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Sergei Prokofiev: Quartets Op. 50 And 92; Quintet Op. 39Se flere produkter fra AmazonFour chamber works by Prokofiev (who did not write many) are included on this Arte Nova disc recorded in summer 1996 by the four members of the all-female Russian String Quartet who met as students at the Moscow Conservatoire. Oistrakh taught the violinists. Their sound is fresh, bold, immediate and urgent. They begin with String Quartet No.1, commissioned for a mere $1,000 by the Library of Congress in Washington in 1930. Prokofiev was a poor exile who took any job offers. There is a determined lightness in the Allegro's leaping theme. The second movement immerses itself in a busy vivace but the third finds homesickness irresistible in a mournful and latterly manic mood. String Quartet No.2 dates from 1941 when the composer was in the Caucasus, safe from the war. Local folk music with its oriental tinges makes its raw presence felt. The best-known track is the Overture on Hebrew Themes for string quartet, clarinet and piano. The clarinet plays the slinky melody with low, Klezmer tone. The disc ends with the Quintet in G minor Op.39 for oboe, clarinet, violin, viola and double bass. Its five movements are composed of clear, hard, beautifully proportioned, neo-classical counterpoint. The Russian String Quartet makes Prokofiev's chamber music a match for Bartók's and this disc enhances his growing reputation. -- Rick Jones Fragt: Ukendt! |
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Jeff Beck Who ElseSe flere produkter fra AmazonIf the album title seems self-assured, it's only truth in labelling. For his last album of the millennium, rock's greatest guitarist teams with an old compatriot (keyboardist Tony Hymas, a staple since 1980's There and Back who co-produces here with Beck) and one of his musical godchildren (Jennifer Battin, long-time tour guitarist for Michael Jackson). The result is a rough musical travelogue of the 80s and 90s that occasionally turns down a dead end. The synth-sequenced backdrops and terse phrasings of "Psycho-Sam", "Blast from the East", and "THX138" recall the fusion reactions on Wired and There and Back (and pose a seemingly heretical notion: did Beck invent techno?). "Space for the Papa" recalls the no-frills structure of Guitar Shop. "Angel (Footsteps)" showcases Beck's unique tone and phrasing, evoking Santo and Johnny swinging on a star, while "Another Place" offers up elegant classicism. "Hip-Notica" proves there's still funk in Beck's blood, even if "Declan" gets mired in New Age overkill. But Beck's shortcomings have traditionally come in framing his incendiary prowess and emotional directness. As a high-profile collaborator once put it, "You fast-forward through that stuff to get to the solos." In that department, Who Else! delivers. The live, unadorned "Brush with the Blues" lets him elevate masterfully subtle riffing into a firestorm of a solo. "Even Odds" (a reunion with Jan Hammer) and "Space" show what a mockery the musician can make of otherwise useful terms such as noise and tonality. If Who Else! occasionally stumbles, it's good to remember what a critic once said of the Marx Brothers: "They never made a film as good as they really were." Beck has made great albums, but few to match his genius as a musician. --Jerry McCulley Fragt: Ukendt! |
Pris 41.72,-
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Stone Sour Stone SourSe flere produkter fra AmazonThe first thing that you should know is that Stonesour is not a Slipknot side-project. Sure, Corey Taylor and James Root are, respectively, the dreadlocked vocalist and the jester-masked guitarist of the Iowa-born metal marauders. But the pair's involvement in Stonesour predates their time in Slipknot, even though this eponymous record is the band's debut. Immediately, it's clear that this is a radically different beast to Slipknot: boasting a grungy, punk-metal edge that points towards a love for Alice In Chains and Metallica, Stonesour turns down the militaristic assault in favour of an intimate, earnest and comparatively conventional heavy rock collection. The beefy opener, "Get Inside" is a meaty rock-out for the dedicated `Knothead. But further in, there's some real surprises: "Cold Reader" and "Monolith" match their intense riffs with a bare lyrical edge far more revealing that any Slipknot song. All the same, neither can prepare you for "Bother"--a confessional, acoustic song that faintly calls to late-period Metallica, Corey singing "Wish I was too dead to care / If indeed I care at all" over keening violins and a mellow guitar line that, impossibly, recalls Eric Clapton. Easy listening? Yeah, but all but the most narrow-minded Slipknot fans should lap it up. And for fans of Corey, well, this might just be the album they've been waiting for. --Louis Pattison Fragt: Ukendt! |
