The Hard Way [Explicit Lyrics]

Track Listings

1. Intro

2. Twist Yo Body

3. Absolutely

4. Keep It Gangsta

5. Run on Up

6. Groupie Luv

7. Lonely Girl

8. Another Summer - 213, LaToiya Williams

9. 213 Tha Gangsta Clicc

10. Gotta Find a Way

11. Ups & Downs

12. Joysticc

13. Rick James Interlude - Dave Chappelle

14. Mary Jane

15. MLK

16. Lil Girl

17. My Dirty Ho

18. Appreciation

19. So Fly

The Hard Way,213,Tvt,G-Funk,Gangsta Rap,Pop,Rap & Hip-Hop,West Coast Rap

Average customer rating:

The power of faith
This soundtrack....
Dances With Wolves in Japan
A Diverse Score from the Land of the Rising Sun
One of the best themes ever composed

The Last Samurai
Hans Zimmer
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Batman Begins

ASIN: B0000DZTIW
Release Date: 2003-11-25

Tracks:

A Way Of Life
Spectres In The Fog
Taken
A Hard Teacher
To Know My Enemy
Idyll's End
Safe Passage
Ronin
Red Warrior
The Way Of The Sword
A Small Measure Of Peace

Amazon.com

Whether Tom Cruise's portrayal of a 19th century American soldier cum samurai warrior will be remembered with the same pangs of pop-cultural bemusement that befell John Wayne playing Genghis Khan remains to be seen. But its musical soundtrack does mark an auspicious occasion: pop musician-turned-composer Hans Zimmer's 100th score since beginning his film career in 1988. A pioneer of fusing both the electronic and orchestral and the Westernized with the indigenous, Zimmer does both here with skill, drawing heavily on samples of the traditional Taiko (a massive Japanese drum) for its rhythmic action sequences, while constructing a melodic Western motif for Cruise's character that's both centerpiece and counterpoint for the score's transcultural intent. Aside from the brief, ominous thunder of the expected action/suspense boilerplate, Zimmer has constructed passages of gentle, Asian-inflected pastoralism that have parallels with much of his evocative work on The Thin Red Line. Those cues are the score's very soul, a canvas against which his more traditional themes reverberate all the stronger. --Jerry McCulley

Customer Reviews:

The power of faith .......2007-05-29

Sweet as lotus flower, strong as a the solid rock of the paith, sharp as a samurai sword... close your eyes and live in an magic ancient atmosphere

This soundtrack...........2007-04-24

...is really amazing, so deep and great. The movie would never be so good without this great music.

Dances With Wolves in Japan.......2007-04-10

If you liked Dances With Wolves this is it in Japan - I do think it is Tom C's best movie. The sound track is excellent - Zimmer also did Batman Returns which has a fantastic soundtrack - Hans is comming on

A Diverse Score from the Land of the Rising Sun.......2007-03-02

I always love it when composers branch out and write music that you would never expect them to write, yet retaining their own trademark sound. Here, Hans Zimmer utilizes his own, recognizable sound, where you know it's him with eastern instrumentation, such as Taiko drums, the shakuhachi (a staple in Horner scores lately), and the koto harp. It's east meets west, a route in which Tan Dun took on in the film "Hero", and Zimmer's score follows many of those same musical ideas, only not quite as eastern sounding as Dun's score.
The main theme is a powerful 7-note anthem which tends to build its way up each time, as in "A Way of Life", "Spectres in the Fog", "Idyll's End", and "Safe Passage". You can tell it is a Zimmer theme just by its sound, but with the oriental flavor thrown in, it really adds to the mix.
The action music in the score is exciting with energetic Taiko drums keeping the pulse moving. They do not get tiresome, as you might think because Zimmer uses them more like a heartbeat, not a heart attack! "Red Warrior" is a powerful anthem, consisting of japanese warrior chants, which really add to the scope of the sound. Other noteworthy tracks are "Ronin" and "The Way of the Sword", which are enjoyable pieces of music.
I was pleased of the results of Zimmer's work here. It showcases Zimmer's diversity with his music. I hope he gets the opportunity to write more diverse scores such as this. The Da Vinci Code is certainly one of them!

One of the best themes ever composed.......2007-02-28

This soundtrack is brilliant, and Hans Zimmer even more. He is truly one of the great film composers. The Last Samurai's sounds never fail to draw emotion from me.

Average customer rating:

"Creative" editing ruins this CD
Absolutely terrible sound quality!
Classic Walsh album finally available on CD again

Barnstorm
Joe Walsh
Manufacturer: Hip-O Select
ProductGroup: Music
Binding: Audio CD

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The Smoker You Drink, the Player You Get
So What
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Live in Concert
You Can't Argue With A Sick Mind

ASIN: B000ER8TFC
Release Date: 2006-11-13

Tracks:

Here We Go
Midnight Visitor
One and One
Giant Bohemoth
Mother Says
Birdcall Morning
Home
I'll Tell the World
Turn to Stone
Comin' Down

Product Description

After The James Gang and before Rocky Mountain Way, Joe Walsh moved to Colorado and formed a short-lived group called Barnstorm with bassist Kenny Passarelli and drummer Joe Vitale. The result is this remarkable and intriguing 1972 album most often referred to as Walshs debut solo effort. What it truly is, though, is a richly textured acoustic/electric album that ebbs and flows with sounds and segues ranging from spooky to sweet, plaintive to psychedelic, from melodically enticing to ballbusting organ-guitar crunch rock. Its less than 40 minutes in length, but by its end the listener feels like he/she has been taken on a musical adventure of the best kind. The album didnt produce any hits per se, but charted in the Top 100, gave the world the first version of Turn To Stone, and resulted in a uniquely barnstorming national tour, wherein Joe Walsh reconfirmed if there ever was any doubt - his stature as a premiere musician. Joe Walsh next hit with Rocky Mountain Way and in 1975 added his unique energy to The Eagles, but this landmark early album is as good as anything the rocker did before or since. 1. Here We Go2. Midnight Visitor3. One And One4. Giant Bohemoth5. Mother Says6. Birdcall Morning7. Home8. I'll Tell The World About You9. Turn To Stone10. Comin' Down

Customer Reviews:

"Creative" editing ruins this CD.......2006-05-16

This is one of my favorite records, and I've been trying for years to get it on CD. I have the original vinyl, but those Dunhill pressings were never much good. So, I was very happy to see that the record was reissued on CD. Unfortunately, there's some tape hiss, but most distressing, track 3, "One and One" has been edited to fade out with a long pause between it and the next tune "Giant Bohemoth". On the original vinyl, these two tunes seque into each with no fadeout of any kind. The edit on the reissue totally disrupts the "flow" of the album. Very, very disappointing.
UPDATE UPDATE UPDATE UPDATE******************
Apparently this reissue was initially released using a set of incorrectly marked master tapes. The reissuing company has now found the correct masters, have cut a new digital remaster and is now circulating the corrected issue of this record.

