and hypnotic, and yet uptempo enough for either late night or daytime listening...working equally as well, whether your chilling out, or merely need some music to lose yourself into. And is so expertly judged and produced that is highlights one of the finest examples of Ambient-House.
The remaining 3 Tracks are all equally up the stunning quality of previous tracks, "Close Encounters" shifts the tempo, and moves into a combination of a blended Chicago electro-house orientated track, matched against the stylisation and experimentation of IDM (Intelligent Dance Music), and the low-end ambience of "Majestic", manages to feel like a surreal dreamlike track, encapsulating rhythmically and conceptally, the best attributes of 'The Orb' in an 11 minute breakdown, that at times feels like tightly crafted melodies, and creative samples, working in perfect unison.
There should be absolutely no doubt, that If you are a fan of either 'Ambient House' or 'Ambient Dub', (albums Such as: "Aphex Twins - Selected Ambient Works", "The KLF - Chill Out", "Future Sound of Londons - Lifeforms", "The Black Dogs - Bytes"), that this album is an absolutely essential purchase.
I'm reviewing this album have listened to it for the first time now in 2005, even though it was intially release back in 1992....and surprisingly it still feels vital, and doesn't feel dated. Admittedly if this is your first 'Orb' purchase, then (takes deep breath), you should pick up their incredible "The Orb's Adventures Beyond the Ultraworld" (Double Cd) first, as it is the Duo's Definitive work, with this album a very, very close second. But that album's a sprawlling masterpiece which is a concentrated listen, whereas this albums single cd, is far more manageable listen. And unquestionably stands as one of the genre greatest exponents.
Beyond the Noosphere (man).......2005-07-12
It's also a nostalgic album, for people in their early 30s. The pre-internet 'Wired'-era computer whizz-bang space-age techno-pagan futurism of it all was mirrored in contemporary releases by the Future Sound of London, System 7 and so forth, and although this kind of ambient space music is now as dated as krautrock was in 1992, it's heartbreaking to listen to. So many dreams and hopes smashed to bits.
Excellent way to show off a hi-fi system, too, because it has quiet bits and loud bits and they all sound top-notch. 'Sticky End' is a short joke track and 'Majesty' is a bit irritating, but it's otherwise an excellent way to spend fifty minutes or so. Shame they didn't include the lengthy 'Blue Room' single as a pack-in or bonus track (it was basically the album version looped a couple of times, with a different bassline).
And it's "Teilhard de Chardin", it took me ages to find that out; he's the one who conceived of a third world, a world of objective contents of thoughts.
Average customer rating: 
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All Saints
All Saints Manufacturer: Uni/Full Frequency Range Recor ProductGroup: Music Binding: Audio CD General
| Dance & DJ
| Styles
| Music
House
| Dance & DJ
| Styles
| Music
General
| Dance Pop
| Dance & DJ
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| Music
General
| R&B
| Styles
| Music
Teen Pop
| Pop
| Styles
| Music
General
| Adult Contemporary
| Pop
| Styles
| Music
Similar Items:
ASIN: B0000067KX Release Date: 1998-03-10 |
Tracks:
- Never Ever
- Bootie Call
- I Know Where It's At
- Under The Bridge
- Heaven
- Alone
- If You Want To Party (I Found Lovin')
- Trapped
- Beg
- Lady Marmalade
- Take The Key
- War Of Nerves
Customer Reviews:
All Saints CD.......2007-01-09
good girl band.......2005-10-25
Worth checking out.......2004-07-08
The Spice Girls comparisons are inevitable, but All Saints stand alone, even though they were never as huge as the Spice Girls in the US.
I recommend checking this album out. It is a good blend of pop and R&B, and it should have been a bigger hit in the US.
A Fairly Solid Debut From A Short-Lived Rival Band.......2004-06-22
Bands like the Spice Girls and the All Saints are big reasons why the 1990's will always be my favourite decade for music. In England the All Saints released their debut album at the back end of 1997 and it went on to sell almost 2 million. Their debut single had just gone Top 5 and they were gearing up for the release of their second single which would go on to become one of the most popular break-up songs of the decade. They were seen as a cooler, more hip version of the Spice Girls. They were older, wiser, more mature, and their music had a certain artistry to it that the Spicies never possessed. Infact, in Britain, for a short while in early 1998 it seemed like a backlash against the Spicies was setting in whilst everyone favoured the All Saints...
