Showing posts with label cheap cd. Show all posts
Showing posts with label cheap cd. Show all posts

Ace Frehley Review

Ace Frehley
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Ace Frehley ReviewI absolutely thought KISS was one of the best things in my life when I was 9 or 10 years old. I didn't think a thing about the sexual innuendoes, the drugs, the whatevers, I just loved KISS. Now that I'm an adult, some of those sexual innuendoes are just hysterical, make you want to cringe thinking you liked it at one time, and make it an embarassment to say you liked KISS.
Ace Frehley in my mind was always exempt from this. By far, Ace was always my favourite member of KISS, his lead guitar playing is vastly underrated,(his leads had hooks, they were part of the song like the melody), and he didn't dive the depths of immature sexual innuendo as much as grown men such as Gene or Paul. Honestly, Gene and Paul wrote kiddie stuff, embarassing for a 35 year old to be writing honestly, and strictly derived to accomodate a certain market. Young, 16 year old boys who can't drink, smoke or get girls yet. Ace didn't write songs like that, apart from Cold Gin on the first KISS album.
This album stands well to time. The songs do not sound dated, the lyrics are not stupid or banal or anything indicating a 70's attitude, and it just rocks. All the way through. There is not a weak track on it, and even though criticism is there on Wiped Out from other fans, I love that song for its time changes (Anton Fig's drumming on this song is the album's standout) and it is just a great song period. Its always been one of my top 3 songs on the album. Ace just really showed how talented he was. I've never read Simmons autobiography, and I have no interest in it, but Ace always lived up to his potential even if he was chemically enhanced sometimes. Its why Ace's solo album was the best received by a wider fan base than the KISS Army, the critics and musicians alike, it was THAT good an album. It has an element of STREET about it, slightly punk in attitude. This album is actually full of attitude, and it just says New York all over it.
Ace had pop sensibilities as well. 'What's On Your Mind' borderlines between hard rock and pop. No, Ace is not the greatest singer, but he has that Jimi Hendrix approach where in the end you can't hear anyone else singing the songs as well but Ace Frehley.
It has become a cliche this album. I imagine people who don't even own it now say Frehley's album was the best when giving their mock history of KISS. The fact of the matter was, it is and still is. You can play the whole thing through and not smirk because the lyrics are hokey or childish, the guitar solos are polished and gutsy at the same time, the drummer was great, the songs and arrangements were class, the production was just near perfect but just enough punk to have credibility. If not for Frehley, the next KISS album (Dynasty) would have been horrible and so dated in sound and sentiment that they might not have survived to GET to the 80's. Some say Simmons and Stanley are KISS, including themselves, but what a shame. Ace Frehley consistently came up with songs that even KISS fans say are the best songs in the KISS repertoire, Cold Gin, Parasite, Shock Me, Rocket Ride, Hard Times. The guy just had tons of talent and should have gotten out of KISS as soon as he released this album.
THAT would have been a success story. Maybe Simmons is right and Frehley never lived up to his potential. Maybe its because he had Simmons telling him he never would, you just never know.
Do you mean to tell me that Ace Frehley all messed up on booze and drugs working at half the potential, STILL came up with a better KISS album than KISS ever achieved? Even with Destroyer, Rock and Roll Over, Hotter Than Hell, Ace Frehley's solo album was so together that no one could diss it. There's no Goin Blind's, no Great Expectations, no Love Theme From KISS, that just makes you say was this person serious when they wrote this? They are joking right??? Frehley's album you can listen to as a kid, and listen to as an adult and say, I knew I had good taste.Ace Frehley Overview

