Søgeresultat: origins hudpleje produkter
INXS Listen Like Thieves

INXS Listen Like Thieves

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No haircut too lousy, no fashion mistake too obvious: INXS were as much an emblem (symptom?) of the 1980s as Bon Jovi, while never achieving quite the same level of sustained appeal. This album (along with Kick, which followed it) marked their commercial peak, presenting their strongest-ever line-up of songs. Tracks like "What You Need" and "This Time" demonstrated their knack with a groove and a chorus, respectively--and played shamelessly to the sexual stage persona of frontman Michael Hutchence (who had a decent voice, for a man in leather trousers). Intriguingly, both "Shine Like It Does" and "Kiss The Dirt (Falling Down The Mountain)" resonate with a clear sense of their Australian origins: the wide outback, the vastness of the sky; while "Three Sisters"--an "experimental soundscape"--briefly recalls their brief flirtation with post-punk, as Sydney teenagers besotted with the likes of Gang of Four And Pere Ubu. Who would have thought it? --Andrew McGuire
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INXS Listen Like Thieves
Gnarls Barkley The Odd Couple

Gnarls Barkley The Odd Couple

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With its cinematic origins The Odd Couple is the natural title for the second album by a pair who seem to spend as much time in wardrobe as the studio and whose recordings are often compared to film scores. Their greatest hit, 2006's "Crazy" was even built around a chunk of a spaghetti western soundtrack. Yet after the success of 2006's excellent St Elsewhere, the collaboration of singer Thomas "Cee-Lo Green" Callaway and producer Brian "Danger Mouse" Burton has become a permanent institution. The Odd Couple certainly lives up to expectations, and though there is no obvious smash to match "Crazy", it's a smoother affair than their often hyperactive debut, the unsettling "Open Book" aside. Highlights include the excellent, agitated lead-off single "Run", a smart slice of off kilter pop-soul, and its most obvious successor, the instant classic "Surpirse". "Going On" manages to weld an eighties pomp-pop introduction to a surprisingly vulnerable Cee-Lo performance while the plaintive, bluesy "Who's Gonna Save My Soul" catches him at his most soulful. "Whatever" is a cute, rather bratty sixties pastiche halfway to Britpop (though no Englishman ever used the expression "y'all") while the warped bubblegum pop of "Blind Mary" and the more traditionally ominous "Would Be Killer" are opposite sides of the same twisted coin. Informed by rap and dance, but occupying their own unique genre, Gnarls Barkley continue to soundtrack the movie that, so far, exists only in their heads. --Steve Jelbert
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Gnarls Barkley The Odd Couple
Los Lobos Just Another Band [Us Import]

Los Lobos Just Another Band [Us Import]

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Even the title of this terrific two-disc compilation--a play on the title of an early-'70s recording by Frank Zappa and the Mothers of Invention--displays just how clever and hip this great L.A. band has always been. Just Another Band is everything an anthology should be, touching on all the best-known moments ("Don't Worry Baby," "Will the Wolf Survive?," "One Time One Night," "La Bamba," etc.), spanning their career from its origins through Kiko (six tracks from which are featured here), arguably their finest hour. Musically, you get hard R&B, Tex-Mex, pure traditional Mexican music, pop-rock, gorgeous ballads, and pure, raucous rock & roll. Actually, pure is the operative word here--and fans who already own all the albums proper will probably still want this for the soundtrack cuts, live versions (including a performance of their great "Let's Say Goodnight"), unreleased outtakes, cool live cover versions (from both Marvin Gaye and Cream!), and even their terrific "I Wanna Be Like You (The Monkey Song)," originally performed by Louis Prima in The Jungle Book, from the late-1980s, Hal Wilner-produced Disney tribute, Stay Awake. How will the wolves survive? Damn well, from every indication on this fine collection. --Bill Holdship
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Los Lobos Just Another Band [Us Import]
Momus Folktronic

