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Jimi Hendrix BluesSe flere produkter fra AmazonAfter the disorganised and often unlistenable Alan Douglas-produced reissues in the 1970s and '80s, MCA has been releasing the vast Hendrix archives in an intelligent and methodical manner. Blues is a perfect example, making the case that--on top of everything else--Jimi Hendrix was one fine blues guitarist. Combining the fluid lines of B.B. King with the spikiness of Hubert Sumlin and the crying tone of Elmore James with his usual synapse-frying intensity, Hendrix manages to both honour the music tradition while remaining uniquely himself. These studio outtakes and warm-ups (plus one previously released track, the magnificent "Hear My Train a Comin'") include a playful "Mannish Boy", the slow burn of "Once I Had A Woman" and a metallic "Bleeding Heart". --Steven Mirkin Fragt: Ukendt! |
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![Jeff Golub Out of the Blue [Us Import]](http://img.kelkoo.com/dk/small/655/980/31224175896130757703638807432258980655.jpg) |
Jeff Golub Out of the Blue [Us Import]Se flere produkter fra AmazonGuitarist Jeff Golub's three previous CDs, released under the name Avenue Blue, have infused the smooth-jazz format with a much needed shot of soul. Out of the Blue ups the ante a notch by injecting more rock elements. "Indiana Moon" could be an Eric Clapton track sans vocals. Clapton's occasional drummer, Steve Ferrone, adds to the illusion and (with Tony Levin, bass and stick) to the real rhythm section that separates Golub's work from the lifeless programming of some of his "happy jazz" companions. "Manteca" recalls a Santana samba--but throughout the tune, it's more Jimi Hendrix than either Eric or Carlos. "Wanna Funk?" and "Groanin'" offer ripping solos more pleasing to guitar fans than to "wave" programmers. Golub's said that he wants "to play like Al Green sings," and it's his touch that makes him distinctive. If Out of the Blue's smooth, modern ballad arrangements result in him sounding at times closer to Luther Vandross than to the earthier Green, that's still a fine voice to reach for. --Michael Ross Fragt: Ukendt! |
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The Fall Fall Heads RollSe flere produkter fra AmazonForty-two line ups in some twenty eight years--but with gurning, prose-churning champion of invective jabberwocky Mark E Smith remaining constant at the helm--heads have indeed rolled within the ranks of interloping non-conformists The Fall. There has been, however, no loss of the band's conceptual objectivity. Heads Will Roll throws The Fall's idiot-savant oevre into sharper focus at a time when the band's profile--in the wake of the death of long term advocate John Peel--has never been higher. Cynics, therefore, may view the single release of a cover of Roy Woods' psych-pop classic "I Can Hear The Grass Grow" as commercial exploitation but Fall fans, as ever, will surely view any lofty chart placings as either entirely incidental or just another Mark E Smith double-bluff masterstroke. On the balance of probability The Fall fans are probably right; Smith's chatter of asbestos powered rifles, Bo Diddly, Heathrow airport, rubbish receptacles and Harold Shipman still marks The Fall out as rambling outsiders, although such is The Fall's extending influence that the band's organised garage-punk sound is now less of a shock than Smith's verbose spluttering. Brilliant but as cryptic as ever, Fall fans will chose their own favourite tracks. Will it be the rasping, solo JJ Burnel-style insistence of "Blindness", the nagging chant-along of "Pacifying Joint" or the punk police siren guitar of "Assume"? Or maybe the Gypsy Kings jam of "Early Days Of Channel Fuehrer"? Infuriatingly baffling. Who'd have it any other way? -- Kevin Maidment Fragt: Ukendt! |
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Siobhan Donaghy Revolution in MeSe flere produkter fra AmazonSiobhan Donaghy's decision to quit the Sugababes just before they became the coolest of household names may have been spectacularly ill timed, but Revolution in Me suggests that her departure was inevitable. While her former band mates, along with Siobhan's replacement Heidi, have gone on to make chart-eating pop sexy again, Donaghy's debut album is an altogether more complex, sophisticated and eccentric vision. As a clue to where she's coming from, it's worth remembering that she--along with All Saints/Massive Attack producer Cameron McVey--wrote the first Sugababes single: the effortlessly sultry "Overload" came with the most unlikely of pop add-ons, a surf guitar solo. With McVey again as her writing partner, Donaghy combines in Revolution in Me the left-of-centre genius of "Overload" with the emotional outpourings of an older, wiser and clearly bruised artist. "Overrated" and "Twist of Fate" are the bitter and twisted singles, all churning guitars and jaded cynicism. "Nothing but Song" is a deceptively sweet go-to-hell anthem, "Little Bits" simmers with anger and "Man Without Friends" rolls along lost and dejected until the spirit-rousing chorus erupts at the end. And while none of her songs are catchy in the traditional sense, the purring "As You Like It" and "XY" (with its cartoon glockenspiel) are mercilessly addictive. --Dan Gennoe Fragt: Ukendt! |