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Joni Mitchell ShineSe flere produkter fra AmazonIn 2002, Joni Mitchell--folk legend and creator of timeless albums like Blue, Hejira and The Hissing of Summer Lawns--went into retirement. Following the release of that year's Travelogue album, she denounced the music industry and at the same time announced plans to pursue her other passion: painting. Shine, Mitchell's 17th studio album and her first collection of new songs in almost a decade, is therefore something of a surprise. Inspired by the need to speak out against warmongering politicos and environmental myopia, Mitchell has written ten elegant, sparse songs that match idiosyncratic arrangements (think chamber folk merged with curious 80s drum sounds and painterly daubs of sax and guitar) with incisive lyricism and her classic story-telling technique. Opening instrumental "One Week Last Summer" sets an optimistic tone, but the album veers mostly between melancholy, introspection, bitterness and even misanthropy. Mitchell's voice is more cracked than it used to be--but there's no denying her passion, nor her continued ability to write engaging tunes. -- Paul Sullivan Fragt: Ukendt! |
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Ja Rule Venni Vetti VecciSe flere produkter fra AmazonWithout DMX, there would be no Ja Rule. When the gravelly voiced Dark Ma n X bum-rushed the rap world, he paved the path for a whole slew of next-generation leathernecks with flows to match. That being said, Rule is a worthy adversary for his oft-maligned peer, managing to combine DMX's signature stuttery, acerbic flow with just a hint of Jay-Z's flash and wit. The production, handled largely by Irv Gotti, is trademark New York thug style, suiting Rule's grumbles to a T. Yet amid the tales of "murda" (and there are many), there are some moments of insurgent sunshine. "Race Against Time" is the thug's lament, no less potent for its obligatory nature. And on "Let's Ride", Rule winks at the ladies, telling them "My style is so touching, it'll wipe your eye". To boot, he prints his lyrics in the booklet, an all-too-rare phenomenon in rap. Caesar he ain't, but emperor for a day? Certainly. -- Jon Caramanica Fragt: Ukendt! |
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Erasure NightbirdSe flere produkter fra AmazonNightbird, Erasure's first album of new and original material since 2000's rather disappointing Loveboat, sees the boys enter a new stage in their long partnership with a self-produced, well-crafted slice of pure synth loveliness, which squashes any rumours that Andy and Vince are no longer the purveyors of fine pop they once were. This is a highly personal project for both Vince and Andy, both in terms of the songs and the production: Nightbird is the first Erasure album to be solely produced by Erasure themselves. Listen to the lyrics and you'll soon realise that this is ultimately about love; both the good and bad sides of it. The 11 tracks represent a nice mix of slow and up-tempo numbers. Ever present are Vince's trademark synths that make up the catchy riffs and simple bass lines, some of which wouldn't sound out of place on some of Erasure's earlier 90s releases, and Andy's vocals sound as strong as ever. Standout tracks on this solid album include "Here I Go Impossible Again", "Because Our Love Is Real" and "I Broke It All In Two". If one criticism can be made, it's the lack of Digimpro: anyone who's tinkered with remixing Breathe, the first single taken from the album, with the free Digimpro software that's on the second CD single will be itching to mix some more. Nightbird, however, is without doubt one of Erasure's best pieces of work to date and, while it doesn't quite match the magic of listening to The Circus or The Innocents, its catchy riffs and clever lyrics will become lodged in your brain for some time. Ultimately, Nightbird has the perfect balance of classic pop tunes and sombre love songs. --Martin S Fragt: Ukendt! |
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Various BaseketballSe flere produkter fra AmazonSoundtracks have been grand experiments in marketing for so long--let's match a bunch of rappers with a bunch of metalheads! electronica-ists with indie rockers!--that it's a relief that the people who put together the BASEketball soundtrack seem to have a simple guiding principle: big, dumb, fun songs that rock. It's an album full of summer-ready singles: there are gimmicky songs (Reel Big Fish's cover of a-ha's "Take On Me," Nerf Herder's "Don't Hate Me," the Cherry Poppin' Daddies' take on Harry Belafonte's "Jump in the Line"), straight-ahead rockers (the Supersuckers, Plastiscene), a couple of radio-crafted rent-a-hits (including one from the once-mighty Soul Asylum), and even a song that's already been a hit (Smash Mouth's "Why Can't We Be Friends"). Granted, Nerf Herder's track might not be a gimmick, since they pretty much always sound that way--but it, like the majority of the album, is a hell of a lot of fun. Hit the beach and turn it up. --Randy Silver Fragt: Ukendt! |
Pris 136.80,-
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Dr. Rubberfunk My Life at 33Se flere produkter fra AmazonRelease Date: 2006-10-09, Audio CD, Gps Fragt: Ukendt! |
Pris 103.66,-
