Live, Vol. 1 [Live]

Track Listings

1. Price of Love

2. Walk Right Back

3. Claudette

4. Crying in the Rain

5. Love Is Strange

6. Medley: Take a Message to Mary/Maybe Tomorrow/I Wonder If I Care as Muc

7. When Will I Be Loved?

8. Bird Dog

9. Medley: Devoted to You/Ebony Eyes/Love Hurts

10. Barbara Allen

11. Lightning Express

12. Put My Little Shoes Away

13. Long Time Gone

14. Down in the Garden

15. Step It Up and Go

Tracks:

Waiting For My Man
Lisa Says
What Goes On
Sweet Jane
We're Gonna Have A Real Good Time Together
Femme Fatale
New Age
Rock & Roll
Beginning To See The Light
Heroin

Amazon.com

Originally a two-record set, this live recording has been split and released as separate albums, volume 1 and volume 2. No matter, it's an essential document of one of the finest and most innovative rock bands of all time. 1969: Live catches the band at a juncture in their career, still reeling from the departure of John Cale and settling into the addition of multi-instrumentalist Doug Yule, who would help the band find their rocking heart. Thank god that Maureen Tucker was still around--her inspired, primal drumming makes this recording such a delight. Her quiet thumping on "Lisa Says" is understated and touching, and her timpanic, thunderous rolls on "New Age" are nothing short of awesome. Lou Reed is particularly loose and chatty, more comfortable with his voice as he stretches to hit some tender passages. And the version of "Rock and Roll" here is perhaps the finest of all it's many versions, epic in scope and focused in intensity. --Tod Nelson

Customer Reviews:

Postcolonial flashback.......2006-11-05

Born in India in 1976, I heard this group in 2006 after graduating from an art school in the US, the way I could associate with these voices only confirms time-space-less-ness of good music at large!

Late Velvet Underground live.......2006-11-03

This disc is consistently good. It reflects the late Velvet Underground which is indisputably Lou Reed's band. I can't imagine why they ever tried to make a studio record after Lou Reed left, but apparently they did.

Each of the four Velvet Underground studio albums is a very different experience. Although this live disc pulls material from all four albums, it is played through a post-Loaded prism which is usually more straightforward rock-oriented. They play rock as well as anyone, but I still think the dynamic between John Cale and Lou Reed was what gave their early work such a special quality.

That said, a lot of these songs are played to the point where monotony becomes positively trance-inducing, and with a casual, absolute conviction that you won't find many places.

Better live than in the studio.......2006-10-08

These two discs rank right up there with the Heartbreakers' "Live at Max's Kansas City" as some of the best live music ever recorded. The band is loose, John Cale is gone, and the VU sound comfortable being a rock and roll band. The flawed sound just makes it all the more poignant. I agree that some of these versions are better than the originals. One difference from the original LP is the version of "Heroin". The original is on volume 2. I still like the one on volume 2 better, but this one is different enough to be interesting, a little more urgent. These might be the albums I'd take on a desert island.

If your Looking for a "Live" performance of the The Velvet Underground...........2006-09-08

Apparently, the story goes, that one of "Maureen Tucker's" (Velvet's Drummer), biggest regrets, in her tenure with the band, was that there is a distinct lack of quality `Live' performances of the band. And a quick peruse through the bands discography points to this being the case, with only a small handful of releases available and most largely lacking a suitably reprehensive documentation, of the band at a key point in their existence, as one of the most progressive and influential Proto-Punk, Experimental-Rock, and druggy Rock & Roll acts to ever take to the stage. And so, this is...far and away, the best `Live' Document of the bands performances, with each member giving the songs here a grittier and more dramatic/ aggressive feel. Arguably what this means is that the tracks that most will only be familiar with via the studio albums, will be surprised at how different some of these slightly re-jigged `Live' performances are. Whether it's the hypnotically slow and detached drone of "Sweet Jane", or the beautifully dramatic ebb and flow of "What Goes on", lend each of these songs seem to have a more sleazy and precarious edge, that although the studio versions were certainly not lacking in, these versions feel more visceral, and truly representative of the band. Lou Reed, in particular...growls/sneers/scowls...throughout the more up-tempo numbers, and maintains a sombre/bittersweet/poignant tone whenever the songs necessitate are slow ballad-style. With his guitar work throughout being particularly impressive. But this isn't to take anything away from the rest of the band, whom give as committed a performance as Reed. With Sterling Morrison guitar work, chiming perfectly with Reed's to make for a truly thrilling rhythm section , and Doug Yule's contributions on bass, just about holding the whole thing together, like some dangerously out of control vehicle, with the wheels about to fall off.