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![Various Artists Deep Concentration Vol.3 [VINYL]](http://img.kelkoo.com/dk/small/145/609/64728653676903695879084313333790609145.jpg) |
Various Artists Deep Concentration Vol.3 [VINYL]Se flere produkter fra AmazonContinuing its mission to prove once and for all that pigeon holes are a pointless thing when beats--break, electro or drum & bass--are involved, the Deep Concentration series comes up with another 15 exclusive rhythm tracks for its third collection. With Ming & FS's mash of ultra cool jazz vibes, soul strains, vocal cut-ups and warp speed jungle blasts, and the deep hip-hop of several time DMC World Mixing Champion DJ Cash Money, it makes a convincing argument. More than an outlandish display of deck dexterity and vinyl junkie back-slapping, this is a celebration of hip-hop culture and a homage to the power of a groove. As stunning as the finger-blurring scratch tricks are, it's the old-school bounce and rare-groove selections of People Under The Stairs' "Afternoon Connection" that wins the prize, proving once again that turntablism is an art form. All the while, the collection strips the glamour and slick production that has watered down hip-hop, taking it back to where it all began: returning to the party vibe, reminding one and all just why this music was so exciting in the first place. --Dan Gennoe Fragt: Ukendt! |
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Jefferson Airplane Surrealistic PillowSe flere produkter fra AmazonWhen she joined the Jefferson Airplane in 1966 as replacement for original vocalist Signe Anderson, Grace Slick brought with her two songs she'd performed in her previous band, the Great Society: "Somebody to Love" and "White Rabbit". Featured on this classic 1967 album, they became US Top 10 hits and helped establish both the San Francisco and the emerging counterculture they celebrated. With Jorma Kaukonen's sinewy guitar, Jack Casady's probing bass and Spencer Dryden's inventive drumming swirling around Slick and co-vocalists Marty Balin and Paul Kantner on songs like "She Has Funny Cars" and "3/5 of a Mile in 10 Seconds", Surrealistic Pillow virtually defined the communal spirit of Summer of Love hippiedom. --Billy Altman Fragt: Ukendt! |
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John Coltrane SpiritualSe flere produkter fra AmazonJohn Coltrane's plaintive tenor saxophone tone and total engagement with his material could make any slow ballad sound like a prayer, so Spiritual, a set of nominally devotional numbers recorded between 1961 and 1967, doesn't shed any new light on his art. But it holds your attention, even if Coltrane's holy numbers tend to be as slow or stately as hymns (and sometimes catchier: "Dear Lord" could pass for some unjustly forgotten ballad). The first movement of A Love Supreme was an inevitable choice, for Coltrane and bassist Jimmy Garrison's mantra-like repetitions, and for the saxophonist's speaking-in-tongues falsetto. (Garrison, the only sideman who appears on all tracks, is the CD's secret hero, whether adding punchy beats to the bottom end or flamenco-strumming through an intro.) On Coltrane's albums or gigs, spirituals often functioned as change-ups, a chance to catch one's breath before the next fast or frenetic number. They still sound most striking in relief, but assembled in one place, their power accumulates. --Kevin Whitehead Fragt: Ukendt! |