Absolutely terrible sound quality!.......2006-04-15

I'm not sure which edition Wayne Klein is referring to in his review but it certainly wasn't this one. As noted by another reviewer, Hip-O Select completely dropped the ball on this one, using the wrong master tapes to produce this CD. It is LOADED with tape hiss, so much so that I could not get through the entire disc before turning it off. I have been in touch with Hip-O's parent company (Universal) and they acknowledged the mistake, saying that a vastly improved edition with the correct master tapes will soon be in stores, but after nearly a year it has yet to appear and when it does the consumer may not be able to distinguish between the two editions. It's hard to understand a mistake like this not being caught before production. But it's worse that a company would allow unsuspecting consumers to buy this garbage and then not rectify the matter after all this time. Great music, bad business practice. I'm keeping my vinyl!

Classic Walsh album finally available on CD again.......2006-03-13

Atmospheric and fascinating Joe Walsh's Barnstorm (aptly named)brought forth this terrific album after Walsh left the James Gang. Everything from the inspired opener "Here We Go" to the unusual "Birdcall Morning". From the instrumental "Giant Bohemoth" which slides right into the stunning "Mother Says" the album doesn't miss a beat.

The biggest song here "Turn to Stone" would show up again in a slightly inferior version on "So What?" but the original primordial monster is here. Featuring crunchy a guitar lick and a stunning guitar solo Walsh never got this experimental again. The album closes out with the acoustic guitar/haronica driven "Comin' Down" which provides a tranquil close to a magical album.

Like the 2005 Japanese re-release the magical sound qualty of the original recording has been retained. This is, in fact, the best the album has ever sounded (although honestly I can't compare it to the original Mobile Fidelity release since I never had it but have had the other import versions). Walsh never got better as a songwriter than here (although he came close with another couple of strong albums such as "The Smoker You Drink, the Player You Get"). A marvelous reissue, this classic album only lacks bonus tracks and outtakes which would have made this classy package complete.

Average customer rating:

Bleak and beautiful
Hey Nashville, This aint country
The Best Album Ever Recorded
Great songs, too much bombast
Steve Earle - The Hard Way

The Hard Way
Steve Earle & the Dukes
Manufacturer: Mca Import
ProductGroup: Music
Binding: Audio CD

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Exit 0
I Feel Alright
The Mountain
Shut Up and Die Like an Aviator
Train a Comin'

ASIN: B000006YE9
Release Date: 1996-02-06

Tracks:

Other Kind
Promise You Anything
Esmeralda's Hollywood
Hopeless Romantics
This Highway's Mine (Roadmaster)
Billy Austin
Justice in Ontario
Have Mercy
When the People Find Out
Country Girl
Regular Guy
West Nashville Boogie
Close Your Eyes

Album Description

Special low price import edition of his 1990 album released through MCA. 'I defend The Hard Way to the death, because I almost died in the process of making it', Steve Earle told a reporter in 2000 & he wasn't just being melodramatic. Earle's well-documented addiction to heroin & cocaine was spiraling out of control in 1990 while he was holed up in Memphis recording The Hard Way. 13 tracks in all.

Customer Reviews:

Bleak and beautiful.......2007-07-06

Most people don't write or play so well without any impediments. "Hard Way" came to be during the worst of Earle's drug addiction and it's clearly a crucible time for him. Writing's amazing as always--singing and orchestration are also good. Of course, as many folks way, Steve can't make a bad CD.

"Billy Austin" is one of the hardest songs I've ever heard. Earle can write and sing from the point of view of an outlaw better than almost anyone I've heard. "Justice in Ontario" continues that theme. Ironic Earle himself followed this CD with time in prison.

This CD's labeled country, but I'm seeing too many rock elements to leave it strictly at that.

Hey Nashville, This aint country.......2007-01-03

For all the fog and dim that engulfed his personal life, Steve Earle found a way to take the words and music in his head to the studio and bring it to life with a undefineable mix of growling guitars, flittering mandolins, punctuated snare hits, with his distinctive vocal approach that defies the listener to dare question his honesty. First person, "I am living this song" attitude throughout, it invites you to participate in more than just a casual manner. Earle moves closer to his own influences, invoking George Harrison's Gretsch guitar jangle and Beatles harmonies in Promise You Anything, and then on to the current darker places with "Esmeralda's Hollywood"; revealing his own shadows. Included is the masterful "Billy Austin" exploring the intracacies of a murderer's thinking process and the subsequent followup, "Justice in Ontario.

Different from his first offerings, in that pedal steel prominence has been replaced with authoritative six strings attacked with more than a nod to the arm flailing of a Pete Townsend, The Hard Way brings us straight ahead rock and roll. Borrowing a crunch from fellow Texan Billy Gibbons, "This Highway" starts out with a blues rock riff and a narrative that warns of danger and salvation at the same time only to resurface in the apt titled, "West Nashville Boogie". "Country Girl" takes us back to a honkey tonk setting and then he hints at the forebearer of his Celtic fascinations to come, Regular Guy. Earle picks up whatever instrument serves his purpose and cares not one iota if it fits any notion of formula.

An epic in terms of dramatic pacing and tempo, Steve Earle arrives near the top of America's song writing precipace and gives us a look over the edge. A "must have" collection for anyone who is serious about whats behind the music.

The Best Album Ever Recorded.......2006-10-14

This album is autobiographical. Drugs, guns, and anger. This was Steve Earles world when he wrote and recorded these songs. Steve Earle will offer no appoligies, His words of wisdom, If you don't like it don't listen. His fans however are fiercly loyal, if you don't believe that, just say something bad about Steve Earle around one. Even if you have never heard of Steve Earle, and because of his politics theres a good chance you haven't, buy this CD. There has never been a better album recorded, in any genre of music. And there never will be.

Great songs, too much bombast.......2006-09-30

Steve Earle was coming off the release of "Copperhead Road," before he made this album. That disc showed him turning from a countrified Bruce Springsteen to a straight-out rocker with an eye for the mindset of the underdog. "The Hard Way" continues the trend - detailed story-songs like "Justice In Ontario" and "Billy Austin," an anti-death penalty tale that is among Earle's top works. The Dukes sound like bobcats in a bag snarling to get out, all broken glass and motorcycle engines (one of which would have better if it had been absent from the song "This Highway's Mine"). Some of the production seems done just to made Earle seem big and bad, and Id be rather interested in hearing how a song like "Hopeless Romantics" would sound if it were included on one of his later discs. Listeners get a sense of some of Earle's personal problems in songs such as "West Nashville Boogie." It's a wonderful album, but with some flaws not present on other Earle discs.