The debut album from the All Saints opens with that infamous classic ballad "Never Ever." It opens the album in fine style, and clocks in at six and half minutes of pure vocal bliss. The song made it to No.1 after months on the chart and spent something like seven months in the Top 40, selling more than 1 million copies. Shaznay Lewis wrote the song and her true talent is revealed here. "Bootie Call" was the fourth single to released from the album and became the girls' third consecutive No.1 UK single. This is as raunchy as the girls ever got, and it quite indeed. Simmering beats bubble over the saucy lyrics and deep vocals to make a hot and sweaty R'n'B/pop hybrid classic. "I Know Where It's At" is where it all began. The debut single from the girls, this is a very catchy slice of pop perfection that made them a hit. "Under The Bridge" was the girls' third single and a cover of the Red Hot Chili Peppers' original. It's no way as good obviously, but I like the funky R'n'B edge that is brought to it. It was the third single to be taken from the album and went straight to No.1 - the video is bad though, gives me vertigo!
"Heaven" opens mysteriously before breaking it down with a hip bass. This is a mid-tempo number that doesn't quite get off the ground, but it's very mature and was very fresh at the time of its production. "Alone" begins off well with a stop-start beat and the chorus makes this even funkier. The beat is very catchy and the chorus is sung in a very stylish and cool way. "If You Want To Party (I Found Lovin')" is a song that follows a similar style to the girls' debut single with a great party vibe and cheesy pop synth! You hear people cheering in the back like it's in a club - very typical of the time it was made. "Trapped" and "Beg" are purely filled to keep the album afloat, but they are the real downers on an otherwise class album
"Lady Marmalade ('98 Remix)" is the second of two cover versions on this album and was released as a Double A-Side along with Under The Bridge in May 1998. Of course, the song went to No.1 as I said before. The girls make this version very poppy and funky - one to definitely get your groove on to. Having said that, the version that Christina Aguilera and co. did three years later is much better! "Take The Key" is another filler and rather disappointing, but is redeemed with the smashing and beautiful ballad "War Of Nerves." Shaznay claimed she wrote this song around the time of Princess Diana's death in August 1997. This was the fifth and final single to be taken from the album and made the Top 10 in the UK. I love the video and this is an overall great song to unwind to, and a fantastic closer to the album.
OVERALL GRADE: 7/10
The All Saints were a very photogenic girl group. Melanie Blatt was often considered the sexiest, whilst the sisters Natalie and Nicole Appleton just stood there and look pretty. Because of this, Shaznay was often the least popular member of the group when in reality she was the driving force behind them! She wrote those awesome lyrics, and had the best voice. It was obvious that with inflated egos and a battle between talent that the girls would split up, and they did in early 2001 just a few months after the release of their sophomore album "Saints And Sinners." Their success was short lived as a group, but the All Saints will definitely be one of the most remembered bands of their generation.
Very good debut!.......2003-07-05
1. Never Ever
This version of the song is soooo long! But it's good for a debut single, and I love the piano in it. Good chorus too. 4/5
2. Bootie Call
I love this song! It has such a cute name! Lol, apart from that, this song has cool music and I love Mel's vocals. 5/5
3. I Know Where It's At
I never really liked this song, although it is quite cool. I like Shaz and Mel's voices. 3/5
4. Alone
This has cool vocals from Nat and Nic, with a cute chorus. 4/5
5. Under the Bridge
I love this! It's a cover of the Red Hot Chili Peppers track, and it's fantastic! I just LOVE the guitar opening (and closing), and Mel sounds brill on the first verse. Nic (or is it Nat?) sounds good on the second verse and Shaz steals the show at the end. The best on the CD. 5,000,000/5
6. Heaven
This is very soft sounding and chilled out, with a great chorus and complicated lyrics, which I don't understand. But it's good. 5/5
7. If You Want to Party (I Found Lovin')
I don't like this song very much - party songs don't appeal to me a lot, but it does have cool music. 3/5
8. Trapped
This is such a cool song!! It has cool music and I love the funny lyrics - "she looks in the mirror and sees someone old" - very cool. 5/5
9. Beg
This is very funny - the girls are making a friend who betrayed them beg. I love the sentence at the end of the song - "today's letter was B and the word was Beg" like in Sesame Street. Very cool. 5/5
10. Lady Marmalade
This is a 1990's version of Christina A, Lil Kim, Mya and Pink's version except with All Saints singing on it. Naughty lyrics but great vocals. 5/5
11. Take the Key
I don't like this song very much. It's too chilled out for me. 2/5
12. War of Nerves
This song pulls on your heartstrings, with GREAT music and vocals from Shaz and Mel. 5/5
Favourite songs in order:
1. Under The Bridge
2. Bootie Call
3. Trapped
4. Heaven
5. Beg
Overall, a high quality debut that goes down in history as being the alternative to the Spicies for RnB fans. Very good.