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Ways Not to Lose Review

Ways Not to Lose
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Ways Not to Lose ReviewThis record in my opinion is truly as good as you could ever want it. Highly inventive songs that play on and willingly reveal their roots, while maintaining complete originality. Oliver Wood's voice with Chris singing harmonies accompanied by old school steel guitar and Chris' distinctive style of upright bass. Hard to choose which songs are the best as in my humble opinion they all are quite wonderful. Luckiest Man, The Truth is the Light, That's What Angels can Do and Chocolate are probably my absolute favorites - but I think One More Day can be a hymn for the February Funk. HIGHLY HIGHLY HIGHLY recommended. For me this is the most interesting singer/songwriter record to come out in a LONG TIME.Ways Not to Lose OverviewWay's Not To Lose a stunning debut album of original songs from Oliver and Chris Wood (Medeski Martin & Wood). Like the work of Leon Russell, early Tom Waits, or Dr. John, the songs of The Wood Brothers possess a timeless quality; their bedrock melodies and astutely observed stories sound instantly archetypal. The songs are arranged just as the brothers conceived them expressive yet economical, letting Oliver's coarse, impressionistic guitar work and Chris' nimble, note-bending bass playing speak volumes. Blue Note. 2006.

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Dixie Chicken Review

Dixie Chicken
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Dixie Chicken ReviewIt would be accurate to describe Little Feat in its original configuration as a very good band fronted by a genius, but it doesn't adequately acknowledge just how very, very good the other members of the band were. Lowell George was on a totally different level than the other members, but they weren't dispensable for all that. Although both LITTLE FEAT and SAILIN' SHOES, their first two albums, are exceedingly close to being as fine as the masterful DIXIE CHICKEN, what separates the latter for the previous two is the astonishingly accomplished playing of the other band members. George remains the focal point of the group, writing an exceptional set of songs and providing powerful lead vocals, but far more than the earlier two albums, the rest of the band holds its own. Stylistically, this one shows a deep influence by New Orleans music, and even features an Allen Toussaint tune.
Although they went on to release a couple of more decent albums before their break up in the late 1970s, as well as an exceptional live album WAITING FOR COLUMBUS, this represents Little Feat's supreme studio achievement. Absolutely everything clicks on this album, and the eclectic nature of all the songs seems utterly natural. The band manages throughout the album to sound simultaneously restrained and impassioned. Unlike many bands who work in a variety of styles, they never sound like they are doing a parody of any genre.
Despite the improvements in the band as a whole, this is still Lowell George's outfit. George undoubtedly belongs to a short list of musicians whose premature death (of a heart attack at age 34) deprived us of a significant body of work. I have been amazed at how many of my musically astute friend are not aware of George. I'm uncertain whether I most appreciate Lowell George the songwriter or Lowell George the singer. There is no question he was a master crafter of first rate songs, but he was every bit as good as a singer, with a full, round lower register capable of sliding into a marvelous upper range.
For those new to Little Feat, I strongly recommend four albums to the would-be collector. In addition to this stellar album, one should get both LITTLE FEAT and SAILIN' SHOES, both of them featuring one of the finest songs written in the past 30 years, George's spectacular "Willin'." I never saw Little Feat live, I'm sorry to say, but they had a reputation for being one of the best live bands around, and their WAITING FOR COLUMBUS has to rank as one of the better live albums ever cut. Little Feat broke up in the late seventies and reformed in the late 1980s, but without George they were merely a good band instead of a great one. These four albums will give most fans all the Little Feat that they would ever desire.Dixie Chicken OverviewAfter their brilliant self-titled debut and sophomore release Sailin' Shoes,leader Lowell George grabbed the reins as producer for the next group of sessions, resulting in 1973's Dixie Chicken. Usually considered their pinnaclee studio album, it's the understated elegance that keeps it all together.While maintaining the eccentricities that made Feat...well Feat, a subtle infu- sion of New Orleans r&b/soul undertones, seems the natural fit. The group's songwriting reaches new heights throughout, with a stop-over homage to the N.O. master Allan Toussaint, with a slow groove of his "On Your Way Down".Guests abound: two Bonnies, (Raitt and Bramlett, plus Three Dog Night's Danny Hutton lend supporting vocals. Always reliable Sneaky Pete's pedal steel and The Stones' Mick Taylor lends a few tasty licks, but it's the main-core Feat, now playing their tightest together that makes this definitely one of the greatest!--This text refers to an alternate Audio CD edition.