Steve Earle - The Hard Way.......2006-08-08

The title of the album probably best describes how Steve was doing things when this album was released. I think this album along with Copperhead Road & his earlier releases are definitely his best works. Personally this album is one of my favorite Steve Earle albums & should be in any true Steve Earle cd collection.

September Songs: The Music of Kurt Weill

Average customer rating:

some brilliant renditions, but can't quite all mix together
Cool and Camp
September Song Music of Kurt Weill
It's a long time between January and December
Ain't we Hip?!!?

September Songs: The Music of Kurt Weill

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000029WM
Release Date: 1997-08-19

Tracks:

Mack The Knife - Nick Cave
Ballad Of The Soldier's Wife - P.J. Harvey
Alabama Song - David Johansen
Youkali Tango - Teresa Stratas
Lost In The Stars - Elvis Costello
Pirate Jenny - Lotte Lenya
Speak Low - Charlie Haden
Oh, Heavenly Salvation - The Persuations
Lonely House - Betty Carter
Surabaya- Johnny - Teresa Stratas
Furchte Dich Nicht - Mary Margaret O'Hara
September Song - Lou Reed
Mack The Knife - Bertolt Brecht
What Keeps Mankind Alive? - William S. Burroughs

Customer Reviews:

some brilliant renditions, but can't quite all mix together.......2006-10-19

I like the spirit of this album, which is to let the music of Kurt Weill attach itself to the many worlds it came from. This was classical music that also used elements of popular music at the time, all with a very dark and almost mechanical tone. So it would seem fitting to have exquisite voices like Teresa Stratas rub elbows with darker elements like Nick Cave in this collection. There are also the jazz influences developed by Charlie Haden and Betty Carter.

In all, there are some brilliant interpretations of Weill here. I am a fan of Cave's "Mack the Knife" and David Johansen's "Alabama Song," and how can someone NOT like Lotte Lenya herself on "Pirate Jenny" and the drolling of the immortal William S. Burroughs talking through "What Keeps Mankind Alive?"

But other tracks feel to be just too short of brilliance. I love that Lou Reed tries to turn "September Song" into a kind of rock ballad, almost a VU "It Was a Pretty Good Year," but the rendition seems a little short of energy and falls flat after a while. Elvis Costello, though magnificent as an overall artist, just doesn't bring new life to "Lost in the Stars."

Perhaps the problem in the end that the choices were a little too much of the Top 40 Weill (if there really can be such a term). These are songs that have for a long time been regarded as the best of Weill, and it might have furthered the purpose of his music to find new gems and bring them into the sunlight.

Cool and Camp.......2006-08-24

This is a very biased review- I originally had much of Weill's work on cassette tape- way back in the olden days- before CD's- so I am already very partial to many of the tracks on this CD- I would recommend it not only to Kurt Weill fans, and the fans of the various artists featured, but I would also strongly recommend this to anyone who likes artsy, camp, fun burlesque, Bohemian European stuff. The record, even though performed by contemporary artists still retains much of it's zeitgeist, it evokes the era in which Weill was writing and it rounds out any great eclectic record collection. It's a great musical discovery for fans of all sorts of genres, and EVERYONE should own at least one recorded arrangement of "Mack The Knife". (You know, for parties and stuff!)

September Song Music of Kurt Weill.......2006-08-22

Songs from the film-documentary done by various artists. Excellent choice if you like Mr Weill's music. I saw the film and always wanted the CD. Now I have and I recommend it highly.

It's a long time between January and December.......2004-06-11

Kurt Weill is one of those composers who juggles Jewish angst with Catholic guilt: and possibly vice versa. As a collection, it is nonpareil. Each interpretation becomes a definitive reading of the "song". Lord, it is one of the best assemblies of contemporary artists going. Lou couldn't be better; Ms O'Hara, in fine form, performs her deranged puppet-dance to the X. OK. An unknown. Roping-in, such a postmodern figure as, well, you-know-who, to orate Weill's lyrics is never less than exceptional. An amazing collection. Is there a DVD?

Paul

Ain't we Hip?!!?.......2003-07-23

This is the avant version of these songs, everything done with that Downtown fingers-across-the-blackboard screech. They even got Johanson doing it, which is no less than amazing. The sole exception is the Persuasions' "O Heavenly Salvation", but one song does not an album make.

Tracks:

Gonna Fly Now (Theme From 'Rocky') - Bill Conti
Theme From 'Ben Casey' - Valjean
Theme From 'The Apartment' - Ferrante & Teicher
The Long Ships (Part 1) - Charles Albertine (mono)
The Day The Rains Came - Raymond Lefevre (mono)
Beautiful Obsession - Sir Chauncey
Theme From 'The Sundowners'- Felix Slatkin
Chariot (I Will Follow Him) - Franck Pourcel
That's The Way With Love - Peter Soffici (mono)
Theme From 'The Dark At The Top Of The Stairs' - Percy Faith
Theme From 'A Man And A Woman' (from The Soundtrack) - Francis Lai
Route 66 Theme - Nelson Riddle
Moonglow & Theme From 'Picnic' - George Cates (mono)
Swinging Sweethearts - Ron Goodwin (mono)
Ringo's Theme (This Boy) - George Martin
Song For Anna (Chanson D'Anna) - (Herb) Ohta-San
Nadia's Theme (The Young & The Restless) - Barry Devorzon & Perry Botkinc Jr.
Danny Boy - Sil Austin
Trumpeter's Prayer - Tutti Camarata
One Moment In Time - Vienna Symphonic Orchestra (VSOP)

Album Description

A spectacular follow-up to Volume One in this instrumental series featuring 15 songs that have never been on a U.S. CD before. But this set isn't just for collectors, but also for listeners. All recordings have been digitally mastered from the original master tapes & are in True Stereo wherever possible. Includes a full 8-page booklet with detailed liner notes on each song.

Customer Reviews:

A Slight Innacuracy.......2007-06-13

The version of "Nadia's Theme" (Theme from The Young and the Restless) isn't actually the one you're expecting. I believe it's actually the original arrangement made for "Bless the Beasts and the Children". So what later became the Young and the Restless theme (the one that was a hit) still remains unreleased on CD.

Hopefully, we can see that version on a future release. Maybe they could get "Little Ballerina Blue" on one while they're at it.

Still, some great stuff here.

Excelente .......2007-03-22

El tema de nadia es una de las canciones mas excelentes de la historia de la musica

Hard to Find Orchestral Instrumentals, Vol. 2.......2006-03-22

The purchase went as we had hoped. The delievry was as promised, and the quality of the product equal too, or above our expectations.