Average customer rating:
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House Full of Love: Music from the Cosby Show
Jr. Grover Washington Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
| Jazz
| Styles
| Music
Smooth Jazz
| Jazz
| Styles
| Music
Soul-Jazz & Boogaloo
| Jazz
| Styles
| Music
General
| R&B
| Styles
| Music
General
| Soundtracks
| Styles
| Music
ASIN: B000008EKI Release Date: 1991-07-01 |
Tracks:
- Resthatherian
- Camille
- Love in Its Proper Place - Bill Cosby
- Poppin'
- Kitchen Jazz
- Clair (Phylicia)
- Huxtable Kids
- Outstretched Hands [Gloria]
- Look at This - Bill Cosby
- House Full of Love - Lori Fulton
Customer Reviews:
Grover still doin' it! (4.5 stars).......2005-05-10
Average customer rating:
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U.F.Orb (Limited initial quantities include 2nd disc with full length 40 minute "Blue Room" +3)
The Orb Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Ambient
| Dance & DJ
| Styles
| Music
General
| Dance & DJ
| Styles
| Music
Electronica
| Dance & DJ
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| Music
IDM
| Dance & DJ
| Styles
| Music
General
| Rock
| Styles
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Pop Rock
| Pop
| Styles
| Music
Similar Items:
ASIN: B00000E5F7 Release Date: 1992-11-03 |
Tracks:
- O.O.B.E.
- U.F.Orb
- Blue Room
- Towers Of Dub
- Close Encounters
- Majestic
- Sticky End
Amazon.com essential recording
An ambient-techno classic, UFOrb captures Alex Patterson and his sonic henchman at their early peak. While the Orb had already created a dance-floor and chill-out-room sensation in 1991 with Little Fluffy Clouds, this follow-up disc displays Patterson's talent for fusing ambient music with dub science and a club culture mindset. Incorporating psychedelicized samples over the era's reigning techno beats and deep reggae bass lines, heady compositions such as "Towers of Dub" and "Close Encounters" are excessive in length but consistently entertaining. The album's highlight is an 18-minute version of "Blue Room" (there's a 40-minute version out there, too), which features the sensual bass playing of Jah Wobble and the oscillating guitar of coproducer Steve Hillage. A most serious contribution to the legacy of the modern DJ. --Mitch MyersCustomer Reviews:
Drone ship in orbit..........2006-11-26
The 40 minute version of "Blue Room" and "Towers of Dub" are my favorites, Towers features some nice harmonica work and a great sample from Woody Allen's "Sleeper." One of the most played albums from my collection. Thank you very much Alex Paterson. Highly recommended - buy the album, take it for a spin and go meet Haile Selassie at Babylon & Ting.
If "Ambient Dub" could have a classic album, this is it!.......2005-08-27
I still believe the humble beginnings of techno music, was simply called "electronic music" or by today's terms - "electronica". And that all began in the 1960's with Kraftwerk (Organisation), Silver Apples, and even Walter (now Wendy) Carlos. Moog music was another term for electronic music. In the 1970's, the early stages of "Techno" started to show up even more. Artists like Tomita, Klaus Schulze, Tangerine Dream, and Jean Michel Jarre, were all brave pioneers of a new sound in music, a new cold electronic sound.
I'd be willing to say that the first successful "Techno" album has to be Kraftwerk's 1977 album, "Trans Europe Express". It's even sampled often by many of today's Techno-Ambient House artists. The earliest album that I could call the bravest venture into spacey electronica is Tangerine Dream's 1971 album, Alpha Centauri". Check out "Fly and Collision of Coma Sola" off this album. It's simply mind-blowing!