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Laid Back Review

Laid Back
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Laid Back ReviewWebster's dictionary defines a masterpiece as "An artistic work done with consummate skill". Gregg's "Laid Back" certainly qualifies that definition. Almost as spectacular is the fact that this was his first solo effort. Blues imply melancholy and this album is loaded with it. What sets this music apart from others, is the cleansed feeling it gives you after it ends. It's as if you have been baptized in cool southern waters. "These Days", "Queen of Hearts", "Please Call Home", and "Multicolored Lady" are four of the best but don't miss the rest as this album has more "hits" than some artists collect in their entire career! After I first heard the lyric, "Please don't confront me with my failures, I'm aware of them" from "These Days", I have felt it typifies the mood Gregg was in and what blues was all about. This was released in 1973 but sounds as fresh today as it did then. This is the Gregg Allman I'll remember.Laid Back OverviewGregg's 1973 solo debut also became his biggest hit, a #13 LP featuring his Top 20 classic Midnight Rider . Remastered from the original master tapes!

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El Corazon Review

El Corazon
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El Corazon ReviewFor what it's worth, I think this is one of the greatest CDs ever made. I'm not a Steve Earle scholar, in fact I only own a few of his albums, but this one easily fits into my top ten ever.
There's not a clunker here. Ft. Worth Blues is beautiful, Telephone Road will make you want to go have a beer with friends, and NYC is one of most chill bump-inducing songs I've ever heard. This is the perfect blend of rock, country, and folk.
I'll put it this way: I've got a friend whose favorite artist is Prince. Another's is Rage Against the Machine, and another basically listens to pop music. They all agree that this is one of the best they've ever heard.
This is "real" music by a "real" person, and in my opinion, it doesn't get much better.El Corazon OverviewNo Description AvailableNo Track Information AvailableMedia Type: CDArtist: EARLE,STEVETitle: EL CORAZONStreet Release Date: 10/07/1997

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Breezin Review

Breezin
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Breezin ReviewThis reissued edition of George Benson's 1976 classic album "Breezin" has been augmented, not just by wonderful remastered sound, but the inclusion of worthy bonus material. George was able to crossover into the mainstream through this album and yet keep his jazz identity in tact. But, who knew he could sing as well?
The original album is pure aural joy from the "breezy" opening of the title track through the wistful ending of "Lady." "This Masquerade" became a classic and presented him to a whole new audience. "Six to Four" can still pull me out of a funky downer and have me tapping my feet, pen, pencil.... Affirmation is great during a Sunday morning "breakfast in bed."
Even if you own the previous CD issue of "Breezin," this new edition boasts wonderful remastered sound, new liner notes and two previously unreleased tracks. "Down Here on the Ground" is a real find giving George another chance to vocally enchant with a Stevie Wonder-like charm that many of today's male R&B singers and groups attempt, yet fail miserably to achieve. Also included are "Shark Bite", a funky instrumental that could be used in a 1970's "Lock, Stock" type movie or your Sunday morning "smooth jazz" music mix; and the edited 45rpm single version of "This Masqerade." The original album just ended too quickly. This new expanded edition seems just right!Breezin OverviewNo Description Available.Genre: Jazz MusicMedia Format: Compact DiskRating: Release Date: 9-MAR-1989

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Train a Comin Review

Train a Comin
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Train a Comin ReviewSteve Earl opens the album by declaring: "This here's the 'Hometown Blues' with apologies to Thomas Wolfe and Doc Watson," and then presents the listener with the warmest and perhaps most personal album of this country renegade's career. It had been four years since his last studio album, 1991's The Hard Way, and almost a decade since his 1986 debut Guitar Town. For this comeback effort, Earle strips things down to the roots. The band consists of a Who's Who of country, folk and bluegrass musicians: Norman Blake (guitar, Dobro, fiddle, mandolin and Hawaiian guitar), Peter Rowan (mandolin, mandola, gut string guitar and vocals), Roy Husky (accoustic bass) and Emmylou Harris (vocals). The album is a mixture of originals like "Mercenary Song" and "Ben McCulloch," and covers like Townes Van Zandt's "Tecumseh Valley" and a wonderful version of the Beatles' "I'm Looking Through You." If you enjoyed Earle's 1999 collaberation with the Del McCoury Band on The Mountain, you'll love Train a Comin'. In 1986 three artists released their debuts: Dwight Yoakam, Randy Travis and Steve Earle. I thought they would save country music. If they haven't succeeded, they at least have helped preserve its integrity. HIGHLY RECOMMENDEDTrain a Comin OverviewWarner Brothers has re-released this 1995 acoustic gem by Steve Earle, originally released on the Winter Harvest label. Included are covers of "Tecumseh Valley" and the Beatles's "I'm Looking Through You" as well as such Earle classics as "Sometimes SheForgets."No Track Information AvailableMedia Type: CDArtist: EARLE,STEVETitle: TRAIN A COMIN'Street Release Date: 01/28/1997