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Ludacris The Red Light District: Parental AdvisorySe flere produkter fra AmazonThink what you want about Ludacris, but no one can deny that he is hip-hop's king of choruses. Luda's hooks are big, brassy, and loud; they're tailor-made for club crowds and radio programmers. Some songs, like "Get Back," practically sound like one long hook, every line a potential anthem. At times, it's easy to forget that Ludacris knows how to rhyme too. His taffy-pull verbal style isn't as lyrically intricate as Nas's (who appears on "Virgo") and can't match Trick Daddy's thuggish bravado ("Hopeless"), but few other rappers exude his level of charisma. On "Number One Spot," Luda acts like he's strong-arming his way to the top, but it's really charm that propels the charge. Even on a song like "Two Miles an Hour," dedicated to "those who spend more on their car than their relationship," he's more clever than clownish in selling the concept. Red Light District has its share of filler, but, track for track, Ludacris still delivers satisfaction. --Oliver Wang Fragt: Ukendt! |
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Shane MacGowan and The Popes Across the Broad Atlantic: Live on Paddy's Day - New York and DublinSe flere produkter fra AmazonFoul-mouthed, feisty, inebriated and linguistically incomprehensible Across the Broad Atlantic captures bladdered wordsmith Shane MacGowan and his sometime Pogues-like backing band--the boisterous but disciplined Popes--doing their foot-down punk-folk thing in front of the lubricated faux-Irish masses on St Patrick's Day at New York's Webster Hall. And splendidly dishevelled stuff it is too. Seeing as it's nigh on impossible to slam dance with a pint of Guinness in your hand, this is a far less messy alternative to actually being there. Even if the Popes have never attempted to match the pan-ethnic breadth of the Pogues music--probably because MacGowan's folk vision doesn't seem to stray very far from the Emerald Isle these days--these riotously tootling accounts of loose women, whiskey and Victorian construction workers are the stuff of Saturday night saloon bar pandemonium. A special mention ought to go to "Fairytale of New York" (where MacGowan duets with his mum) and the deeply personal "Angel of Death" (the last song Hank Williams ever wrote) on which Shane shares another beer with his old drinking buddy, Mr G Reaper. --Kevin Maidment Fragt: Ukendt! |
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Live VSe flere produkter fra AmazonOn Live's fifth album, V, the earnestness of their impressive 1991 debut has completely disappeared. Everything about this album feels forced and overproduced. Electronic beeps and loops swirl through songs like a U2 record gone bad. Guitar solos squeal in overarching metal-band style and front man Ed Kowalczyk's vocals are so overdramatically pained, you can almost feel the veins popping off his neck for the most mundane subject matter. Even the band's use of Eastern influences feels slapped on, as in the intro to the nu-metal disaster "Like a Soldier". The guest appearance by Tricky--a partnership that only Kowalczyk's appearance on the last Tricky album can match in oddity--feels like nothing but a gimmick. What started out as an American alternative rock act has sadly become just another attempt at grandiose sound with invisible substance. --Jennifer Maerz Fragt: Ukendt! |
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Howard Jones Human's LibSe flere produkter fra AmazonNothing can match the greatness of Howard Jones's haircut, which displayed a peculiar early-1980s combination of mop-top and spikes that was so simply wrong it could hardly have been mistaken for anything else. His first (and best) album, Human's Lib, doesn't have the monolithic sterility of his biggest hits ("Things Can Only Get Better"--the woah-woah-woah song--and "No One Is to Blame", which featured Phil Collins). It's also got some of Jones's catchiest numbers, including the charmingly simple "New Song" and "What is Love". It's all of an era, of course, but let it herein be noted that Jones was singing "I don't want to be hip and cool / I don't want to play by the rules" (from "New Song") well before Nirvana and Beck turned such sentiments into a "revolution". --Keven McAlester Fragt: Ukendt! |
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Bob Marley & The Wailers Babylon By BusSe flere produkter fra AmazonBob Marley's second live album, Babylon By Bus, from 1978, had to be pretty damned good to match the incandescence of 1975's Live!. But with glorious performances on songs like "Punky Reggae Party", "Is This Love?" and "Jamming", they came close to equalling it. Maybe there wasn't quite the same amount of inspiration, but the Wailers had matured into a tight unit with Marley the charismatic leader, as this set shows well. And with Marley still at the height of his writing powers, there wasn't a dud song in the bunch. Not so much bus travel as limousine listening. This specially remastered edition makes the glory of the original release even clearer. --Chris Nickson Fragt: Ukendt! |