With the music market suddenly getting slammed with new ventures in Techno, Ambient House, Trance, Electronica, IDM, Ambient Dub, etc., suddenly in the early 1990's comes THE ORB. With their first triple album set "Adventures Beyond the Ultraworld", the world was introduced to another whole new adventure in electronic music, that earns universal success. Their first commercial successful single was "Little Fluffy Clouds". It even received airplay on regular contemporary pop radio. Big time in the UK, I'm sure. Already feeling that this is a new landmark album for the genre, it really blew my mind when their second commercial release "U.F.Orb", came out. When I heard a store playing "Blue Room", I couldn't believe that this was something new from The Orb. They weren't playing the CD of U.F.Orb, they were playing a CD single of "Blue Room" that went on for nearly 40 minutes! Wow! That blew my mind!
In the early days of buying The Orb, the first release of "Adventures Beyond the Ultraworld, was a single edited CD of the full double CD that came out of the UK, that is currently released worldwide today. I'm actually glad to have this edited version of "Adventures Beyond..." The tracks "Spanish Castles in Space" and "Backside of the Moon" were omitted from this CD. I heard the both of them on a borrowed copy of the double CD, and I found that those two tracks (that are together on CD One), offered a very long, boring 30+ minutes of very uninteresting sound passages. Plus a few of the other tracks are a little different. "Perpetual Dawn" on my copy, is a shorter more upbeat, reggae-version, which I enjoy more. Thank God I have this (now totally obscure) initial US release.
The early release of "U.F.Orb", offered a bonus CD of a few remixed extras, which included a rare track called "Assassin", and the "ardently sought after", 40 minute version of "Blue Room". I also have an alternate mix on "Towers of Dub", which is really cool.
Notice on "U.F.Orb", the regular version of "Towers of Dub" has the very same percussion used on Pink Floyd's, "On the Run" from the "Dark Side of the Moon" album. The Orb seems to like to mess with your head about making Pink Floyd references. On my two Ultraworld albums, the building that was on the cover of Pink Floyd's 1977 album "Animals", are on these Orb releases. And also, check out the Orb's "Live 93" album. It's not a pig, but it is some sort of animal jumping over a power plant, just like the pig jumping over the building on Pink Floyd's "Animals", album. I am certain that there are probably alot more hidden Pink Floyd references thoughout their other albums. The Orb started to lose their uniqueness for me after "U.F.Orb", They started to sound like typical Ambient House music. No longer the innovators that they use to be.
Another totally hard to find CD is a remix follow-up to their first album. If you can find it, get The Orb's, "Aubrey Mixes: The Ultraworld Excersions". It has a really cool, jazzy version of "Little Fluffy Clouds". Other scarce obscure CD releases of early Orb, are "Ultra Rare Trax", and "Morphology". These two were never commercially released, and were very expensive inside the locked-up glass cabinet of the CD store I bought mine from.
It seems though, that the sound of The Orb has become outdated when compared to today's new "electronic sound" known as IDM (Intelligent Dance Music). Aphex Twin, Autechre, Boards of Canada, Squarepusher, and the such are todays Techno wizards.
The latest releases from The Orb are "Cydonia" and "Bicycles and Tricycles". Nothing fabulous, but I think they are a little more appealing than what The Orb has done with "Pomme Fritz" and beyond. "Orblivion" has a few great tracks, but the album, as a whole, has too many weaknesses that loses my interest quickly. I don't think that The Orb will ever have another "classic" album like their first two. But, those two are certainly to be cherished. I can't wait for their 20th Anniversary re-releases. I believe that The Orb will be praised again for their contribution to Techno-Ambient-Dub at that time.
The sound of an epoch.......2005-07-23
As a summation of a point in musical time, it's as evocative as 'Revolver' or 'Ziggy Stardust' or 'Sound Affects'. And like all of those, there's something ineffably British about the way The Orb took beats from Detroit, minimalist compositions from New York and dub from Jamaica, and stretched and warped them into a completely new form. If the clubs were full of house and techno, the bedrooms were full of smoke and ambient dub, and The Orb were responsible for much of it.