Not totally an instrumental.......2006-03-10

I was excited to find this album. I bought it but was horrified to find a loud vocal on the first track. The rest of the music is all instrumental but this one track simply JARS you when it plays. Very disappointing!

Another Collection You Wonr Find Anywhere else.......2003-05-06

Well, ERIC records has done it again.

Continuing their unique practice of giving us both well known hits and impossible to find rarities, Eric presents Volume 2 of "Hard to Find Orchestral Instrumentals". This one is, in my opinion, even better than the first.

First off, the sound quality of this disk is ASTOUNDING. ERIC has gotten the various reissue departments to provide them with absolute first generation mono and stereo masters and this CD proves it. The aural quality is breathtaking. The fact that Orchestral music is so beautifully suited for true stereo playback is exhibited here, as a whopping 15 of the 20 tracks are True Stereo and sound magnificent.

There are, of course, the big soundtrack hits here, like 'The Day The Rains Came" "Rocky", "Ben Casey", "Theme from The Apartment", and " Nadias Theme". All top 30 and well remembered. However, for this 43 year old fan, it was the some of the lessor known tracks, in particulatr the 1963 Colpix low level charter "Theme From The Long Ships" that really makes this collection the gem that it is. Outstanding tracks include "Theme From The Sundowners" , "The Dark At The Top of The Stairs" and "I Will Follow Him" , all tracks that will suddenly sound familiar again after first listen.

Therein lies the BEST part of this collection. When you put this on your player, you will be treated to a nostalgic feast,
a time when the magic of Orchestral music still ruled the charts, and existed in all our homes. And you'll certainly remember most of these once you hear them, which is the fun part!!

There arent enough great things I can say about this collection AND its sister CD "Hard To Find pop Instrumentals- Part 2" I personally liked this volume better, but if you dont have either yet, give yourself a musical treat, and some REAL listening enjoyment and pick these up...

Its listening the way it used to be.

Tracks:

I'm An Old Cowhand
I'm An Old Cowhand (Alternate Take)
Solitude
Come, Gone
Come, Gone (Alternate Take)
Wagon Wheels
There Is No Greater Love
Way Out West
Way Out West (Alternate Take)

Amazon.com

Widely acknowledged as the most significant and accomplished tenor saxophonist in the world, Sonny Rollins's recording legacy is nothing short of extraordinary. Beginning as a sideman in the late-'40s, he worked with Charlie Parker, Fats Navarro, Bud Powell, Max Roach, Clifford Brown, Thelonious Monk, Art Blakey, and Miles Davis. Since recording his first date as a leader in 1954, Rollins has recorded dozens of albums for numerous labels, eventually settling in for a long stay on Milestone. Way Out West, recorded in 1957, is one of two superb albums cut for the small, California-based Contemporary label (the other is 1958's Sonny Rollins and the Contemporary Leaders). Although a consummate sideman, Rollins rarely seems at ease with his pianists on his own dates, and Way Out West's trio format, with bassist Ray Brown and drummer Shelly Manne, dispenses with that problem. The tenorman's playful humor is evident in the album's selections, which include such unlikely candidates as "Wagon Wheels" and "I'm an Old Cowhand"--both elevated to previously unimaginable heights. This is a remarkably confident album--relaxed, swinging, thoughtful and deeply satisfying. And just in case that's not enough, the cover photo, featuring Rollins in Stetson and holster with his horn on his hip, is about as cool as it gets. --Fred Goodman

Customer Reviews:

Classic cover art, but the music is even better.......2007-05-21

This album is routinely mentioned as a classic and one of Sonny Rollins's best. For whatever reason, that acclaim doesn't translate into the same popularity attained by Saxophone Colossus. Nevertheless, if you like Sonny Rollins's playing or jazz from the mid-to-late 50s then you should definitely put this one in your shopping cart.

Sonny was one of the big innovators of the saxophone trio format -- saxophone, bass, drums -- and this was his first recording with such a lineup. Getting rid of the piano has several implications. The first is that the harmonies become a lot less obvious to the listener without the piano banging out the chords every few seconds. The second is that there's a lot more pressure on the musicians --- particularly the saxophonist, but also the bassist -- to generate interest without using piano solos as a crutch. There's a lot more space to be filled in, and in the hands of lesser musicians this space would turn into gaping holes.

Fortunately, Sonny Rollins is one of jazz's greatest improvisers. The fact that he doesn't have to share solo space with a pianist on this recordings means he can let loose some brilliant, unfettered and uninterrupted improvisations. There's a LOT of Sonny's playing on this album. Sonny's notorious for the humor/wit in his playing and there's a ton of that here.

Sonny's companions on this date for Contemporary Records were bassist Ray Brown and drummer Shelly Manne. Manne was one of the premier drummers on the west coast and appeared on a lot of Contemporary sessions. Manne wasn't a "power drummer" like most of the drummers that appeared on Sonny's east coast recordings (Philly Joe Jones, Art Blakey, Elvin Jones, and Max Roach). That means that he's content to be an accompanist rather than an almost equal partner a la Max Roach.

The compositions offer a nice amount of variety. "I'm an Old Cowhand" is the kind of semi-cheesy tune that Sonny specializes at transforming and gives the album a great start. "Come, Gone" is just straight-up fast bebop. "Solitude" and "There Is No Greater Love" are intense ballad performances. "Wagon Wheels" is a medium-tempo jam, and "Way Out West" closes the album on a jaunty note. The overall mood is more mellow and introverted than Saxophone Colossus; the album was recorded in the middle of the night, so this is not surprising.

One annoying thing about some versions of this album is that the alternate takes are placed in the middle of the album (immediately following the masters), destroying the album's original sequence. I recommend looking for the now-out-of-print 20 bit remaster or any other version that places the alternates at the end of the album, where they belong. The alternate takes are actually fascinating to explore once you get to know the original album, as two of the tunes are given much longer explorations.

This album is highly recommended and an essential part of any collection. If you like Sonny in a trio format, other albums to check out are A Night at the Village Vanguard (Blue Note), The Freedom Suite (Riverside/OJC), and East Broadway Rundown (Impulse!). I'm probably forgetting some others. And of course, if you haven't heard Saxophone Colossus, be sure to pick that one up.

Saxophone, Bass and Drums make a great Trio. .......2006-10-26

Sonny Rollins, Ray Brown and Shelly Mann are all superb on this 71 minute album. It comprises 6 tunes; three of which have alternate takes added as bonus tracks. The originals and alternates are similarly compelling. Although my personnal favourite is Wagon Wheels, all 9 tracks are excellent.

The uncanny sense of space and the Western mood created by the trio make the cd great listening.

I am a big fan of Sonny Rollins and his happy, muscular, witty, rich and edgy sound. This album sees all three musicians in marvellous form, with the rhythm section brilliantly creating the illusion of movement.