But the band remain at their most impressive when working through the material that allows them to truly tear things up, and so on tracks like "Heroin", "I'm Waiting for the Man" & "Rock & Roll" get fierce and intense reworkings that differ slightly from the studio versions by being noticeably rawer, passionate and nihilistic...with the sense of hostility towards the audience, the listeners at home....Hell, virtually everyone!!??, and it's one of the key reasons, that so brilliantly illustrates why keen fans of bands / aficionados , are generally curious to check out `Live' performances of their favourite acts, just to hear that intensity that sometimes doesn't transfer as well on studio albums, as they do on `Live' recordings. And although The Velvet Underground were more widely known for being such a groundbreaking acts that although selling minor amounts of records by todays standards, went on to influence virtually any wannabe drug-f***ed guitar band, with a penchant for decedent lyrics. But this `Live' performance disk (as well as Volume 2), illustrates that the Velvet's were as staggering `Live' as they were in the Studio. This is almost certainly a release that is of no use to the casual fan, the Studio albums (or a compilation) with satisfy those with only a passing interest in the band. But for the keen fan, this is by far the best recorded document of the band `Live' output, and therefore remains an essential purchase.

it made me forget I hate texas........2005-06-17

Great album, "Waiting for my man" and "Lisa Says" are my favorite songs on this but "Heroin and "Rock n' Roll" are pretty close, all the songs are classics and played perfectly. I think my favorite thing about this is the beggining when they talk about the cowboys/eagles game.

Genesis Live: The Way We Walk, Vol. 1 (The Shorts)

Average customer rating:

A collection of hits, that I am a bit tired of...
SLOPPY, BUT GOOD++
Better than being there
Yes it's more Commercial than Old Genesis, but its very good
Bad live cd

Genesis Live: The Way We Walk, Vol. 1 (The Shorts)
Genesis
Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

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Live: The Way We Walk VOLUME TWO: THE LONGS
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ASIN: B000002IUU
Release Date: 1992-11-17

Tracks:

Land Of Confusion
No Son Of Mine
Jesus He Knows Me
Throwing It All Away
I Can't Dance
Mama
Hold On My Heart
That's All
In Too Deep
Tonight, Tonight, Tonight
Invisible Touch

Customer Reviews:

A collection of hits, that I am a bit tired of..........2007-02-18

This cd contains the "hits" from the band, under Phil Collins era, I have to say that I'm a bit tired of hearing these songs, but also, most of these live versions are "refreshing" to hear in a different version.
I prefer these versions to the original ones. The sound is pretty good for a live release. That's All folks !

SLOPPY, BUT GOOD++.......2006-05-21

I don't know what it is with me and Phil Collins/Genesis; their syruppy-synth-soundscapes just kinda stick to my heart like sap, I guess. And what can you possibly say to justify Phil Collins' place on the pop-charts? He's an amazing vocalist, unique and emotive; the songs on this CD are just as dark as anything Genesis has written, with a bit of up-beat pop thrown in between; the basic difference between Phil Collins' solo career and the music of Genesis is that Phil Collins has mostly been a nice-guy-pop-act and Genesis has tended toward more brooding dark-room songs. Even songs like "Invisible touch" and "Jesus He KNows Me" are at least a tad bit cynicle ("Jesus He Knows Me" has a social message, so it's obviously more darker, at least in the lyrical range; it's not slow, so people tend to think it's a "positive" song). So given that information, this CD is basically a collection of top-hits by the band kinda re-imagined. Even the songs that this concert is supposed to be part of a tour for (We Can't Dance) sound a little different than the album versions and that's what makes this album worthy of fitting into a CD collection. The opener sounds kinda out of breath altogether, not just vocally; which is odd, b/c I think they opened the actual concert with that song ("Land of Confusion"), but either the wheeziness (spelling??) gets taken care of or it's just less noticeable as the CD progresses into other songs...I don't know; perhaps Collins sounds breathless as a way of connecting with his fellow middle-aged audience-members (they say Genesis was trying to connect with a baby-boomer market when they did INVISIBLE TOUCH in 1986). I'm no middle-aged man/boy/??, but my father (who was in his 20s at the time) was said by my mother (also in her 20s at the time) to have LOVED Genesis and I guess he listened to them quite often. I was describing the synth opener of a 1972 song called "Watcher of The Skies" (back when Peter Gabriel was lead singer, for those of you that don't know too much about Genesis) to my mother (I had bought the CD Foxtrot out of curiousity) and she said she thought she knew what I was talking about. And earlier in my life (not long before, a couple yrs tops - I'm 22 now) I bought SELLING ENGLAND BY THE POUND and was almost SURE I recognized one of the synth-lines or whatever they're/it's called in "The Battle of Epping Forrest"...so based on those two facts, I'm pretty sure my father (who abandoned me and my family when I was 7) loved Genesis. And my mother couldn't stop listening to INVISIBLE TOUCH, their only "really good" album according to her. So I think that's probably why the syruppy-sweetness of this music and most of all else by this band sticks to my heart like sap, so to speak. So anyway, I doubt I changed anyone's totally biased opinion about this album or the band, but I hope I made myself clear as to why I am the way I am, in case anyone who knows me reads this!

Better than being there.......2005-02-23

I saw Genesis on the "We Can't Dance" Tour in Hannover, Germany. And while I certainly was completely blown away by that concert, this record delivers even more of what a Genesis concert should be like.

Yes, I admit that I'm no fan of their earlier stuff. Matter of taste, surely. Also, it was just before my time. Anyhow, what I liked most about "The Way We Walk Vol. 1 - The Shorts" was the absence of all those older, overly lengthy, artistic songs that don't really mean anything to me. Precisely what other reviewers here lamented -- that everything on this record comes from just three albums, namely "Genesis", "Invisible Touch", and "We Can't Dance" -- makes it so great for me; for as far as I'm concerned, Genesis before those is rather uninspiring.