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Various Artists The Million Dollar HotelSe flere produkter fra AmazonThe soundtrack to a Wim Wenders joint is often as creative and satisfying as the movie itself (see Until the End of the World and Wings of Desire), serving not only as a companion to the film but as a standalone work of art. The Million Dollar Hotel is no exception, indeed it ups the ante. The film is based on a story conceived and written in part by U2's Bono, and his influence is all over the score. U2 contribute three stunning songs, most notably a collaboration with Daniel Lanois: "The Ground Beneath Her Feet", a soaring pop ballad with lyrics penned by writer Salman Rushdie that stands among the best U2 cuts ever recorded. In addition, Bono joins the all-star "Million Dollar Band" (comprising Mr Fly himself, Daniel Lanois, Bill Frisell, Brian Eno and others) for a host of great tracks, including the ethereal groove of "Never Let Me Go". And if that isn't enough, The Million Dollar Hotel also features a duet between Brad Mehldau and Frisell ("Tom Tom's Room"), a surprisingly smoky cover of Lou Reed's "Satellite of Love" by model-actress-chanteuse Milla Jovovich and a raved-up, Americanised, Spanish-language version of the Sex Pistol's "Anarchy in the UK" ("Anarchy in the USA") sung by Tito Larriva with the Million Dollar Band. Despite such a wide-ranging host of contributors, Bono's sure hand keeps the album within the same emotional spectrum, coloured by a kind of melancholic longing and a wistful wonder, resulting in one of the best and most original soundtracks ever recorded. -- Tod Nelson Fragt: Ukendt! |
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Portishead PortisheadSe flere produkter fra AmazonWith Dummy, their 1994 debut, Portishead not only created a classic of turntable-derived soul, but defined their sound so exhaustively as to spawn a host of imitators. So what to do for a follow-up? As it happened, the answer was simple--refine the template. This self-titled album simply ups the ante on everything that made their debut so special: the brooding sense of menace, that deep streak of romantic fatalism. Much is made of the cinematic quality of Portishead's music--and indeed, many of these tracks sound like they should be accompanying some existentialist spy flick from the mid-1960s. But ultimately, it's singer Beth Gibbons that's their greatest asset: her vocals gliding effortlessly from the furious ("Cowboys") to the forlorn ("Mourning Air"); from the exuberant ("All Mine") to the exhausted ("Only You")--and all set to the group's most ambitious and expansive arrangements to date. A majestic, damaged and frequently terrifying masterpiece. --Andrew McGuire Fragt: Ukendt! |
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Tommy Castro PainkillerSe flere produkter fra AmazonIs Tommy Castro a soul man in a blues rocker's body, or vice versa? He doesn't seem to care--and neither should we, when the results of that dichotomy are as frisky and enjoyable as Painkiller. A better-than-average singer and guitarist, Castro has been hampered in the past by inconsistent material and the sense that he hadn't quite come to grips with his love of the Stax and Chess catalogs. Bringing in other songwriters has vastly improved the material on this collection, with eight original tunes co-written by Castro and veteran tunesmiths such as Gary Nicholson, Stephen Bruton, Bonnie Hayes, and Jimmy Hall. Castro sounds loose and comfortable hammering into riff-rockers such as "Love Don't Care" and Stones-styled material on the order of "I Roll When I Rock," both augmented by a horn section that adds dollops of R&B to the proceedings. Coco Montoya duets and adds typically sizzling guitar on a rollicking cover of Albert Collins's "A Good Fool Is Hard to Find," and Angela Strehli ups the heat for a soul-drenched take on Freddie King's "If You Believe (In What You Do)." Castro shifts into Tyrone Davis mode on "It's That Time Again," credited as an original but almost a rewrite of Davis's signature "Can I Change My Mind." The Al Green/Hi sound of "Lonesome and Then Some" brings out the best in Castro's Delbert McClinton-inflected vocals, and burns when he tears into a taut lead-guitar line. Call him a soul-drenched blues rocker if you must, but on Painkiller Tommy Castro successfully finds the sweet spot between his various influences and balances them like the pro he is. --Hal Horowitz Fragt: Ukendt! |
Pris 170.71,-
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Martin L. Gore Counterfeit Vol.2Se flere produkter fra AmazonOne thing that Counterfeit proves is that Martin Gore has exemplary taste in music. The Depeche Mode songwriter's first full-length solo excursion is a covers album in the tradition of Bowie's Pin-Ups. The 11 tracks range from obviously classic works by rock lords Lou Reed, Nick Cave, Brian Eno, Iggy Pop and John Lennon to a pop trash wild card--a winsome version of David Essex's "Stardust". What's more, most of the songs fit in with Depeche Mode's key themes of masochism, drugs, decay, disillusion and general perviness. The problem lies in Gore's lack of emotional and musical range. Fans will take great comfort in the set's familiar moody minor chords, electronic glitches, echoey darkness and Gore's Dave-Gahan-lite vocals. But the end result is a sameness of texture and tempo and songs as originally powerful as "In My Time of Dying" or Cave's "Loverman" just seem to float into the background, deprived of edge and individuality. Still, Gore plays Weill's "Lost in the Stars" piano-and-strings straight, and seekers of tasteful ambience may enjoy the idea of various cult rock, folk and country songs being transformed into Mode-ish mood music. --Garry Mulholland Fragt: Ukendt! |