I would recommend this as THE album to buy to begin a Sonny Rollins collection.

No words can adequately describe the treat that awaits you; however some may point in the right direction. They are; lyrical, witty, warm and imaginative. Way Out West is most original and is one of my favourite cds.

Perfect production........2006-08-31

It's Sonny Rollins trio. Can somebody play better in late 50's ? And perfect production too. Like band's playing in my living room. I love similar productions, it's the best in jazz. Only two songs are composed by Rollins, but no problem in his music is essantial his solo playing. No highlights, whole album is perfect with beautiful resourceful playing. Must for any true jazz fan.

Way Out;Best.......2005-12-15

Sonny Rollins appears to be at the top of his game on this album,he recorded in '57,with Shelley Manne on drums and Ray Brown on bass.I just don't understand why he felt he needed to take off '59 to '61 from public performing to practice on The Williamsburg Bridge before coming back with 'The Bridge';maybe seeing him on the bridge could beat 'Way Out West' and 'The Bridge',but nothing else could. I also can't understand why 'Way Out West' includes two takes of some of the tunes,beginning with
'I'm An Old Cowhand';it was brilliant on the first take...and the second..

I Must Have Been Sleeping........2005-10-08

Believe it or not, this reviewer has been a Jazz fan for years and surprisingly had never heard anything by Sonny Rollins until this week with the purchase of "Way Out West". I must say that listening to this album was like unlocking a door to a mansion (like my discovering of John Coltrane was) and there definitely will be more Sonny albums making their way to my collection soon.
With that out of the way, onto the music itself: "Way Out West" was recorded in 1957 and finds Rollins playing in a piano-less trio backed only by bassist Ray Brown and drummer Shelly Manne. The liner notes to the album state that the three musicians hadn't played together before until this recording session. You'd never know it by listening to this album though. Rollins, Brown and Manne play off each other effortlessly and are like six hands in a glove. It's as if they'd played together for years.
On the upbeat tracks, "I'm an Old Cowhand", "Come Gone" and the title track, Rollins and his trio really swing and leave plenty of space for improvisation and soloing. "Come Gone" is an especially prime example of this.
The same can be said for the slower ballad-oriented pieces. Sonny's take on Duke Ellington's "Solitude" is superb and soothing and is a real standout. "Wagon Wheels", while not neccesarily a ballad, is also a standout with its mid-tempo blues-like runs.
Besides the original tracks that made up the album, there are also three alternate takes tacked on as bonus tracks. The alternate version of "I'm An Old Cowhand" is arguably stronger than its master take and is also twice as long running at 10 minutes rather than five and a half. The alternates of "Come Gone" and the title track are performed in such a way that they almost become different pieces of music altogether. Rollins solo in the alternate "Come Gone" is more raspy and edgy which gives the impression that this take was recorded live in a club rather than a studio. It's fabulous too.
With that said, "Way Out West" is an excellent first choice for the emerging Sonny Rollins fan. The playing is excellent and the musicianship is flawless. The only minor complaint is that the bonus alternate takes are presented on the CD after their master take counterparts (example: The master take of I'm An Old Cowhand is immediately followed by its alternate take as is "Come, Gone" and "Way Out West"). They should have been sequenced at the end of the disc following the original album tracks. Apart from that, who really cares? This is a great album with great music on it.
Essential!!

Dreamgirls in Concert (2001 Concert Cast)

Average customer rating:

Dreamgirls 2001
Not the real "DREAM" experience
Absolutely brilliant!
Amazing!!!!!!
One Night Only

Dreamgirls in Concert (2001 Concert Cast)
Henry Krieger , Audra McDonald , Brian Stokes Mitchell , Emily Skinner , and Darius de Haas
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005Y4P4
Release Date: 2002-02-26

Tracks:

I'm Looking for Something, Baby
Goin' Downtown
Takin' the Long Way Home
Move (You're Steppin on My Heart)
Scene: Fifty bucks says the Dreamettes don't win
Fake Your Way to the Top
Scene: It ain't working, Marty
Cadillac Car
Cadillac Car (On the Road)
Cadillac Car (Recording Studio)
Scene: I don't believe they can do that
Steppin' to the Bad Side
Scene: I'm working on a long shot
Party, Party
I Want You, Baby
Scene: I'm a woman now
Family
Scene: What are you doing to that girl?
Dreamgirls
Press Conference
Heavy
Walkin' Down the Strip/Scene: Las Vegas
It's All Over
And I Am Telling You I'm Not Going

Tracks:

Opening Act II: Dreams Medley
Scene: Effie White is the best singer you're gonna find
I Am Changing
Vogue Sequence
When I First Saw You
Ain't No Party
I Meant You No Harm
The Rap
I Miss You, Old Friend
One Night Only
One Night Only (Disco Version)
I'm Somebody
Hard to Say Good-bye
Dreamgirls (Reprise)

Amazon.com

A Chorus Line may be better known, but Dreamgirls was a towering achievement for director Michael Bennett. Loosely based on the Supremes' story, the 1982 musical told a typical show-biz tale of fame, backbiting, and survival. As is often the case for one-night only events, the cast in this concert version (recorded in New York on September 24, 2001) is led by an eye-popping assortment of Broadway powerhouses: Lillias White (The Life), Audra McDonald (Ragtime, Marie Christine), and Heather Headley (Ragtime). McDonald reveals a previously undisclosed comic streak, while Headley confirms her status as a rising star. Reprising the role of Effie Melody White (created by Jennifer Holliday), White belts the classic "And I Am Telling You I'm Not Going." But the beauty of Dreamgirls is that it's so packed with catchy, Motown-influenced R&B numbers that each lead can sink her teeth into some prime material and get a turn in the spotlight. This double-CD set really makes you wish you'd been there when the show was recorded: you can hear the crowd going berserk at times, and the temptation is strong to do the same thing in the comfort of your living room. --Elisabeth Vincentelli

Customer Reviews:

Dreamgirls 2001.......2007-06-27

This was the worst reproduction of Dreamgirls that I ever heard. I was so disappointed the CD went into the garbage. This is one CD that I would not sell to the public because I expect so much and get so little.

Not the real "DREAM" experience.......2007-04-04

Forget about the film sountrack. Get this CD set. And it's far better than the original cast recording which goes lacking. More songs and more everything that makes a live performance just what it is. Live (compared to film where anything can be done to enhance a performance!) -- the energy, the excitement and the performances make this a rare treat for anyone wanting to share in the real DREAM experience.

Isn't a full Broadway revival long over due. But wait: I've heard rumors that a rvial may be "in the works. I certainly hope so. Maybe this time it will receive the Tony award it deserved in the first place.