Momus Folktronic

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Whatever goes on in music, whichever genres rise and fall, you can always rely on Momus to be there in the background, cackling madly and intriguing/annoying the world with his latest collision of sounds. Having played the intense folk-merchant and the shabby traditional troubadour, this laconic and challenging New York-based Scot (real name Nicholas Currie) has turned to electronica for Folktronic. But, being Momus and fancying himself as a "minor god of mockery", he chooses to mix this shiny new form with the centuries-old tunes and rhythms of America, Ireland and his native Scotland, as well as the dockside shanties and vaudevillian choruses of his early career. The result is a strange collage that's sometimes silly, often hilarious and usually interesting. The opening "Appalachia" sees him dreaming of his "electronic mountain girl" over pattering percussion, sampled banjo and tacky, Stylophone-style organ, while "Mountain Music" is a pointed and lyrical essay on the origins of US folk set to a weirdly subdued hoe-down. Throughout, Currie proves himself (once again) to be a witty social commentator and an able comedian, his insights allowing us to forget the music's occasional descent into cheesy Frank Sidebottom territory. --Dominic Wills
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Momus Folktronic
Jimi Hendrix Experience Hendrix - Best of Jimi Hendrix [Japanese Import]

Jimi Hendrix Experience Hendrix - Best of Jimi Hendrix [Japanese Import]

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Experience Hendrix brings together the major singles with a stack of majestic album tracks and the career-defining live Woodstock version of "The Star Spangled Banner" on a fat 20-tracker. While best used as a sampler to direct new listeners to the immortal Are You Experienced, Electric Ladyland, and so on, the CD (which supplants the short-lived Ultimate Experience collection) does hang together as a listen. Its blend of Hendrix the rocker and Hendrix the underrated soul man is suggestive, painting a picture of a multifaceted genius and transcending its plainly mercenary origins. In the end, its effect--like that of all Hendrix's best records--is to remind us of a Jimi very, very much alive. --Rickey Wright
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Jimi Hendrix Experience Hendrix - Best of Jimi Hendrix [Japanese Import]
New Order Low-Life: Collector's Edition/Remastered & Expanded

New Order Low-Life: Collector's Edition/Remastered & Expanded

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With the 1985 release of Low Life, New Order put forth their most commercially accessible effort to date. While some of the dark-wave drippings of their Joy Division roots are evident, high energy progressions, which would carry them for years to come, began to emerge here. Hits like "Perfect Kiss" and "Sub-Culture," with their synth hooks, club-stomping accents, and visceral lyrics, helped bridge the gap for growing synth-pop audiences who bolstered their success. Other refined techniques on the album became standard New Order conventions: sweeping analogue rolls, live and sequenced drum percussion, tight bass melodies, and edgy guitar leads. Sustained by a peerless level of emotional involvement, the vocals and lyrics further entice the listener with the obliquely nuanced style of Bernard Sumner. Standing the test of time, this release is a must-have in order to understand the origins of introspective pop-wave culture. --Lucas Hilbert
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New Order Low-Life: Collector's Edition/Remastered & Expanded
The Carter Family On Border Radio Vol.1

The Carter Family On Border Radio Vol.1

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This charming disc, a total joy for Carter aficionados, was compiled from one-of-a-kind 16-inch transcription acetates recorded for broadcast in 1939 on the high-powered border radio station XET, "down Mexico way". The Carter Family performed on this and similar stations at the time--the stations' signals, unrestricted by signal strength regulations, reached throughout the US. The act had expanded to include several offspring--June, Anita, Helen and Jeanette, along with core members AP Carter, wife Sara and her cousin Maybelle. As Border Radio clearly demonstrates, the radio-show format clearly allowed the Carters to stretch out beyond the constraints of their 78-rpm recordings. There is a wide variety of material here; of particular note are the lovely instrumentals ("Waves of the Sea", "Cumberland Gap") and the plangent tunes that AP performs solo ("No Telephone in Heaven", "My Sweetheart Is a Poor Working Girl"). The songs that the little ones sing themselves are interesting documents, but they come a bit too close to Disneyish sentimentality; thankfully there are but a few on this collection. The sound is naturally funky considering its origins, but relatively hiss free. Most importantly, the performances brim with the close-hewn, reserved Appalachian harmonies and clever guitar playing one expects from the Carters. -- Mike McGonigal
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The Carter Family On Border Radio Vol.1
Canteloube - Complete Songs of the Auvergne