'U.F.Orb' is their finest achievement, proving that 'Adventures Beyond the Ultraworld' wasn't a novelty record but the herald (along with The KLF's 'Chill Out') of a new genre. The sound here is both denser and more dubby, with more going on but less dependence on the BBC sound effects records and slowed-down house beats that were the backbone of their earlier work. 'Blue Room' (here edited from its 39'58" single length) and 'Towers of Dub' are the standouts, but The Orb's legacy is even more impressive than their music. You can hear it not only in experimental 'dance' music from Shpongle to Monolake, from Portishead to Lemon Jelly; it's embedded in mainstream pop, soundtracks and muzak the world over. And if you still have that triple vinyl release, with the PVC intact, I bet it's worth a fortune.
One of 'Ambient House's' Most Enduring Classics............2005-07-21
The first track "O.O.B.E." brings with it, a soothingly cinematic synth arrangement, that is a fair indication of the sort of widescape sound, that you can expect from this stunningly atmospheric track. Think of the sort of Hushed, and delicate ambient textures used on 'Brian Eno's' ambient series of albums, with the serene lilting ambience, that his albums were acclaimed for, but with slight piano keys interspersed & the most restrained use of vocal snippets, that seem to touch on subjective and conscious thoughts...this is electronic music for the mind. And the use of looped beats isn't intergrated until some 6 Min's into the track, signalling the transition into Ambient-House. The theme here (and throughout the album in fact), is 'Travelling Through Space', with various metallic techno-futuristic samples, and dense detached rhythms & free-form ambience, seamlessly intergrated. Yet still retaining that all important balance between subtly detached ambience, and possessing synthesised ambient beats mixed with vocals.
The second track "U.F. Orb" mixes swirling, cascading synth work & expertly modified vocal sampling (alarm sounds, Dialogue from the 'Space Program', Environmental sounds...etc), before being replaced with uptempo techno beats (with a sublime use of high-hat rhythm breaks) moving at a relatively quick pace, that works alongside a superb, heavy echoey reverberated dub bass sound. Although the actual arrangement is simple, in its implementation, the effect is similar to a particularly well-judged fusion of World Music mood and instrumentation, intergrated with the smoked-out sounds/grooves of instrumental Dub. This is a beautiful pairing of Western Dub Fusion, and a complete contrast to the subtle tones of the previous track.
"Blue Room" is a epic track, the likes of which the 'Air-Raid' sirens to signal the beginning of the track should make that painfully clear, this is then mixed with subtle organs playing in the background, with subtle sounds & buzzing electronic sounds (along with a curious bubbling effect) and cold industrial sounds are all skillfully placed, with the effect carefully intergrated through the use of cleverly Cut & Manipulated editing, that fleshes out the long stretches of atmospheric organ. The occasion female vocal sample of "Awwwww- Whoooah" (taken from a early 90's UK Rave Track), provides the perfect canopy for the transition into thumping bass, that feels like its been modified to emulate thumping beats, this is insistent driving bass, with the harsh edges softened to resemble late-night Ambient-techno. Various snippets of mechanical sounds, Dialogue, Turntable effects (turntable spinback effects) & engaging synths, are all overlayed throughout the track, but care has been taken to give ample space to each sound, and thoughtfully stretched out intelligently over the 17Min's that this track runs to, and such is the beautifully devised arrangement, the time literally flys by, when listening to this astonishing track.
The overriding musical theme for "Towers of Dub" is (Obviously) DUB!!, a recorded telephone message or someone ringing "London Weekend Television" (UK television Broadcast), and getting through to a security guard to leave a message, is a highly amusing (or disorientating if you live outside the UK), start to the track. Bizarrely, the frequent use of : dogs barking, chirping birds and rhythmic sounds float in and out of the mix, are all firmly put in the shade by a truly stunning Harmonica sample playing throughout the track, mixing wonderfully with the heavy instrumental Dub, that is produced with pin-point keyboard and electronic sampling, and skitting drum beats audible in the background, the effect of these decidedly synthetic dubby basslines, could arguably have been the work of some of the Dub greats such as "The Mad Professor" or legendary "Lee 'Scratch' Perry", had they decided to make a more electronically orientated album, it's in turns, sophisticated, sprawling and hypnotic, and yet uptempo enough for either late night or daytime listening...working equally as well, whether your chilling out, or merely need some music to lose yourself into. And is so expertly judged and produced that is highlights one of the finest examples of Ambient-House.