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Body of Song Review

Body of Song
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Body of Song ReviewWith Body of Song, Bob Mould - arguably one of the most talented singer/songwriter/guitar-heroes of the last twenty years (indie or otherwise) -- has finally found a balance between what he does best (searing guitar indie angst anthems) and where his experiments in sound (as DJ, producer, and electronic artist) have since taken him.
The same themes are here: loss, regret and the urgency of time, but there's also a strong undercurrent of hope, or at least confidence in the wake of loss. And that confidence is bolstered by a kick-butt rhythm section, courtesy of Fugazi drummer Brendan Canty and SUGAR alum, bassist Dave Barbe.
As if meant to act as chemical catalyst to combine all parts of his career, the album begins appropriately enough with "Circles," a thematic and sonic fusion of the best that is Bob Mould. And circles spiral from there, coming back around to remind the listener of the various stages that have led Bob to this point: from Husker Du to his solo work in the early nineties, from SUGAR to Loudbomb and back again. But make no mistake, this is new music. And without abandoning the electronica/dance influences that have obviously become a seminal part of the Bob Mould arsenal, Body of Song rocks.
1) Circles: a slow build. dynamic, hypnotic, and heartbreaking. One of the best tracks from Bob in years.
2) (Shine Your) Light Love Hope: a throw-away dance track at first listen, but one that reveals some interesting guitar work on further plays. Then the entire track gets in your head.
3) Paralyzed: the single, and for good reason. What could easily have been a SUGAR arrangement gets tweaked electronically with one of the better Bob uses of keyboards ever.
4) I am Vision, I am Sound: somewhat repetitive opening becomes an all-out rocker once the rhythm section kicks in.
5) Underneath Days: Darker, angrier Bob that plays well positioned here in the middle of the album. A needed descent.
6) Always Tomorrow: A little muddy and over-produced, but one of those songs that sneaks up on you as you continue to play the album through.
7) Days of Rain: One of those bittersweet Bob love songs that fans will immediately know and love.
8) Best Thing: Could easily be a SUGAR track.
9) High Fidelity: Once you hear the tubular bells and Hammond organ in the arrangement, you know this ain't no Workbook wannabe, but the acoustic base of this ballad is solid.
10) Missing You: From the layered harmonies to the power chords, close your eyes and this IS a SUGAR track. For fans who think Bob has strayed too far into electronica, this is your reminder that the guy can rock.
11) Gauze of Friendship: The closest to an "acoustic" song on the album, and a treat for fans of the simple pleasure of Bob playing guitar while somber strings support him. Reminiscent of "Along the Way" from LDAPS.
12) Beating Heart the Prize: A little weak for a closing track. Still, as would be expected on a Bob Mould album closer, there's some noise, some angst, some length, and some semblance of resolution.
Without even considering Body of Song, Bob Mould has earned his place as indie rock icon. With Body of Song, he reminds us why, pushing his talent forward, making no apology for the often chaotic and at times, disjointed, but nonetheless powerful hybrid that is his signature sound.Body of Song OverviewBob Mould returns to his signature guitar sound and songwriting style with Body of Song, his first release on Yep Roc Records. Mould's sound inspired a generation of post-hardcore punk rockers who helped create and define the alternative rock movement. Written and recorded mostly over the course of the past year, Body Of Song is Mould's first new album-length release since 2002, and his first since the mid-90s to employ a guitar-heavy full-band approach ('Paralyzed,' 'Circles'). Guest musicians include Brendan Canty (Fugazi), David Barbe (Sugar), Matt Hammon (1998 Bob Mould Band), and Amy Domingues (Garland Of Hours). 2005.

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