Absolutely brilliant!.......2007-01-28

There is atleast 5 new songs on this album that were not in the movie! These girls kill it I mean they are just amazing singers, and this all live! This is needed for any Dreamgirls fanatic like me! You are gonna love it! Enjoy! love live laugh :)

Amazing!!!!!!.......2006-12-04

As a theatre lover, this recording is amazing. I actually prefer this recording to the OBC. Sheryl Lee Ralph is okay, but can't touch Audra's Deena. The first time I heard Ms. White's "And I Am Telling You..", goosbumps all over my body. The only weak cast member in my opinon is Heather Headly. Vocally, she just isn't there. Too much Aida, not enough Dreamgirls. But all in all, a great live recording of a great show.

One Night Only .......2006-07-19

I was lucky enough to attend this One Night Only concert performance of Dreamgirls and it was a night I will never forget!! The cast was brilliant and the cd is as good if not better than the Broadway cast recording because it is the entire show not just the songs. Bravo to everyone involved !!!

Average customer rating:

For completists only
good, but imperfect - message album
FZ Journal #33
Great band, but some of the humor is dated
The Hard Way indeed

Broadway the Hard Way
Frank Zappa
Manufacturer: Zappa Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000009TI
Release Date: 1995-05-02

Tracks:

Elvis Has Just Left The Building
Planet Of The Baritone Women
Any Kind Of Pain
Dickie's Such An Asshole
When The Lie's So Big
Rhymin' Man
Promiscuous
The Untouchables
Why Don't You Like Me?
Bacon Fat
Stolen Moments
Murder By Numbers
Jezebel Boy
Outside Now
Hot Plate Heaven At The Green Hotel
What Kind Of Girl?
Jesus Thinks You're A Jerk

Customer Reviews:

For completists only.......2007-01-04

I have to respectfully disagree with all the reviewers praising this album. Of the 3 albums documenting FZ's 1988 tour (along with "Make a Jazz Noise Here" and "The Best Band You Never Heard In Your Life") this is the worst. In fact, I would put it at the bottom end of Frank's entire catalogue.

There are a number of reasons why this album is largely unsatisfying. First off is the sound. Frank was always on the cutting edge of musical technology, which means that this and other 80s albums make extensive use of synthesizers and other electronic gadgets from the decade. Oddly enough, this makes the album sound much more dated than his work from the 60s and 70s. The synthetic sound just doesn't carry the same kind of power as analog instruments, and the music sounds rather passionless as a result.

Second is the humor. This is Zappa by way of Dr. Demento (in fact, I know that "Elvis Has Just Left The Building" among other songs from this album were staples on the Doc's novelty radio show). Zappa's musicianship and brilliant compositional skills take a back seat to his self-indulgent humor, which isn't even among his best humor anyway. It's not that I disagree with his politics, but I prefer the Zappa that foregrounds music, not jokey lyrics. Remember in 200 Motels when the band complained about having to play "Zappa's comedy music"? Well, this helps you understand them a little better.

The music itself is poor in some spots. "Any Kind of Pain" is truly a low-point in Frank's songwriting, a barely tolerable soft-rock "parody" that sounds too much like authentic soft rock! There are some good tracks, however, such as "Stolen Moments" and an excellent solo on "Outside Now." "Murder By Numbers" featuring Sting is also good fun. But overall, they don't do enough to save this album. The only reason that I own it is because I'm a hardcore Zappaphile and completist. 3 stars is, honestly, a generous appraisal; this would be max 2 stars if it was any other artist but Zappa. Only those who must own all of Zappa's works, or those who are self-professed fans of, ugh, "novelty" music should pick this one up.

good, but imperfect - message album.......2005-12-17

On one hand, listening to this album in 2005 it makes me sad to think that so many of the issues, if not the personalities mentioned, are still topical today! Oh, Frank! Where are you, now that we need you more than ever! Getting off track a bit, listen to the "Central Scrutinizer" intro on "Joe's Garage" - the bit about enforcing the laws that haven't been passed yet, and about "cruel and inhuman punishments are being described in tiny paragraphs so as not to conflict with the constitution". Frank's dystopian vision is now reality!

This album has his most direct social commentary, and he names names. This has the effect of dating the material. Also honestly the song quality itself is a bit weak. These are all message songs. Stripped of their message they don't really stand up to Zappa's better stuff.

I do like the inclusion of "Murder by Numbers" - very topical and humorous (and a good song). Also, this WAS the album that introduced me to "Stolen Moments" way back then.

By the way, I remember when I saw Zappa on the '88 tour, the encore was a meddley of Beatles songs with new Swaggart-related lyrics - "Lucy in the Sky With Diamonds" became "Floozie and a Whore With Herpes" - absolutely hilarious! I don't think he ever released that (a great omission). If you ever find that, pick it up!

FZ Journal #33.......2005-06-28

Zappa's taste for juxtaposition might be satisfied by my recent interest in this album. Although recent study has pushed my listening towards the earlier studio recordings in his career, I have had an interest in re-listening to this (mostly) live album from 1988. The majority of his rock-styled work from this period was recorded live, and in some ways it is the ultimate realization of his vision in that format.

The 1988 band was his most virtuosic and exhaustively rehearsed. Rumor has it that by the time they hit the stage, they were well-versed in over 160 songs. This band was able to take the jarring changes in style and tempo that epitomized Zappa's studio work and render them in a live setting, as well as react to Zappa's instinctual whim flawlessly. In the end, the live performances of this group rivaled the best studio productions of any of Zappa's previous bands. This is one of the few recordings containing material that can be attributed to that line up as "original". The later Best Band and Make A Jazz Noise Here albums concentrated on re-arrangements of classic Zappa and cover material with relatively little "new" material.

Broadway the Hard Way generally gets its lyric and conceptual inspiration from the political and cultural climate of the late `80's. Some examples of the subject matter are televangelism, supermodels, homosexuality, rap music, Jesse Jackson, Michael Jackson, tabloids, blue-collar workers, and prostitution. Again, Zappa's ability to take snapshots of American life (sometimes with red-eye intact) is disturbingly direct. However, one gets the feeling that Zappa is tempering his message a little to increase its accessibility.

To accentuate this message, Broadway the Hard Way is bursting at the seams with musical quotes for the dedicated listener. To cite all of the bursts of melodic material on the album could be an exhaustive endeavor. Themes from Dragnet, Devo, the Beatles, Star Trek, Michael Jackson (again), Frank Zappa ("Dickie's Such an A**h*le"), and a wide range of traditional American patriotic music all pops out at Zappa's request with mind-boggling precision. As an example, trying to cite all of the quotes on "Rhymin' Man" may well result in a scramble for the "pause" and "rewind" button.