The remaining 3 Tracks are all equally up the stunning quality of previous tracks, "Close Encounters" shifts the tempo, and moves into a combination of a blended Chicago electro-house orientated track, matched against the stylisation and experimentation of IDM (Intelligent Dance Music), and the low-end ambience of "Majestic", manages to feel like a surreal dreamlike track, encapsulating rhythmically and conceptally, the best attributes of 'The Orb' in an 11 minute breakdown, that at times feels like tightly crafted melodies, and creative samples, working in perfect unison.
There should be absolutely no doubt, that If you are a fan of either 'Ambient House' or 'Ambient Dub', (albums Such as: "Aphex Twins - Selected Ambient Works", "The KLF - Chill Out", "Future Sound of Londons - Lifeforms", "The Black Dogs - Bytes"), that this album is an absolutely essential purchase.
I'm reviewing this album have listened to it for the first time now in 2005, even though it was intially release back in 1992....and surprisingly it still feels vital, and doesn't feel dated. Admittedly if this is your first 'Orb' purchase, then (takes deep breath), you should pick up their incredible "The Orb's Adventures Beyond the Ultraworld" (Double Cd) first, as it is the Duo's Definitive work, with this album a very, very close second. But that album's a sprawlling masterpiece which is a concentrated listen, whereas this albums single cd, is far more manageable listen. And unquestionably stands as one of the genre greatest exponents.
Beyond the Noosphere (man).......2005-07-12
It's also a nostalgic album, for people in their early 30s. The pre-internet 'Wired'-era computer whizz-bang space-age techno-pagan futurism of it all was mirrored in contemporary releases by the Future Sound of London, System 7 and so forth, and although this kind of ambient space music is now as dated as krautrock was in 1992, it's heartbreaking to listen to. So many dreams and hopes smashed to bits.
Excellent way to show off a hi-fi system, too, because it has quiet bits and loud bits and they all sound top-notch. 'Sticky End' is a short joke track and 'Majesty' is a bit irritating, but it's otherwise an excellent way to spend fifty minutes or so. Shame they didn't include the lengthy 'Blue Room' single as a pack-in or bonus track (it was basically the album version looped a couple of times, with a different bassline).
And it's "Teilhard de Chardin", it took me ages to find that out; he's the one who conceived of a third world, a world of objective contents of thoughts.
Average customer rating:
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Full House: Aces High
The Amazing Rhythm Aces Manufacturer: Atl Rhythm Section ProductGroup: Music Binding: Audio CD General
| Country
| Styles
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General
| Live Albums
| Country
| Styles
| Music
Singer-Songwriters
| Pop
| Styles
| Music
Soft Rock
| Pop
| Styles
| Music
General
| Rock
| Styles
| Music
General
| Live Albums
| Rock
| Styles
| Music
Country Rock
| Rock
| Styles
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Southern Rock
| Classic Rock
| Styles
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Southern Rock
| Live Albums
| Classic Rock
| Styles
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Similar Items:
ASIN: B00008UAMP Release Date: 2006-08-07 |
Tracks:
- The End Is Not In Sight (The Cowboy Tune)
- Anything You Want
- Who's Crying Now
- Just Between You And Me And The Wall (You're A Fool)
- Lipstick Traces
- Dancing The Night Away
- Amazing Grace (Used To Be Her Favorite Song)
- Those Dreams Of Losing You
- I Pity The Mother And The Father (When The Kids Move Away)
- King Of The Cowboys
- Third Rate Romance
- My Tears Still Flow
- The 'Ella B'
- I'll Be Gone
- Who Will The Next Fool Be
- I'm Gonna Miss You (Like The Devil)
Customer Reviews:
Excellant live performance!.......2004-07-11
One of the Aces' Highest.......2003-09-07
Jazz Music:
- Grace Cathedral Concert [Live]
- Greatest Hits
- Gypsy Soul: New Flamenco
- History of the Drum
- In a Mellow Tone
- In Search of the Mystery
- It Don't Mean a Thing
- Jam Montreux (1977) [Live]
- Know What I Mean? [Enhanced]
- Light in the Village