Canteloube - Complete Songs of the Auvergne

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Joseph Canteloube's reputation rests on his Chants d'Auvergne, usually heard edited to fill a single disc but here given a rare complete presentation by combining two albums recorded in the mid-1990s. In full, the work runs to five books, which date from 1923 to 1930 and contain 30 folk-song settings together with three short instrumental interludes, and plays for around 90 minutes. The programme is well complimented by six Burgundian Songs from the Beaune region by Maurice Emmanuel. Like Vaughan Williams, Canteloube collected his native folk songs, using them as the basis for original composition. While there are elements of the delicate glittering orchestration of his contemporary Ravel, Canteloube's Chants seeks to bring out their full worth by surrounding them with as much of their natural poetry as possible. Kent Nagano realises this poetry with a rich but keenly focused Orchestra de l'Opera National de Lyon, while soprano Dawn Upshaw demonstrates not just the sheer beauty of her voice, but concentrates on the lyric, whether wistful, flirtatious, romantic or simply playful. Not as voluptuously sensual as Kiri Ti Kanawa's version with the ECO in the early-1980s, Upshaw and Nagano remain closer to the folk origins of the music and the result is utterly enchanting. -- Gary S Dalkin
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Canteloube - Complete Songs of the Auvergne
Max Roach Freedom Now Suite

Max Roach Freedom Now Suite

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Back in 1960, when Martin Luther King was guiding protest sit-ins across the USA, Max Roach and singer Abbey Lincoln recorded with passionate urgency Roach's Freedom Now Suite. Oscar Brown Junior collaborated in writing the lyrics and the undoubted star is Abbey Lincoln. Her powerful, committed vocalising can range from serenity to near-hysteria, as it does in "Prayer, Protest, Peace" which is a duet for voice and Roach's technically extraordinary drumming. In the opening "Driva Man" she's answered by a tenor solo from the great Coleman Hawkins, making his only recording in 5 / 4 time. "All Africa" finds her communing with Nigerian drummer Olatunji, who also chants in his own Yoruba dialect and then joins Roach and others for a lengthy percussion workout. Other instrumental voices are Booker Little's questioning trumpet, Walter Benton's wailing tenor and Julian Priester's declamatory trombone, all contributing solos to the concluding "Tears for Johannesburg". Overall this is a fine example of Roach's writing and performing skills, emphasising his political involvement as well as his concern to reflect his own African origins and those of jazz. --Graham Colombé
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Max Roach Freedom Now Suite
Jimi Hendrix Experience Hendrix

Jimi Hendrix Experience Hendrix

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Experience Hendrix brings together the major singles with a stack of majestic album tracks and the career-defining live Woodstock version of "The Star Spangled Banner" on a fat 20-tracker. While best used as a sampler to direct new listeners to the immortal Are You Experienced, Electric Ladyland, and so on, the CD (which supplants the short-lived Ultimate Experience collection) does hang together as a listen. Its blend of Hendrix the rocker and Hendrix the underrated soul man is suggestive, painting a picture of a multifaceted genius and transcending its plainly mercenary origins. In the end, its effect--like that of all Hendrix's best records--is to remind us of a Jimi very, very much alive. --Rickey Wright
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Jimi Hendrix Experience Hendrix
The Omen: Original Soundtrack [SOUNDTRACK]