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Rich Mullins The Jesus RecordSe flere produkter fra AmazonThis double album contains two discs, ostensibly two versions of the same record. The first disc contains Mullins's crude demos of 9 of the 10 songs on the album, recorded on a battery-powered box only a few days before his untimely death. Even with the abundance of tape noise, pops, clicks, and bum notes, Mullins's skill as a performer and passion for this material shines clearly through. The second disc contains the same songs, fully produced by Rich's band, the Ragamuffins, with special guests Amy Grant, Michael W. Smith, Ashley Cleveland, and Phil Keaggy. These performances feel haunted as well, trying to be faithful to Mullins's vision as a performer and folk/ethnic musicologist without resorting to grave robbing. Pennywhistles, accordians, and upright bass strike a jagged edge against the polished sheen of orchestras and children's choirs. The guest vocalists make Mullins's songs their own, while the Ragamuffin-sung tunes naturally carry more of the spirit of his own recordings. --Brad S. Caviness Fragt: Ukendt! |
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Yardbirds Yardbirds UltimateSe flere produkter fra AmazonCulled from a woefully meagre recording history that includes a handful of singles and two studio albums (yet, strangely, three live collections), this double-disc anthology instantly becomes the single most comprehensive document of the Yardbirds' brief reign and lasting influence. With a tenure on the charts of barely five years, a fitful discography and the erratic guidance of three managers during their prime, the Yardbirds have a legacy that is as unlikely as it is undeniable: they're second only to the Beatles as the most influential band of the 1960s. Long known as the musical divinity school of the Beck-Clapton-Page guitar trinity, the Yardbirds cast a much longer shadow across rock music, one that encompassed psychedelia, blues rock, heavy metal, jam bands and even the nascent world music and alt-rock movements . Eric Clapton's tenure with the energetic blues revivalists hardly hinted at enduring superstardom, but it did help foster the band's ambitious rave-ups, the frenzied mini-jams that became one of the Yardbirds' live trademarks and set the stage for Jeff Beck's groundbreaking two-year stint. But often overlooked in the homages to fret frenzy is the band's restless musical curiosity and the moody-cool, expressive charms of vocalist Keith Relf, explored here by the overtly Gregorian "Still I'm Sad", the sloppy, monkish "Hot House of Omagararshid" and the brooding "You're a Better Man Than I". But by the time Page signed on (briefly sharing duties with Beck), the Yardbirds shifted managers and directions, resulting in an uneasy cocktail of rock and pop that ultimately fractured the band, if not its heritage; Page would rebuild the New Yardbirds around an amped-up vision of its original blues roots, then quickly change the name to Led Zeppelin. All that ground is covered, along with some rarities (the odd Italian single "Questa Volta"/"Paff Bum" and three spotty solo tracks by Relf). --Jerry McCulley Fragt: Ukendt! |
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Michael Gibbs NonsequenceSe flere produkter fra AmazonGibbs isn't exactly a prolific record-maker, so Nonsequence, his first in a decade, is doubly welcome. Not only does it give us a new batch of Gibbs compositions and arrangements to admire, it does so in optimum playing circumstances. The line-ups here are to dream of, with wonderful section work aided and abetted by soloists such as Chris Potter, Lew Soloff and Chris Hunter. Two sets of musicians were used--a New York one and an NDR one. The New York rhythm section says it all: Gil Goldstein, Howard Johnson, Hiram Bullock, Steve Swallow and Billy Kilson. Gibbs runs through a gamut of moods, sometimes bringing new purpose-built compositions to the feast, sometimes reworking material written under different circumstances ("You Get the Picture", for example, was initially written for a film but completely re-thought here). Two pieces from outsiders make it into the mix--Glenn Miller's "Moonlight Serenade" and John Scofield's "Lost in Space". Both are given a highly individual work-out by their new arranger. All in all, this is a major release from a major composer/arranger. --Keith Shadwick Fragt: Ukendt! |