The performances are just as great as could righteously be expected. I think that the energy from the (quite audible) audience really adds nicely to the band's, especially of course in the Phil Collins trademark back-and-forth singing contest with the audience at the beginning of "Throwing It All Away", but also quite notably at the beginning of "I Can't Dance" (watch out for the audience's reaction to the "boing" sound!). Subtly altered lyrics, mostly a little naughtier than the originals, add to the personal feeling -- it feels like being there. And that "I Can't Dance" was recorded before a German audience, as becomes clear from the shouts of "Zugabe! Zugabe!" (encore) at the end, just means the last bit of delight for me. Hey, I might have been there after all!

If you insist that something negative must be said about this record, I'll admit that I didn't care for the long-winded endings of "No Son of Mine", and especially "I Can't Dance". I keep thinking, "come on, man, that's enough", but on and on he goes. But that's a really minor nuisance. No reason to cut down the five star rating.

If you're from the same generation as I am -- us who grew up with the sinister "Ha ha! Ha! *rowr*" from "Mama", the Spitting Image puppets from "Land of Confusion", and the Levis spots that got so brilliantly defaced in "I Can't Dance" -- this is The Essential Genesis Record. If not, kindly disregard this review.

Yes it's more Commercial than Old Genesis, but its very good.......2004-11-02

When it comes to the rock band, Genesis - I think this band is often unfarily criticized for going "commercial". Yes, the band did move into more of a pop-music direction in the 1980s, but I think they added a breath of fresh air to the pop music and paritcularly 80s landscape. As a result, Genesis picked up a lot of new fans - many of whom probably went on to appreciate many of their earlier works. The album, "The Way We Walk - Volume 1: The Shorts" presents a collection of 11 live tracks from what is considered the commercial/pop era of Genesis.

When I look at Genesis as band, I see four distinct phases the band has gone through. Phase 1 is the Peter Gabriel Era. This spans from 1969 ("From Genesis to Revelation") to 1974 ("The Lamb Lies Down on Broadway"). It was during Phase 1 that Peter Gabriel was the lead vocalist and Genesis could easily be categorized as a progressive Rock band. Phase 2 is the Early Phil Collins Era spanning from 1976 ("A Trick of the Tail") to 1982 ("Three Sides Live"). In this era, Phil Collins took over as lead singer. The band was still very much a progressive rock band, but as the progressive rock landscape would change - so would Genesis. This might indirectly have led to Phase 3 which is the Late Phil Collins Era from 1983 ("Genesis") to 1993 ("The Way We Walk Volume 2: The Longs"). This is the commercial/pop era that I referred to earlier. At this point, there would be a lot less progressive rock flavor to Genesis' music. The fourth phase, Phase 4 is the Ray Wilson Era. This was when Ray Wilson took over as lead vocalist for Phil Collins. There would only be one album in this era - 1997's "Calling All Stations" and it seemed like Genesis tried to recapture some of their progressive rock roots - but 90s style. "Calling All Stations" would do poor commercially and Ray Wilson would take the fall and be asked to leave the band.

In Phase 3, Genesis would grow more and more successful commercially with each album release. Some of this probably would do to the fact that Phil Collins' solo career was also taking off. The last studio album that Phil Collins would do with Genesis was "We Can't Dance". It was a huge commercial success and resulted in a hugely successful World Tour. Naturally, the band decided to capitalize on the success of that World Tour by releasing a live album and video. Genesis had done live albums before ("Three Sides Live", "Seconds Out", "Genesis Live"). On each live album, the focus of the live material would on the studio releases that had not been done live up until that point. Genesis had not done a live release for Phase 3, thus "The Way We Walk" would have a focus on this material. For this live release, Genesis would employ a unique formula - they would release the material in a two volume set called "The Way We Walk". Volume 1 would focus on the shorter (normal) length songs. Volume 2 would focus on Genesis' trademark longer songs. For the purposes of this review, I'll focus on Volume 1.

Normally when there is a live release, I prefer the album to be a live recording from a single concert performance. I prefer it to be delivered in the order in which the songs were actually delivered. By having things from a single night and in order - I feel there is continuity and the magic of the concert is captured perfectly. Since Genesis took this unique approach to the way they were presenting this live material, this was going to be very hard to do. However, the material was strong enough to overcome this. Yes, I still would have preferred a two volume CD that contained a night from the 1992 "We Can't Dance" Tour in its entirety, but the production and engineering isn't bad and it does a nice job at ordering the songs and giving the "quasi appearance" that this may be from one night (even though the ordering is shuffled). I also like the two volume approach - I find it very convienient to listen to either the "short" songs or "long" songs (depending on my mood)".

The most interesting song is "Invisible Touch". I always thought this was an "average" song for Genesis, but there is something about hearing this song live that blows me away. I love the way they end the song. I also love how they segue from "Tonight Tonight Tonight" into "Invisible Touch". Yes they made "Tonight Tonight Tonight" from a long song to a short one, but it works the way they performed this song and the segue. Similar to "Invisible Touch", I love Genesis' spin on "Throwing It All Away" - featuring Phil leading the crowd in a participatory "It away!" chant and Mike Rutherford's guitar is awesome in it. Two strong songs from "We Can't Dance" are "No Son of Mine" and "Jesus He Knows Me". Phil's performance of "Jesus He Knows Me" was very theatrical in concert when I saw him and on this recording it translates very nicely to audio. Not forgetting Tony Banks, his keyboards are spellbinding on "Mama" - as are Phil's vocals.