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Michael Hedges TorchedSe flere produkter fra AmazonTorched is the album Michael Hedges was reputedly working on when he was tragically taken from us in a car wreck in November 1997. It reveals Hedges exploring his fervent desire to be a singer/songwriter, rather than the virtuoso guitarist who influenced a generation of string-pickers. Hedges played the whole guitar, not just the strings, turning it into a tribal orchestra that rendered his gorgeous and often quirky melodies. That Hedges is rarely heard on Torched. Instead Hedges's vocal side prevails. Torched is a scattered collection of nearly completed songs and rough tracks, all highlighting his spiritual search and romantic yearnings. As a singer/songwriter, Hedges was influenced by the 1960s and '70s Jackson Browne-James Taylor axis of earnest proclamations. He's even joined by '60s veterans David Crosby and Graham Nash, who added their harmonies to "Spring Buds" after Hedges passed. On the title track, he sings of spiritual transformation by fire, adding some distorted fuzz guitar to scorched effect. On "Promised Land" he waxes biblical. There are a few instrumentals as well, including "Fusion of the Five Elements," an early, triple-speed demo for the song that wound up as the title track to Oracle, Hedges's last official album. Other pieces like "Dream Beach," "Arrowhead," and "Ursa Major" would have fit comfortably on Oracle with their wistful melodies and arrangements that have Hedges playing flutes, percussion, and keyboards in addition to guitar. Posthumous albums are always problematic. We'll never know if Hedges actually wanted these tracks to be released, and over all the vocal songs don't match his more carefully articulated Road to Return vocal album from a few years back. With Torched we're left with embers from a musician who usually gave us bonfires of brilliance. --John Diliberto Fragt: Ukendt! |
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Sarah McLachlan Mirrorball: Greatest Hits LiveSe flere produkter fra AmazonGrafted from McLachlan's supremely satisfying 1998 performances, Mirrorball is drawn almost equally from Surfacing and its superior predecessor, Fumbling Towards Ecstasy. Live, a haunting ballad such as "Possession" becomes a fevered, aggressive bit of psychedelia. "Hold On" reveals new depths when performed behind the beat with morphing time signatures and driving piano. McLachlan's warmly expressive voice is still at the epicentre of her performances. She roams through these 14 songs with agile ease, riding the rails between singing for dramatic arena effect--huskily growling, airily trilling--and knowing what to play down with her sensually controlled crooning (witness such gems as Fumbling's title song and "Good Enough"). Overall, McLachlan's vocals match the heavily percussive intensity of her band and the build of her backing vocalists, producing a more spacious sound than the precise pitch rendered on her studio recordings. -- Paige La Grone Fragt: Ukendt! |
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Saint Etienne Smash The System : The Best of St. EtienneSe flere produkter fra AmazonSmash the System is a 34-track best-of compilation following the UK trio's remarkable progression from suave masters of post-rave dub soul into protagonists of ironic pastiches of cheesy 60s pop. Producers Bob Stanley and Pete Wiggs even acquired bouffants to match their retro fetish, and their twee-voiced singer Sarah Cracknell dressed as if she'd just stepped out of a mini for a David Bailey photo shoot. For a time they smartly blended guitar pop with the emerging dance scene but like other bands formed by music journalists (Gay Dad take note) they became too clever for their own good. Smash the System kicks off with "Only Love Can Break Your Heart", St Etienne's most accomplished piece of work. It was their debut cut, remixed by Andy Weatherall, and was instrumental in pioneering the indie-dance crossover genre that hugely benefited groups such as Primal Scream, the Stone Roses and the Happy Mondays in the early 1990s. But St Etienne continued on a different curve, veering into quasi-comedic records such as "He's on the Phone" which pokes fun at Kylie Minogue's early career and the Sandie Shaw-like "The Bad Photographer". They later recaptured their early dancefloor swagger and had a top 10 hit ("Tell Me Why") in conjunction with Paul Van Dyk. Unfortunately this doesn't appear on this collection. Going through 10 years of their work you can see the dub and breakbeat influences diminish in direct proportion to the influx of silliness, which is probably why St Etienne are still regarded as one of pops great underachievers. The remix album Casino Classics probably does them better justice. -- Jake Barnes Fragt: Ukendt! |
Pris 117.82,-
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![Talking Heads Fear of Music [CD + DVDA]](http://img.kelkoo.com/dk/small/524/459/40628242346814394603423769475952459524.jpg) |