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Van Halen The Best of Van Halen, Vol.1Se flere produkter fra AmazonIt took over 20 years for Van Halen to release a Best of album, and even then, the band downplayed the effort. Instead sticking to the original plan of releasing a two-disc set--one of material with original front-man David Lee Roth, and the other with his 11-year replacement Sammy Hagar--the band opted for a single CD chronicling their entire career. For the previously uninitiated, it's a golden introduction to a band that changed the face of 1980s hard rock. Guitar-blazing old tracks like "Ain't Talkin' 'Bout Love", and "Dance the Night Away" segue into more commercial numbers like "Jump" and "Panama" from 1984. These in turn, set the stage for Hagar's slicker, more polished vocals on "Right Now" and "How Do I Know When It's Love". But while newcomers will be thrilled with the delights within, old fans will probably find little of use, since the two highly touted new tracks with Roth are pretty disposable. --Jon Wiederhorn Fragt: Ukendt! |
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Hollies The Hollies - Greatest HitsSe flere produkter fra AmazonNotwithstanding the entirely acceptable omission of 1981's rather desperate Stars-on-45 style retro-medley Holliedaze, this rather definitive Greatest Hits collection contains every single Hollies song that ever tickled the mass fancy of record buyers anywhere in the world, ever. Even the sleeve notes dispense with the scantest of biographical detail to present a veritable Wisden's Cricketer's Almanac of impressive global chart statistics, including mentions of Number One singles in Sweden, Australia, New Zealand, Malaysia, Holland, South Africa, Singapore, Ireland, Switzerland, as well as the UK. Of course, the Hollies were nothing if not adaptable. The grinning beat pop and "pap pap she waddy wops" of "Stay" through to the folky overtures of "I've Got a Way of My Own" (like an oestrogen-free version of the Mamas and the Papas) were obviously marvellous and yet entirely generic responses to the overriding cultural dominance of the Beatles and Bob Dylan. But much the same thing can be said for the majority of their peers. Still, the 1960s were a golden age for the Hollies and to hear the Graham Gouldman penned "Bus Stop", "Carrie Anne" (part Kinks, part Beach Boys, part calypso) or the sweet-shop bubble gum of "Jennifer Eccles" is to be reacquainted with a sunny lost world of short skirts, mini coopers and policemen on bicycles. Even the knee-jerk cod-psychedelia of "King Midas in Reverse"--a full-on trumpets-blaring, cello-charging microcosm of Revolver and Sgt Pepper-isms--deserves revisionist plaudits. There is one newly recorded track on the album (featuring Allan Clarke's replacement, the former Move vocalist Carl Wayne) called "How Do I Survive". Regrettably, it's a disco-cum-AOR rock thing that sounds like the result of an unfortunate liaison between James Ingram and Foreigner. Still, when faced with the spine-tingling, classic gold timelessness of "He Ain't Heavy He's My Brother" and "The Air That I Breathe" it would matter not one jot if the bonus track was a three-part harmony rendition of a page Fragt: Ukendt! |
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David Cassidy Then and NowSe flere produkter fra AmazonTracking the 30-year career of The Partridge Family's greatest star, Then and Now is a comprehensive compendium of the tunes which set the world alight from the early 1970s onwards. Ranging from the three-minute Partridge pop nuggets of "I Think I Love You" and "I Woke Up In Love This Morning" to solo hits such as "Cherish" and "Rock Me Baby", it's easy to hear why Cassidy's sold over 25 million albums worldwide. Surprisingly there are some notable exclusions on Then and Now such as "Doesn't Somebody Want To Be Wanted," and "Breaking Up Is Hard To Do". Thankfully the pulsating 1985 comeback song "The Last Kiss" is included. The later part of the collection includes more recent material such as "Sheltered In My Arms" where Dave drops his usual Cliff Richard style vocals in favour of those resembling Rick Astley, and "Ricky's Tune" a Faithless style trip-hop track proving that he's still just as much "now" as "then". "No Bridge I Wouldn't Cross" is another new production that coincidentally was written by Simon Climie (aka Climie Fisher) and Lulu. In an attempt to woo the kids again there's also a rather feeble version of "Could It Be Forever", re-recorded with pop stars Hear'Say. Apart from this slightly shaky ending an essential collection for fans, and an excellent introduction to the work of one of teeny-pop's first pin-ups. -- John Galilee Fragt: Ukendt! |