The Omen: Original Soundtrack [SOUNDTRACK]

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Unified in its resolve, aware of its filmic origins, and imaginative in its materials and orchestral thought, Jerry Goldsmith's Oscar-winning score for The Omen is a post-modern classic. Genre enthusiasts will remember the story of a married couple (Gregory Peck, Lee Remick) who adopt a five-year-old boy only to discover that he is the Anti-Christ. Written for mixed chorus and orchestra, Goldsmith employs rugged plainchant and Latin incantations to create a subterranean musical profile suggesting the onset of Armageddon ("Ave Satani"). His polyphonic orchestral timbres and choral rustlings add dimensions that no human scream could achieve, reminding us of the struggle between good and evil. Whereas most composers only reinforce the terrifying aspects of a horror narrative, Goldsmith never loses sight of the human dimension in the story and provides several lyrical passages for the bewildered parents ("The Piper Dreams"). But The Omen is first and foremost a supernatural thriller, consequently the composer proceeds towards an unnerving musical climax that makes an already tense film incalculably more terrifying. Constantly imitated but never duplicated, the score for The Omen requires no further recommendation. --Kevin Mulhall
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The Omen: Original Soundtrack [SOUNDTRACK]
Lord Kitchener And Friends London Is The Place For Me: Trinidadian Calypso In London, 1950-1956

Lord Kitchener And Friends London Is The Place For Me: Trinidadian Calypso In London, 1950-1956

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London Is the Place for Me is a remarkable collection of the varied and irrepressible music that London's calypsonians were producing in the first half of the 1950s. Lord Kitchener himself sings on nine of the 20 tracks while Lord Beginner has five and the rest are shared between Lord Invader, Mighty Terror, Young Tiger, the Lion and someone who bucked the trend by simply calling himself Timothy. Apart from the different voices what impresses most is the variety in both words and music. The best-known of these songs is surely Lord Beginner's "Victory Test Match" (...cricket, lovely cricket, at Lord's where you find it...) but the others cover subjects ranging from landladies and the Underground to independence in Africa, the colour problem, a hurricane in Jamaica and, very topically, the Coronation. The record also exhibits extraordinary musical skill. Such fine Caribbean jazz musicians as saxophonist Bertie King, trumpeter Cyril Blake and clarinettist Freddie Grant have ample opportunities to shine and on some tracks the music seems to foreshadow the Brazilian bossa nova's meeting with jazz a few years later or the joyous sound of the African Jazz Pioneers. Jazzmen with West Indian origins continue to flourish these days but this sort of wide-ranging approach to lyrics and their content seems to have died out. So this release is a timely reminder that (as Bob Dylan also demonstrated subsequently) there is more to life than romance and sex and can be much more to lyrics than the "love" and lust that preoccupies most commercial music. --Graham Colombé
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Lord Kitchener And Friends London Is The Place For Me: Trinidadian Calypso In London, 1950-1956
Country Joe & The Fish Electric Music for the Mind and Body [VINYL]

Country Joe & The Fish Electric Music for the Mind and Body [VINYL]

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Given their origins, both geographically (San Francisco) and stylistically (founder Joe McDonald and lead guitarist Barry Melton first hooked up in a jug band), it wasn't surprising that the ragtag Fish sounded like an acid-soaked, plugged-in folk band when they debuted in '67. Simultaneously the most political and funniest of all the Northern California bands, the Fish's yippie-hippie philosophy was reflected in songs like "Superbird" (about Lyndon Johnson), "Flying High" (about getting you-know-what), and the bluesy free love saga, "Not So Sweet Martha Lorraine." That they could periodically wax serious as well (the wide-angled instrumental "Section Forty Three" and the moody "Bass Strings") only added more bite to their satiric pungency. --Billy Altman
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Country Joe & The Fish Electric Music for the Mind and Body [VINYL]
Dr. John Mos'scocious: Dr. John Anthology