Of personal interest, I have been curious about the evolution of Zappa's guitar playing after using xenochronus guitar solos in the studio in the years leading up to his formation of the 1988 band. If you consider his work on Hot Rats as a benchmark, the changes in his soloing style show this self-influence. His soloing on Broadway seems both harmonically and rhythmically freer than his `70's work. Especially on "Outside Now" he only seems to take a passing interest in the already loose harmonic environment. However, unlike his xenochronus studio solos, he proves that he is actually interacting with the rhythm section by popping into a more interactive "live" mode periodically. His ability to switch between the two mindsets is effective and impressive. "Hot Plate Heaven" is also a very impressive example of the influence on xenochrony on his live arrangements and his soloing within that arrangement.

Great band, but some of the humor is dated.......2005-01-11

What a great band Zappa assembled for his final tour in 1988. These guys are amazing musicians all around and able to play anything Zappa could throw their way. This was the first of 3 live albums from that tour: "Broadway The Hard Way", "The Best Band You Never Heard In Your Life", and "Make a Jazz Noise Here". Each of the three live albums cover a different aspect of Zappa's music for that final tour. Broadway The Hard Way is the most overtly political and satirical of the three and is comprised largely of new material while MAJNH is almost entirely instrumental and TBBYNHIYL is dedicated to older, less political material.

Broadway The Hard Way takes some excellent swipes against Bush (the first of course), Ronnie Raygun and Jesse Jackson. Of course Michael Jackson gets roasted too in the funny Why Don't You Like Me? Not to mention Pat Robertson and Jimmy Swaggart: those idiots make such perfect targets for ridicule it's like shooting fish in a barrel. Sting makes a good cameo in the song Murder By Numbers which also has a nice guitar solo from Frank.

I have to say I'm more of a fan of Franks instrumental compositions and guitar playing than I am of his lyrics and political commentary and of the three albums Broadway is the weakest, not by much though. There just isn't enough guitar or compositional might (there are some smoking solos though) to give Broadway the Hardway five stars. The political humor/satire is pretty funny, but dated. It relates to the politics of the time: 1988 and if you don't remember what was happening then (does anyone remember Henry Cisneros?) or aren't American you might not get a lot of it.

Don't get me wrong, this is an excellent album. The satire/humor even though dated, is spot on and the playing/arrangements are great: excellent horn playing and drums, not to mention everything else. I'd definitely get Make a Jazz Noise Here and The Best Band etc. also if you really want to hear how good these guys were.

The Hard Way indeed.......2004-04-19

There are a lot of new songs on this disc that had not been recorded by Zappa prior to (and naturally not after) his world-tour in 1988 (his last). This is the first out of three albums ["Broadway the Hard Way", "The Best Band You Never Heard in Your Life", and "Make a Jazz Noise Here"] to be released with material only from the (4+ month long) 1988 tour. It generally features the least amount of guitar-solos of the three, but consists musically of everything from country to jazz. There's even a rap number, which musically (considering it's the late 80's) is pretty up to date.
Incidentally, some numbers from this tour can also be found on "You Can't Do That on Stage Anymore" volumes 4 and 6.
There are no overdubs on this album, but a lot of the songs are cut together, part by part, from different shows. "Why Don't You Like Me?", for instance, is cut together (at seven points) from four different shows, and the 9+ minute "Jesus Thinks you're A Jerk" is cut together (at 22 points), from 12 different shows. At times the cutting is very noticeable (and hurts the rhythm section), but for the most part it works. There are only six songs that are performed uncut from beginning to end. One of them is Sting's "Murder by Numbers", performed by the man himself - yes, during a concert in Chicago on March 3rd, Sting joined Zappa and his band on stage, and sang this number. What is amazing about this band is that they knew 190+ songs of which Zappa could call off any at any point. During the tour the band performed 116 songs in front of an audience - here are 17. A warning, though: You may have heard "Why don't you like me?" and "What Kind of Girl?" before without knowing it; they're renamed (because of new lyrics) versions of "Tell Me You Love Me" and "What Kind of Girl Do You Think We Are?"
Five years ago, when this albums was new to me--and I didn't know anything about the recording-details--I'd have given it 5/5 stars. Now, after an endless amount of careful listening I can't say I'd feel comfortable giving it more than 3.5 or 4 ...hard to decide, because it IS a great band!

Average customer rating:

Moved to review
A Throwback to Rock Glory
They should have broken up after Permission to Land
A vast improvement over Permission to Land
Great Sohpmore Effort

One Way Ticket to Hell...And Back
The Darkness
Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B000BP86OG
Release Date: 2005-11-29

Tracks:

One Way Ticket
Knockers
Is It Just Me?
Dinner Lady Arms
Seemed Like A Good Idea At the Time
Hazel Eyes
Bald
Girlfriend
English Country Garden
Blind Man

Amazon.com

More than 3.5 million debut records sold are enough to stuff any band from Lowestoft, UK, with a follow up full of bohemian rhapsody, and with one-time Queen producer Roy Thomas Baker in tow, the Darkness has managed to parcel its sophomore effort with notoriously ogress riffs and (Freddie) Mercurial bravado. Led by audacious (and high-octave) singer Justin Hawkins, the foursome channels the pompous arena rock of the late-seventies with flaunting glam bands like Slade and T-Rex, parading mellotrons, flugelhorns, sitars and saxophones into a bawdy mix already conquered by double-barrel Gibsons and layered vocals. While the assemblage of power ballads ("Dinner Lady Arms," "Hazel Eyes") hearkens back to mid-eighties MTv, the Darkness brightens the play list with hook-heavy rockers like "Is It Just Me," "Seemed Like a Good Idea at the Time" and "Girlfriend." And with a sarcastic spirit and stretch-limo approach, there's no telling whom the band might round up to produce its third record. Is George Martin available? --Scott Holter

Album Description

The Darkness return with their second album, One Way Ticket To Hell...And Back. Everything you've heard is true. All of it. The exhaustion and the fear, the pressure, paranoia and pan pipes, the breakdowns and break-ups, the sackings, sitar solos and endless studio sessions and now ultimately-with this, their second album-the rebirth and redemption of The Darkness.

Customer Reviews:

Moved to review.......2007-06-18

I've recently pulled out my copy of "One Way Ticket to Hell...And Back" to verify a few parts of the title track (which I have been singing (apparently successfully) at karaoke (GASP!)). Though I've always enjoyed this album, I was surprised to find out how much better the album is than I remembered. "Dinner Lady Arms", with its "sensitive" verses full of chiming guitars and '80s-on-the-Sunset-Strip chords (not to mention its Boston-styled acoustic-guitar-chugging-next-to-stacks-of-Marshalls and über-harmonies) should be a summer single, and has been treated as such in my car stereo. "Knockers" is a fun number (that does *not* refer to, um, blinkers) that seems to best recall the first album. "Is It Just Me?" and the title track are fist-raising numbers that must absolutely kick solid a** live (because they do a fine job of it on album), and "English Country Garden" is just manic. Anyone wanting catchy choruses, walls of guitars and well-prepared basslines (not to mention excellently-recorded drums) come right here.