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Add N To (X) Loud Like NatureSe flere produkter fra AmazonDescribing themselves as "aggressive futurists" who find "harmony in building sites", Add N to(X) have a history of reclaiming seemingly redundant tin-pot electro-equipment and using it to create hard-hitting contemporary soundscapes. Loud Like Nature, their fourth album, is their best effort yet, and sees the three band members forging their own distinct sonic personalities. Barry 7, as befits a DJ, contributes the Teutonic dance of "Quantum Leap", the wild techno of "Lick a Battery" and the spacey lounge music of the "Walk On By"-sampling "Up the Punks". Steve Claydon is more of a rocker. His "Total All Out Water" is a Soft Cell-style glam stomp, "Sheez Mine" is like a raucous Fad Gadget, while "All Night Lazy" is a sleazy rock groove. Ann Shenton, meanwhile, is all over the place, delivering the minimal piano and strings of "Pink Light", the lo-fi Plastic Bertrand-ish pop of "-U Baby" and "Electric Village", a kind of freaky, squeaky "All Right Now". Yet though the individual influences are different, the approach is always the same--every style and genre approached is warped to the max, challenging the listener to find melody amidst the noise, the familiar amidst the downright strange. You'll find the search rewarding, and fun too. --Dominic Wills Fragt: Ukendt! |
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Nine Inch Nails With TeethSe flere produkter fra AmazonTrent Reznor has always been a one-trick-pony, but it's a damn good trick: sunny melodies filtered through ferocious electronics. Unfortunately, the trick's impact was often watered down by a tendency toward petulance and self-absorption. Still, almost six years after NIN's last release, The Fragile, the trick itself has lost none of its Teen-Beat-from-hell appeal. With Teeth blisters from the start with "All the Love in the World," and tracks like "The Collector" take full advantage of Dave Grohl's sledgehammer drumming. Reznor stretches occasionally, trying out different tactics, from crunchy, overtly commercial rave-ups ("The Hand That Feeds") to borderline New Wave ("Only"). But Teeth isn't about stretching. It's about doing the same trick, only better, with less clutter and more bite. By neatly distilling the sparseness of Pretty Hate Machine with Downward Spiral-style density, it ends up being the most focused record in the NIN catalogue. --Matthew Cooke Fragt: Ukendt! |
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![Bruce Springsteen Magic [VINYL]](http://img.kelkoo.com/dk/small/317/751/118818985642094682847938720160047751317.jpg) |
Bruce Springsteen Magic [VINYL]Se flere produkter fra AmazonHis career currently on a roll, Magic reunites the Boss with employees, the E Street Band and it is terrific--a highlight in a long and illustrious catalogue. Brash and noisy and a lot of fun, Magic is packed with great, thoughtful songs. The stately "Your Own Worst Enemy" sounds full yet eschews histrionics, the atmospheric "Gypsy Biker' has a strong melody to match, first single "Radio Nowhere" is an unlikely country-rock thrash and "Livin' in the Future" has all the swing of "Cover Me", but without the drawback of dated production. In fact much of Magic nails that old Phil Spector trick of cramming a lot of blokes (and birds) into a small room, and getting them to play simultaneously. Given that the E Street Band are big blokes these days, the effect is magnified. Not only does Springsteen successfully recapture a sound that once seemed exotic, the same can be said of lyrics such as "Girls in Their Summer Clothes" and "Long Walk Home", rueful and distant and all the more believable than the evocative yet lifeless mini-film scenarios he once specialised in. The Sopranos has redefined the image of New Jersey over the last decade (Bruce and band even pose like a mob in their clubhouse, especially Steve Van Zandt), but Springsteen has reclaimed local pre-eminence with this excellent collection. Pulling off the rare combination of excitement and maturity, the grown-ups are really having a good time. --Steve Jelbert Fragt: Ukendt! |
Pris 151.73,-
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