Dr. John Mos'scocious: Dr. John Anthology

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New Orleans' burgeoning 1950s R&B scene was the crucible for Mac Rebennack, an in-demand session guitarist in his teens, but he was sidelined by a gunshot wound to his left hand. He learned organ, then blossomed as a gifted pianist in a city renowned for brilliant, idiosyncratic players, and Mac soaked up the tradition. A move to Los Angeles and a trippy side project under the nom du disque of Dr John, the Night Tripper, clinched his fate, giving American music one of its most ebullient, reliably musical originals. It's his gravelly, juicy voice that has earned him instant recognition, but Dr John remains a student and evangelizer of his hometown's funky, fertile blues, R&B, and jazz canon. This superb two-disc survey serves both him and his origins well, ranging from early forays with Ronnie & The Delinquents and Morgus & The 3 Ghouls to the swampy brilliance of his solo career. His theatrical gris-gris remains deliciously spooky, but it's his later work that shines, from the brilliant R&B history lesson that yielded his classic Gumbo album, through his biggest single hit, "Right Place, Wrong Time" and his 1980s forays into jazz and standards. -- Sam Sutherland
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Dr. John Mos'scocious: Dr. John Anthology
U2 Zooropa

U2 Zooropa

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Zooropa is almost perverse in the way it subverts every expectation we've ever had of U2. The world's most serious rock band releases an album of advertising parodies, Prince imitations, girl group tributes, taunts of rich girls and straightforward love songs. The album opens with the title tune, a vision of a near-future Europe that finds its common culture in advertising slogans and synth programs. As Bob Dylan once did with "Like a Rolling Stone", U2 takes aim on "Daddy's Gonna Pay for Your Crashed Car" at a spoiled rich girl who discovers her life of privilege has sapped all her strength. Bono's vocal has a Dylanesque sneer, but the Edge's guitar and Mullen's percussion create the sounds of a snarled traffic jam and Clayton's in-your-face bass line throbs like a migraine headache. By contrast, "The First Time" is the most genuinely romantic track U2 has ever recorded. The most surprising and most pleasurable tracks on the album, though, are a pair of R&B infatuation numbers, "Babyface" and "Lemon". Nothing better serves overextended rock stars than a return to the music's origins at the sock hop. The results aren't always fully satisfying, but they do reveal an unglimpsed, unexpected side to one of the world's most celebrated, most ambitious pop acts. --Geoffrey Himes
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U2 Zooropa
Richard Hagopian Gypsy Fire

Richard Hagopian Gypsy Fire

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Recorded in New York but featuring musicians of Middle Eastern and European origins well versed in Gypsy music, this is a lively get-together of great musicians and great music. Mostly acoustic in nature and featuring ud, zurna, ney, kanun, saxophone, violin, guitar, bass, and percussion, these 12 tracks romp through 10 tunes, many with vocals, that lovingly alloy the base metals of several Gypsy cultures. With headliners like Richard A. Hagopian and the acclaimed Omar Faruk Tekbilek, the standard and integrity is high, and Gypsy Fire should appeal to all those who like their Gypsy music unadulterated by crossover aspirations or modern electronics. This folksy approach does not affect the rollicking energy at all, however, and several of these cuts will be more than enough to clear the tables out of the way. Gypsy music is alive and well in New York after all. --Derek Rath
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Richard Hagopian Gypsy Fire
Jethro Tull Living With the Past [Live]

Jethro Tull Living With the Past [Live]