Talking Heads Fear of Music [CD + DVDA]Se flere produkter fra AmazonThis disc represents the bridge between Talking Heads' first two herky-jerkier albums and the next two funky ones. Fear of Music is more than just a bridge, though. It's the water under the bridge, the air, the animals, the cities the river flows through, and the heaven on top of it all: "...a place where nothing ever happens." Plenty happens here, however. The CD starts out with its feet off the ground and both arms in the air: "I Zimbra" is all-out celebration. The rest of the songs are pretty much exercises in simplicity: one-word titles with music to match. (Witness the lightness of "Air", the trippiness of "Drugs", the "ooga"-ness of "Animals".) David Byrne's artful naiveté ("Hold the paper up to the light/Some rays pass right through"), coupled with the whole band's musical playfulness (for example, the tuba on "Electric Guitar"), makes for fun fun fun. --Dan Leone Fragt: Ukendt! |
Pris 94.22,-
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Shane Macgowan & The Popes The Rare Oul' StuffSe flere produkter fra AmazonThe Rare 'Oul Stuff is a compilation of odd-job B-sides and key album tracks recorded by Shane MacGowan with post-Pogues backing-band the Popes between 1994 and 1998. The album is unlikely to enhance Macgowan's public-profile much further beyond Filthy McNasty's pub in London's Islington, but only because it doesn't contain any of the songs which temperance-favouring laymen are likely to remember. Thus, there's no sign of the minor hits "My Way", "Haunted" or "That Woman's Got Me Drinking" but, perversely, certain non-charting A-sides are included. The best of these is obviously the cinematically scored "You're The One" (cowritten with Michael Kamen), a duet with Maire Brennan which juxtaposes the Clannad singers' windswept, virginal vocal sensuality with Macgowan's Gainsbourg-esque cragginess and therefore constitutes the unlikeliest artistic love match since Esmeralda fell for the bell-ringer at that church in Paris. On the other hand, "Christmas Lullaby" is just dismal. Elsewhere, fans of fornication-flavoured vocabulary, rebel songs (the historical "Roddy McCorley" and more controversially "Paddy Public Enemy Number One", a tribute to deceased Republican terrorist Dominic McGlinchey), blazing tin whistles and banjos can't go wrong--even if the version of "Danny Boy" is a case of too much Shane. --Kevin Maidment Fragt: Ukendt! |
Pris 80.06,-
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Dennis Wilson Pacific Ocean Blue/Bambu (The Caribou Sessions): Legacy EditionSe flere produkter fra AmazonApart from the non-release of Smile, the biggest lament of hardcore Beach Boys fans is that Bruce Johnston aside, none of the non-Brian Wilson solo albums are available on CD. But now, for fans of late drummer Dennis Wilson, there's reason to celebrate as his only-released solo album gets the reissue it deserves. Widely acknowledged as the finest Beach Boys solo effort, it's now presented with clarity, allowing the full sonic palette--the punch of opening "River Song" for example--to be heard in its intended glory. Wilson's raspy vocal may have been past its prime, but it's still affecting and ably supported by the sumptuous production values he gave the album. With high quality tracks such as the funky "Dreamer" and the poignant "Farewell My Friend", this will appeal to anyone with even a passing interest in The Beach Boys, as well as a delight for hardcore fans as the unreleased tracks (from the unfinished follow-up Bambu), easily match the original's quality. While the disappointing absence of earlier singles ("Lady" or "Sound of Free") prevents this from being a definitive career anthology, this is as essential a Beach Boys artefact as Pet Sounds or Sunflower/Surf's Up. --Thom Allott Fragt: Ukendt! |
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Original Soundtrack Maid in ManhattanSe flere produkter fra AmazonMaid in Manhattan, the soundtrack, aims straight for the territory established by modern romantic comedy albums with an anthology of songs that wouldn't be out of place in Bridget Jones's CD collection. The disc concludes with two cuts from Alan ( The Mexican (2001)) Silvestri's score, the title theme offering an attractive Latin groove in honour of Jennifer Lopez titular character and "At Last" providing the requisite romantic ending. Before these are a dozen songs, the Nile Rodgers/Bernard Edwards funk-liberation anthem "I'm Coming Out" providing the movie's theme in both vintage Diana Ross and new Amerie flavours. Elsewhere old and new rub shoulders too as the Pointer Sisters' funky 1973 hit "Yes We Can" contrasts with RES' drive-time melancholy "Miracles", Teena Marie's 1984 bubble-gum pop "Lovergirl" balances Norah Jones' sultry folk ballad "Come Away with Me" and Glenn Lewis Latin sentiments, "Fall Again", provide a glossy alternative to Paul Simon's "Me and Julio Down By the Schoolyard". Meanwhile Eva Cassidy contributes a beautifully spare cover of Simon's "Kathy's Song" and Bread pay live homage to "The Guitar Man". Covering all bases this decade-spanning set is sure to earn a place in the charts to match the hit movie's box-office success. -- Gary S Dalkin Fragt: Ukendt! |
Pris 75.34,-
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