The liner notes are weak. There are no lyrics and nothing to provide insight into the Tour - or when and where these songs were recorded. The production credits are pretty light as well. There are some decent photos from the Tour included. Although this may be Genesis' "pop" era - there still is some excellent music and this excellent music translates very well to the live setting. There may be some "old-time" fans who don't like this material, but I think this will still appeal to the majority of end to end Genesis fans.

Bad live cd.......2004-06-29

Every song on this cd is a joke. Genesis used to be a good band, look into Genesis Live, Seconds Out, or Genesis Archives Vol. 1 for better live material.

Average customer rating:

New listener
Mr.Malone Sings
Thanks Russell.....
An odd selection of material

Live at Jazz Standard, Vol. 1
Russell Malone
Manufacturer: Max Jazz Records
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

General | Live Albums | Jazz | Styles | Music
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Mel Bay Jazz Hits Volume 1

ASIN: B000HWXRFG
Release Date: 2006-10-10

Tracks:

He Said What?
I Saw You Do It
Flirt
Blue Daniel
Mean Streak
Heartstrings
Malone Blues

Album Description

Russell Malone is one of the most commanding and versatile guitarists performing today. He can move from jazz to blues to gospel to pop and R&B without hesitation, a rare facility that has prompted some of the highest profile artists in the world to call upon him: Shirley Horn, Diana Krall, Aretha Franklin, Gladys Knight, Christina Aguilera, B.B. King, David Sanborn, Harry Connick, Jr. to name a few. On his new MAXJAZZ release, Live at Jazz Standard (Volume One), Malone captivates from the opener and displays why he is one of the most in-demand guitarists today.

Live at Jazz Standard features his working band of Martin Bejerano, piano; Tassili Bond, bass; and Johnathan Blake, drums. All arrangements are by Malone, who also produced the CD and wrote five of the seven tracks.

MaloneÂ's crisp original and opener, He Said What?, begins with a driving groove by Bejerano and shows MaloneÂ's clean tone and dazzling guitar work. The group follows with another Malone original titled I Saw You Do It. With Bejerano sitting this one out, Bond and Blake keep driving the rhythm while Malone displays his ability to fuse distinct musical elements into an instantly appealing tune. On the smooth original Flirt, Malone showcases the fluid and lyrical movement that has distinguished him from his peers. The Frank Rosolino standard, Blue Daniel, swings with great energy. BejeranoÂ's piano and BlakeÂ's drums push the rhythm before Bond lays down a nice solo. Mean Streak is a blistering track written by Malone that features impressive solos by Malone, Bejerano and Blake. The pace slows with a hauntingly powerful version of the Milt Jackson ballad Heartstrings. Malone was further compelled to Â"dig a little deeperÂ" that night by the presence of JacksonÂ's widow, Sandy, and daughter Chyrise. Malone and crew close with a bang on his blues-infused original Malone Blues. The composition clearly showcases MaloneÂ's extraordinary versatility.

Customer Reviews:

New listener.......2007-03-24

I bought this CD, after reading a review of some Jimmy Bruno reviews. The review I read actually knocked the Jimmy Bruno CD, which I didn't agree with, but I figured I'd give this one a shot. I really enjoy the CD, but I like Jimmy Bruno better...

Mr.Malone Sings.......2007-01-29

I'm So Glad I Bought This wonderful music.Mr. Malone is a fine musician and a
great guitarist (a great musician and a fine guitarist,too).He moves me with his great command of all the different genres he incorporates.Overnight He is my favourite Guitarist.I will buy more ( and more ) of his work . I just loved the blues at the end...Eric Clapton , Jimi Hendrix , Muddy Waters - all
rolled in to one ; Mr. Malone. Oh and don't forget all the Jazz you get for
your money.An Australian fan.

Thanks Russell............2006-11-26

This is my favorite disc he has released to date. Russell's writing shows even more maturity -- he continues to grow. Listen to "Flirt" if you don't believe me -- absolutely gorgeous. Also, his regular group is made up of 3 young up-and-coming New York monsters, who keep everything sounding fresh and current. Oh, and "Malone Blues" encompasses 100 years of blues guitar.

An odd selection of material.......2006-11-21

I've been following Malone for a few years, have the studio discs (including the stellar Benny Green duo albums), and seen him live twice. He's indescribably talented, but also is cursed by a tone and "sweetness" that some outsiders might judge as old-fashioned in an "elevator music" style. In his studio discs he makes up for this with brilliance in all styles, from ballads to dynamic funk. The live at Jazz Standard disc collects what seems to be his middle-of-the-road songs that don't show off alot of dynamism or chops (except the last track, which seems included only because of the novelty of him playing "dirty blues"). The songs are great, the playing is very tasteful, but I rarely try to turn on my non-jazz friends to a disc because it's "hella tasteful". Get "Bluebird" or "Sweet Georgia Peach" if you want amazing Malone.

Romance Of The Violin (Live From New York In Concert)

Average customer rating:

Excellent performances, both audio and video
Great music, lousy format!