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Living With the Past is a beautifully packaged and thoughtfully programmed compilation of recent live recordings of songs across the span of Jethro Tull's sizeable catalogue. Their origins as a blues band with folk leanings made them a welcome alternative to the power trio back in the late 1960s. That period is covered on "Some day the sun won't shine for you", recorded by the original band when they reunited in 2002. Their commercial high point was Aqualung, as brilliant and lasting a statement as any in classic rock. On this album recordings of utterly respectful versions, the line-up includes "Locomotive Breath" and the title track. Elsewhere Ian Anderson is joined by a string quartet for new takes on some early and obscure single sides. The bands penchant for long-form rock-operatic fare, that put them in a progressive cul-de-sac alongside Yes and Genesis, lost them critical support but not their legion of fans. The fans know that this band still has its chops, in particular, longstanding guitarist Martin Barre is among the most underrated of classic rock axemen and this fine live album is as much his as it is Anderson's. --Rob Stewart
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Jethro Tull Living With the Past [Live]
Mike Westbrook Glad Day: Settings of William Blake

Mike Westbrook Glad Day: Settings of William Blake

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This extraordinary double album is the distillation of a 30-year association between the music of Mike Westbrook--possibly the most profound jazz composer Britain has ever produced, although his terms of reference are far wider than the term "jazz" will reasonably admit--and the poetry of the English mystic William Blake, whose career straddled the 18th and 19th centuries and whose insights into the human condition were to crucially inform Westbrook's own thinking. During this period, Westbrook has written original settings for Tyger, Adrian Mitchell's musical about Blake, recorded an assortment of individual pieces on various albums and released a single album based on Blake's writings. With many of these earlier efforts reworked and with new material added, Glad Day features Westbrook's favoured group format, his "Brass Band"--a somewhat loose term for this middling-to-large group which also includes saxophones and voices and which is in this instance augmented by a quartet of guitarists and a superb girls' school choir. Westbrook has been compared to Ellington, but given his skill in handling material of specifically literary origins and his ability to marry verse to music, this "jazz record" is also a song-cycle of the highest artistic calibre. --Roger Thomas
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Mike Westbrook Glad Day: Settings of William Blake
Cher The Very Best of Cher

Cher The Very Best of Cher

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This 21-track anthology, The Very Best of Cher--anchored by her 1998 international mega-success "Believe" and its equally club-savvy collaborations with producers Mark Taylor and Brian Rawlings, "Song for the Lonely" and "A Different Kind of Love Song"--is indeed the first to contain all her No. 1 hits, stretching back to her epochal 1965 duet with Sonny Bono on the faux-Dylan "I Got You Babe". And if it short-changes her Phil Spector-rooted origins and a true perspective on her 1960s and 1970s career (though kitsch classic chart-toppers "Dark Lady", "Half-Breed" and "Gypsies, Tramps and Thieves" are all here) to focus on her string of 1980s and 1990s pop successes in service of writers such as Diane Warren ("If I Could Turn Back Time") and Desmond Child ("Just Like Jesse James"), it's good to remember that, according to the pop soothsayers, none of them were even supposed to happen, let alone make her an icon for a whole new generation. It's a tribute to sheer, fashion-defying willpower--and as unlikely an argument for the notion of "the singer, not the song" as one is likely to find. -- Jerry McCulley
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Cher The Very Best of Cher
Jewel Pieces of You

Jewel Pieces of You

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Jewel's debut album, Pieces of You, reveals a special voice--strong and focused on both the whispery verses and the hooky choruses. The recording also exposes an unfortunate tendency to present trite, hackneyed sentiments as if they were oracular visions from a young prophet to a jaded world. For the most part, Jewel sings to her own acoustic guitar accompaniment, but she has a lot more in common with, say, the Indigo Girls or Lisa Loeb than with Judy Collins or Nanci Griffith. Despite her soft soprano and pretty melodies, her songs have an iconoclastic edge which make her more of an unplugged alternative rocker than a folkie. Her songs too often betray their origins as written verse in their hard-to-sing meters, unmusical phrasing, and diary-like pronouncements. Nonetheless, a few numbers, such as "Morning Song" and "You Were Meant for Me", show a spark of humor about romance, and hint that Jewel may yet write songs worthy of her remarkable voice. --Geoffrey Himes
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Jewel Pieces of You
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