But what REALLY prompted me to write a review were other reviewers' comments that The Darkness does not surpass their influences. I want to put a stop to this before another GREAT band is basically ruined in an attempt to become truly "original". Safely put, "original" flew out the window when everybody and their dog saw their back catalogue released on CD. Lindsey Buckingham was taking inspiration from the Everly Brothers on the verses to "Go Your Own Way", Boston's Tom Scholz has admitted to being inspired by the James Gang's "Tend My Garden" for his classic "More Than a Feeling", Marvin Gaye's smash single "What's Goin' On" was stalled by the brass at Motown because they thought it was too "old hat" for their scene ("Nobody does scat anymore!"), and no one will ever convince me that '80s hair metal bands such as Poison and Motley Crüe didn't take a page from '70s glam (and not only in fashion). The reason why these bands/artists were considered original (as compared to maybe the Darkness) is that their influences were kept relatively obscure (I mean, come on, how many youth today know of "Tend My Garden"?). Today's discerning listener knows of Slade, Boston and Queen beforehand (not to mention many a band who've unsuccessfully tried to match this powerful trio). But please LAY OFF The Darkness for being "unoriginal"! I will fully proclaim my Revisionist's Cry of "Recognize the good, eschew the bad, and make it better this time around!" And that is a challenge to which I feel The Darkness answer in spades. And to add to that the fact that they are often tongue-in-cheek, it makes their harmonized operatic falsetto vocal parts and bent-note guitarmonies (check out that "WHOOMWHOOMwhoomwhoom" effect little over a quarter into the solo of "Dinner Lady Arms" after the orgasmic squeal of three guitars in one... sheer genius, whoever recognized that one) even MORE appealing. This is an album that took time and effort to create, and just like the first Boston album, all that sweat paid off. The reason why I am not giving it five stars is because half the album has yet to plant itself into my memory (I'm too busy listening to the other half), but this is already two to four great songs more than a lot of '80s hair band albums... and would you give Boston's "Don't Look Back" anything less than four stars, even if Side 2 is undercooked? Didn't think so. RAWK ON!

A Throwback to Rock Glory.......2007-05-14

With the driving guitar riffs and screeching vocals, The Darkness represents a throwback to the glory days of bands such as AC-DC and Van Halen. This is excellent music to drive fast to, or to work out to. I discovered after being pulled in by their one big recent hit "I Believe in a Thing Called Love" from their album "Permission to Land". After hearing the tracks on this album, I realized I had stumbled on a hidden gem of a band.

They should have broken up after Permission to Land.......2007-04-25

I read somewhere that The Darkness almost broke up after the success of their first CD. They should have if this is their idea of a follow-up. Where did the fun and great riffs of Permission to Land go? These songs are awful. They wander round and round and never go anywhere. Instead of the silly lyrics of the first CD, sometimes here they try to sound serious and end up sounding ridiculous. The music is trying hard to be Queen but that's a unique style and hard to pull off. The Darkness come away sounding as if they have no idea how to write a song. They should have stuck to the straight ahead approach they employed for Permission to Land. This was one of the worst music purchases I ever made.

A vast improvement over Permission to Land.......2007-02-20

I was skeptical about this CD at first as I had listened to The Darkness' first album, Permission to Land, and didn't care for it at all. With this album, however, The Darkness has grown on me and I highly recommend it -- especially to fans of Queen. At times I get the feeling they're actually channeling Queen through their harmonies, Dan Hawkins' guitar, and Justin Hawkins' falsetto. You'll either love the falsetto or hate it, but you'll have to admit the guy's got talent! My favorite track is 'Hazel Eyes,' which has a sort of Celtic-gone-wild feel to it.

Great Sohpmore Effort.......2007-01-10

I love this album, but don't really know why. The Darkness once again takes their Sweet meets Queen sound and comes up with an album of songs that simply will not leave your head. The Queen comparisons are even stronger on this disc as long time Queen Producer Roy Thomas Baker does the production chores on the album. Instrumentally these guys are nothing spectacular, but put all of the parts in the right places in order to come up with a winning formula. The band never takes itself too seriously and some of the songs, such as "Knockers" and "Bald" are hilarious. The title track rocks with a song about cocaine (band leader Justin Hawkins recently entered rehab for his problem with it. "English Country Garden", "Hazel Eyes", "Blind Man" "Is It Just Me", "Seemed Like A Good Idea At The Time" are all solid rock songs. Justin Hawkins uses his upper register falsetto more on this album than on the first, and your mileage will vary as to whether you find it annoying or enduring. Overall I really enjoy this disc, and it is a great one to crank up in your car.

Average customer rating:

Nailed It!

Way out Willy
Seamus Blake
Manufacturer: Criss Cross
ProductGroup: Music
Binding: Audio CD

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Lawn Chair Society
Pilgrimage
Architect of the Silent Moment

ASIN: B000LP4NSE
Release Date: 2007-02-20

Tracks:

Fear Of Roaming
Badlands
Trust In You
Way Out Willy
Hoi Polloi
The Jupiter Line

Customer Reviews:

Nailed It!.......2007-05-06

This is Blake's finest leader project yet, capturing a cohesive flow that his previous records hinted at but never quite nailed. His compositions all have a natural, if at times edgy feel, and his use of vamps are plentiful and tasteful: here a guitar solo, here a subtly complimented drum solo, here Seamus telling it how it is right up till the end of the tune on "Jupiter Line" and "Badlands".

Of course the all-star cast does this music extreme justice. Stewart's perfect pocket and always improvisatory grooves compliment LeFleming's rock-solid simplified bass lines. Kikoski and Lund offer a unique blend and the type of conversational duet rarely heard of in doubled up comping. Blake's writing, particularly on "The Jupiter Line", fills out the sound nicely and makes full use of both chord instruments throughout the album, neither getting in the other's way.

What really pushes this cut over the edge is its unique sound and its highly conversational aspect. You'll hear old jazzers talk about how things aren't how they used to be, how the great quar- and quintets of the past captured a sound that isn't found anymore. When listening to a track like "Badlands" one is reminded of the sound that Coltrane's famouse quartet captured with "Giant Steps": a soothing yet powerful blend unlike any found elsewhere in music. One feels as if everyone is always on the same page, and there is no question of the honesty and ferocity oozing from all involved.

In the end this is a huge success for an ever-changing artist telling his story. A more primal, traditionally-rooted Seamus playing beautiful melodies is exactly what I was looking for, and he delivers on all accounts.

Rap Music:

Rap Music

rap music

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