Romance Of The Violin (Live From New York In Concert)
Joshua Bell
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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ASIN: B00076ZZB6
Release Date: 2005-02-08

Tracks:

O mio babbino caro from Gianni Schicchi
The Girl With Flaxen Hair
Nocturne
The Swan
Serenade
Casta Diva from Norma
Andante from Piano Concerto No. 21 in C Major K. 467
Dance of the Blessed Spirits from Orfeo ed Euridice
Nocturne from String Quartet No. 2 in D Major
Songs My Mother Taught Me
Pur ti Miro from 'L'incoronazione di Poppea
Elegie: O doux printemps d'autrefois
Trerei

Album Description

CD AUDIO SIDE: Entire Album

DVD SIDE: * Entire album in Enhanced LPCM Stereo * Video of highlights from Joshua Bell Romance of the Violin Live from Lincoln Center with the Orpheus Chamber Orchestra * Complete Discography This disc is intended to play on standard DVD and CD players. May not play on a limited number of models.

Customer Reviews:

Excellent performances, both audio and video.......2007-01-09

I was delighted with this Dual Disc. Performances are excellent, both audio and video. Recording quality is very good.

I must report some problems with CD side (cracks) on older CD player.

Great music, lousy format!.......2007-01-03

I love the music, but was VERY unhappy to be unable to play this CD on my computer. The DVD side works okay, but I can't load this to itunes on my macintosh. And I can't load the DVD to my computer and store this disk at home. If I had it to do over, I'd buy the plain vanilla CD!

Reel Chill: The Cinematic Chillout Album

Average customer rating:

"cinema's main stay themes prevail ~ City of Prague"

Reel Chill: The Cinematic Chillout Album

Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

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ASIN: B0002IQGT4
Release Date: 2004-08-10

Tracks:

Sarabande [From Barry Lyndon]
Main Theme [From Midnight Cowboy]
Promenade Sentimentale [From Dive] - Mark Ayres
May It Be [From the Lord of the Rings: The Fellowship of the]
Women of Ireland [From Barry Lyndon]
Adagio for Strings & Organ [From Gallipoli [
Romeo/Love Theme [From Romeo & Juliet)
Balcony Scene [From Romeo + Juliet]
Main Theme [From Chariots of Fire] - Mark Ayres
Main Theme [From Bilitis] - Mark Ayres
Main Theme [From Merry Christmas Mr. Lawrence] - Mark Ayres
Main Theme [From Cinema Paradiso]
Main Theme [From Once Upon A Time in the West]
Deborah's Theme [From Once Upon A Time in America]
Suite: The Mission/Gabriel's Oboe/On Earth as It Is in Heaven ... - City of Prague Philharmonic Orchestra, Crouch End Festival Chorus

Tracks:

Suite: Mountains and Sunsets/The Wedding/You Only Live Twice [From You
Heart Asks Pleasure First [From The Piano]
Agnus Dei [From Platoon] - Crouch End Festival Chorus
Vide Cor Meum [From Hannibal]
Adagietto from Symphony No. 5 [From DeAth in Venice]
Any Other Name/Dead Already [from American Beauty] - Rick Clark,
Into the West [From the Lord of the Rings: Return of the King]
Where Dreams Are Made [From Artificial Intelligence]
Main Theme [From Somewhere in Time]
We Have All the Time in the World [From on Her Majesty's Secret ...]
Electronic Battlefield [From Patriot Games]
Now We Are Free [From Gladiator]
Intermezzo from Cavalleria Rusticana [From Raging Bull]
Cavatina [From the DeErhunter]
Main Theme [From Out of Africa]

Customer Reviews:

"cinema's main stay themes prevail ~ City of Prague".......2004-08-15

What a crowning achievement to bring "Reel Chill:Cinematic Chillout Album", released by Silva America and featuring The City of Prague Philharmonic Orchestra and the Crouch End Festival Chorus ~ conductors are Mark Ayres, Paul Bateman, Rick Clark, James Fitzpatrick, Nic Raine and David Temple director of the chorus ~ one can only expect the highest quality of performances and quench the thirst of all "film-score-buffs".

Sit back and unleash the first disc with composers ~ Albinoni, Craig Armstrong, John Barry, Vladimir Cosma, Enya & Nicky Ryan, Handel, Francis Lai, Ennio Morricone, Sean O'Riorda, Nino Rota, Ryvichi Sakamoto and Vangelis ~ taking each film score cue "BILITIS", "CHARIOTS OF FIRE", "CINEMA PARADISO", "DIVA", "GALLIPOLI", "THE LORD OF THE RINGS:THE FELLOWSHIP OF THE RING", "BARRY LYNDON", "MERRY CHRISTMAS MR. LAWRENCE", "MIDNIGHT COWBOY", "THE MISSION", "ONCE UPON A TIME IN AMERICA", "ONCE UPON A TIME IN THE WEST", "ROMEO & JULIET" and "ROMEO + JULIET", with arrangements that soar and then simmer into pure meditation of grandeur ~ classic film music prevails, as orchestration comes to the surface with pure originality ~ one masterpiece after another is long last presented as it should have been, is cause for celebration ~ each cue is a distinctive gift for striking modernism, touching on the transition of the period in this planets history.

Second disc is waiting in the wings are composers ~ Samuel Barber, John Barry, Patrick Cassidy, James Horner, Mahler, Mascagni, Stanley Myers, Thomas Newman, Michael Nyman, Howard Shore, John Williams and Hans Zimmer/Lisa Gerrard ~ take a musical ride with "AMERICAN BEAUTY", "A.I. ARTIFICAL INTELLIGENCE", "DEATH IN VENICE", "DEER HUNTER", "GLADIATOR", "HANNIBAL", "THE LORD OF THE RINGS:RETURN OF THE KING", "ON HER MAJESTY'S SECRET SERVICE", "OUT OF AFRICA", "PATRIOT GAMES", "THE PIANO", "PLATOON", "RAGING BULL", "SOMEWHERE IN TIME" and "YOU ONLY LIVE TWICE" ~ our composers with passion and skill for exploring human emotions, coupled with a unique gift for striking exotic orchestral colors, make this with all it's splendor unforgettable ~ themes that ring with familiarity as each film comes to mind through music.

Silva America gives the collector a treasure of thirty film cues that any "film-score-buff" would die for ~ in the past James Fitzpatrick (producer), Reynold da Silva (executive producer), mastered by Rick Clark and David Stoner (release co-ordinator) have given us compilation with such expertise and this one is no exception ~ keep up the outstanding limited editions and deluxe package releases, with your signature tidbits for all film music fans that's in all of us...gotta love it!

Total Time: 2-CD-Set ~ Silva America 1161 ~ (8/10/2004)

The Mose Chronicles: Live in London, Vol. 1

Average customer rating:

Addendum to my review
Intimate, intelligent. The best Mose.
Live, and a great performance.....but!!!

The Mose Chronicles: Live in London, Vol. 1
Mose Allison
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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The Mose Chronicles: Live in London, Vol. 2
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ASIN: B000056BAE
Release Date: 2001-03-13

Tracks:

Excursion And Interlude
No Trouble Livin'
I Ain't Got Nothing But The Blues
Everybody's Cryin' Mercy
Meet Me At No Special Place
If You Only Knew
Middle Class White Boy
You Are My Sunshine
What's Your Movie
How Much Truth
Ever Since The World Ended
You Call It Jogging
Trouble In Mind
I'm Not Talking
I Feel So Good
Since I Fell For You
Seventh Son
Hello There Universe
What Do You Do After...
Gettin' There
I Love The Life I Live
Finale

Amazon.com

On this first volume of The Mose Chronicles, singer-songwriter and pianist Mose Allison brings his idiosyncratic brand of southern comfort to London for this well-cheered live session. Flanked by a crowd that wholeheartedly embraces both his sardonic drollery and the supple rhythm section of bassist Roy Babbington and drummer Mark Taylor, Allison is in top form in this enthralling program that's characteristically wry and full of sharp wisdom. Mose is always divinely swinging, too, leveraging the hundreds of gigs he's played with this trio. Plain-folk advice marks the jumping "No Trouble Livin'," just as poetic social commentary rivets the sly "Everybody's Cryin' Mercy" and the joyfully apocalyptic "Ever Since the World Ended." Straight-ahead balladry comes to the fore on "Meet Me at No Special Place," an early favorite of Nat King Cole's trio. Allison's punchy piano style is as effervescent throughout the Chronicles as his singing is backwoods, and it makes for great listening. --John Murph

Customer Reviews:

Addendum to my review.......2001-12-30

In response to the reviewer who expressed dislike for the similarity of the songs: With a live trio format, you get to hear the style of the players. The keys in which the songs are played are the choice of the vocalist. In this case, you're hearing the style of Mose. This is how he plays, and this is what it sounds like. As to the repertoire, the question for me is not: why did he pick these songs that sound alike? Rather, the question is: Is this what a writer and player like Mose wants to play for a live set when he's on the road in his 70's?
The answer: Yep. The man plays what he wants to. That's his red wagon, and I'm glad to hear what he has to say.

Intimate, intelligent. The best Mose........2001-12-29

Through decades, wives, Vietnam, 12 steps, and all, Mose Allison has been the one constant in my life. And this recording, produced by Ben Sidran, is warm and close. This is a trio setting, with an appreciative audience. Really, it's like they've never heard the lyric before and laugh at the appropriate spots. Not at all a sit-on-your-hands kind of show. It's a great trio, and Mose is on his game, as the very professional musician he is. A really rare collection from a unique writer and player. Great. Just great.

Live, and a great performance.....but!!!.......2001-03-15

There's no denying that this is another strong performance by Mose Allison, but..... My reservations have nothing to do with the Mose's performance of the material that he's chosen, nor of the other two players Roy Babbington on Bass and and Mark Taylor on Drums, who are as tight and supportive as any group that plays together so much ought to be. My reservations are about the choice of material which delves deep into his huge repetoire, but at times comes across in the programming as very "samey". Quite a lot of the tunes are played at a similar tempo, which over 22 tracks tends to grate. The other criticism that I have, having been to a number of the Pizza Express shows in London, is that there is altogether too few of the asides and stories that Mose interjects, which makes the live performances so vibrant. Here, Ben Sidran the producer has chosen to limit this to the odd "this was written by", rather than attempting to make it really representative of the delightful nature of the intimate shows that he hosts at the venue.Perhaps any volume 2 will rectify this. Live and a great performance...but!

Live Phish Vol. 1: 12/14/95, Broome County Arena, Binghamton, New York

Average customer rating:

C[L] X (1/2 p V^2) X S > C[D] X (1/2 p V^2) X A
........don't buy this junk........
A Great Way to Start Out the Live Phish Collection (as i did)
Live 1 good start of the "Live" series
great way to start the 20+album series

Live Phish Vol. 1: 12/14/95, Broome County Arena, Binghamton, New York
Phish
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Live Phish Vol. 2: 7/16/94, Sugarbush Summerstage, North Fayston, Vermont
Live Phish Vol. 3: 9/14/00, Darien Lake Performing Arts Center, Darien Center, New York
Live Phish Vol. 4: 6/14/00, Drum Logos, Fukuoka, Japan
Live Phish Vol. 7: 8/14/93, World Music Theatre, Tinley Park, Illinois
Live Phish Vol. 12: 8/13/96, Deer Creek Music Center, Noblesville, Indiana

ASIN: B00005O6DX
Release Date: 2001-09-18

Tracks:

Suzy Greenberg
Llama
Horn
Foam
Makisupa Policeman
Split Open And Melt
Tela
Taste
My Sweet One
Frankenstein

Tracks:

The Curtain
Tweezer
Timber
Tweezer
Keyboard Army
Halley's Comet
NICU
Slave To The Traffic Light
Bold As Love

Customer Reviews:

C[L] X (1/2 p V^2) X S > C[D] X (1/2 p V^2) X A.......2006-06-06

What a great show! I can see why the boys thought this date worthy of the first release in this series. The energy is high and the jams are great. It's one of those nights, you can hear it clearly, the band was getting it, hitting on all cylinders. But more than that, the crowd was great. They were listening and sending the energy back. The crowd knew they were getting a special show, and they were returning the love. The band knew that the crowd knew. The crowd knew the band knew that crowd knew, and so on, a positive feedback loop that spirals faster and faster, accelerating, torqued and twisted, achieving liftoff. You can tell it was one of those glorious nights where the trippers in the crowd outnumbered the drunks.

The ten-minute jam at the end of Split Open and Melt (one of the rare Phish tunes that could actually be described as sexy) is phenomenal. Everyone is jamming hard but also they are jamming together. Frankenstein is another great high energy instrumental to close out the first set. By the way, I loved it that Phish would give you a high-powered first set. Sometimes the first set would be the more intense set. Contrast that to the Grateful Dead who, at least by the time I was on the scene, had to sandbag through the first set because of limitations of stamina, effort, or both. The second set contains more intense jamming, including a great Tweezer > Timber > Tweezer, keyboard army (a good dose of Page on the keybaord is a good sign, he's far from the most charismatic of the band but he may well be the most talented musician), and then a nice jam on the infectious doo-wop Halley's Comet. Some of these releases from the live series seemed to have been picked for release because they played a lot of their popular tunes, or they are historic shows, such as the legendary Halloween shows or Live Phish Volume Four with some nice ambient jamming from their Japan tour, but this first volume is just an all-around fun, high energy show. Makes for good driving music.

........don't buy this junk...............2005-12-14

this cd is the awfullest thing i ever saw...this guy, tray anastasimo is harry like a freakin gorilla...sucks on a guitar. they play songs that are wierd, like on drugs

A Great Way to Start Out the Live Phish Collection (as i did).......2005-07-30

This show in New York is a special one with some rare songs to see them play live such as horn, makisupa policeman, tela, the curtain, and keyboard army.. also, some kick*** covers such as frankenstein, halley's comet and bold as love....

Highlights from Set 1: (not one song in set one goes into another song, a huge rarity) this show starts out with a rockin suzy greenburg, with an awesome page solo on it, followed by a great llama that keeps the high energy flowin, also a differently played taste, but the best part of this set is the 10:43 foam!! it kicks some a**

Set 2: starts out with a chess move that doesn't happen for whatever reason then goes right into a nice stretch of the curtain, tweezer> timber> tweezer> keyboard army.. both tweezer's are SICK and are pretty differernt from eachother.. after keyboard army, another awesome stretch starts with an alomst 12 minute halley's comet> a 9 minute NICU> an 11:25 slave.. encore is a sick bold as love, better than any other bold as love i have heard

the second set alone is worth the price of this live phish show!! this show is a good one to get into with the variety of covers, rarities, and solos

a definite must have if colleting all the live phish shows

Live 1 good start of the "Live" series.......2005-04-12

With Phish calling it quits last year, we make do with the everlasting legacy of the (so far) 20 "Live" recordings (there are of course many more live releases from Phish, both official ones and from the band's website).

On "Live 01" (2 CDs, 19 tracks, 145 min.), Set 1 starts off with an immediately urgent Suzy Greenberg, and the high energy continues on Llama. The highlights of Set 1, though, come from Foam and Split Open, both of which bookend a new song Makisupa Policeman, a delightful light-reggae take-off. Set 2, as is often the case, outshines Set 1. The Curtain is as prog-rock as Phish will ever get (seriously, didn't it make you think you were listening to Yes?). Tweezer>Timber>Tweezer is awseome, but things get better yet with Hailey's Comet>NICU, showcasing the band free-flowing jamming. And isn't Slave to the Traffic Light a curious but daring way to close the set? A cover of Jimi Hendrix' Bold as Love is the encore. Phish is well known for doing covers, but this one is a bit tame for my taste.

That said, Live 1, recorded at the end of their (almost year-long) 1995 tour shows a band that's playing tight and with great confidence. A nice release to kick of the "Live" series. For other great "Live" releases, check out Live 18 and 20, two of my very favorites.

great way to start the 20+album series.......2003-12-15

this was my second live phish album (no. 10 was my first) and it's an overall solid show. although i do enjoy the shows from 93 that "crazy phans" wished still occurred, to me the phish sound was so much more refined in later 94 and in 95. the dissonant jamming and stuff is still there, but a lot of the playing between band members is much tighter. my personal favorites on this album are a great take on the curtain, tweezer>timber>tweezer because its ultra funky and bluesy, and another classic set of segued tunes in halley's comet>nicu>slave to the traffic light...all songs i don't really find on other tapes that i have. in the first set there's a nice tela and an energetic frankenstein. i wouldn't reccomend this as an introduction to live phish (no. 10 might be more friendly) but it certainly has some tight playing on it. i'd give it 4.5 if i could.

Average customer rating:

Pinetop at Antones, Naturally the Best

Live at Antone's, Vol. 1
Pinetop Perkins
Manufacturer: Texas Music Group
ProductGroup: Music
Binding: Audio CD

Chicago Blues | Blues | Styles | Music

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ASIN: B00004WKAF
Release Date: 2000-08-22

Tracks:

Got My Mojo Working
Pinetop's Mambo
I Almost Lost My Mind
Look On Yonder's Wall
Big Fat Mama
Hoochie Coochie Man
Just A Little Bit
Caldonia
Hi Heel Sneakers
Chicken Shack

Customer Reviews:

Pinetop at Antones, Naturally the Best.......2001-07-14

I just returned from a live performance by the "living legend" of Boogie Woogie. Prior to my trip from San Antonio to Antones blues clup in Austin to See Mr Perkins perform, I gave this CD a listen. This recording truly captures the ambiance of the Austin blues club that has been the "Fort Apache" of the blues south of Chicago. Pinetops personable performance on the recording is exactly the way it is if you were standing next to the piano (as I was). "Big fat Mama" tends to stand out as my favorite boogie woogie tunes done by Mr. P, though his others such as "Pinetop's Boogie Woogie" with it's halts in the progression by Pinetop instructing "Stop!, dont you turn a page" This performance was recorded when Pinetop was 86 years old. He is 88 now and still rocks those keys as if he were 20. I couldn't help but tell Mr P "Pinetop, you the Best!"

Average customer rating:

Live at Yankee Stadium, Vol. 1
Fania All-Stars
Manufacturer: Fania / Umgd
ProductGroup: Music
Binding: Audio CD

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Commitment

ASIN: B000HT35VK
Release Date: 2006-09-26

Tracks:

Que Rico Suena Mi Tambor
Soy Guarjiro
Diosa del Ritmo
Pueblo Latino
Mi Gente

Average customer rating:

Live, Vol. 1
Robin Eubanks
Manufacturer: RKM Music/Kindred Rhythm
ProductGroup: Music
Binding: Audio CD

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Pilgrimage
Back East
Lawn Chair Society
A Bluish Bag
In My Element

ASIN: B000OLHGNO
Release Date: 2007-05-22

Tracks:

Me Myself & I
Mojo Jojo
Indo
Solo Latin
Pentacourse
Blues For Jimi Hendrix
Jig Saw
House of Jade
X-Base

Album Description

Robin Eubanks has been using electronics to augment the sonic palette of his trombone for more than 15 years. EB3 was created for the express purpose of exploring modern technologies within his music, and advancing the art of Trombone in general. All three members of the EB3 collective share a love jazz, funk, and rock, not to mention a musical fluency in odd meters.

Robin's new project- a DVD-CD combo pack-- LIVE VOL. 1-- features his signature original compositions. Eubanks uses various effects and processors to alter the trombone sound, including effects that emulate electric guitar. He also uses percussion pads with programmed sounds. He creates loops on-the-spot arrangements using loops thereby accompanying himself on trombone.

The DVD highlights the band's multi-dimensional sound, and illustrates each musician's dexterity in handling more than one musical role - this is a truly amazing sight! (Especially seeing the drummer play with one hand on the kit and one hand on the keyboard - for the whole show!)

Music Review:

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Music Review

Extended Play [Limited Edition]

Chopin: Nocturnes, Vol.1

Bruckner: Symphonie No. 9

When I Get There

Donna Summer - Greatest Hits

Cristal Silence I - The Silence Within

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Where Moth and Rust Destroy

Greatest Love Songs

1. Price of Love
2. Walk Right Back
3. Claudette
4. Crying in the Rain
5. Love Is Strange
6. Medley: Take a Message to Mary/Maybe Tomorrow/I Wonder If I Care as Muc
7. When Will I Be Loved?
8. Bird Dog
9. Medley: Devoted to You/Ebony Eyes/Love Hurts
10. Barbara Allen
11. Lightning Express
12. Put My Little Shoes Away
13. Long Time Gone
14. Down in the Garden
15. Step It Up and Go