Søgeresultat: canon
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Mark Lanegan Band Here Comes That Weird ChillSe flere produkter fra AmazonHere Comes That Weird Chill could be the album that finally brings Mark Lanegan to the fore. After 17 years' diligent toil at the grunge yoke fronting Seattle rockers the Screaming Trees, Mark Lanegan chose to jump ship, drifting free from the band he'd steered since he was a teenager and letting the tides carry him. Mere months later, he'd washed up as a key touring member of one of rock's most notorious companies, Queens of the Stone Age. It's this band that makes up the key players of this monolithic sixth solo album from Lanegan. With a revolving team of musicians that includes QOTSA's Josh Homme and Nick Oliveri, Masters of Reality's Chris Goss, Ween's Dean Ween, and Greg Dulli (ex-Afghan Whigs, now fronting the Twilight Singers), this is something of an all-star cast. But Lanegan is nothing if not a commanding presence, his grizzled vocal chords, rough as sandpaper and deep as a grave, musing long and hard on love, mortality, narcotic bliss and the inevitable hangover that follows. Grim opener "Methamphetamine Blues" is a hefty slab of deathly psychedelia, marching forth on a violent metallic drum-loop, while a cover of Captain Beefheart's "Clear Spot" is roughshod lo-fi to its super-dense core. But it's the majestic piano lament of "Lexington Slow Down" that suggests Lanegan may still have a seat next to Nick Cave and Tom Waits in the canon of rock's doomed romantics. --Louis Pattison Fragt: Ukendt! |
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Duke Ellington Johnny Hodges Play The Blues Back To BackSe flere produkter fra AmazonBack To Back is an oddity in the Duke Ellington canon, a small-band record that includes not a single Ellington composition and only one Ellington musician, co-leader and alto sax king Johnny Hodges. The repertoire consists of seven classic blues pieces, including three from the pen of W.C. Handy, and the results of this informal 1959 session are nothing short of remarkable. The other major solo voice is Harry "Sweets" Edison, a Count Basie-band veteran who seems particularly inspired on this day. His embrace of the melody on "Basin Street Blues" shows great tenderness laced with simply perfect blues-based accents. Hodges offers a virtual lesson in how to build solos from the ground up, nuzzling the nostalgic melodies at first before adding colourful embellishments. Meanwhile, Ellington's spare improvisations and clever comping offer bold chord choices and typically idiosyncratic timing without overwhelming the basic structure and feeling of the blues. No question, a record of old standards and easygoing statements can be just as powerful as any other. --Marc Greilsamer Fragt: Ukendt! |
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Ceoltoiri Women of IrelandSe flere produkter fra AmazonIn a way, Ceoltoiri are a little reminiscent of the Chieftains, in that they take a slightly more orchestral--as opposed to rough and ready, session-type--approach to the music, framing it in a slightly more formal context. They're at their very best, however, when the music is framing Connie McKenna's lovely voice, which isn't a million miles from Steeleye Span's Maddy Prior. That isn't to say that the instrumental sets lack power--just that the songs seem to offer these women a greater focus. There are some interesting touches--clarinet and woodwinds here and there--but it's good to see them using traditional material, instead of adding to the already cluttered canon. In an age of Celtic proliferation, sorting the wheat from the chaff takes a strong act of will. But Ceoltoiri are definitely wheat. --Chris Nickson Fragt: Ukendt! |
Pris 146.12,-
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![Laura Cantrell Humming By the Flowered Vine [VINYL]](http://img.kelkoo.com/dk/small/753/251/00163990536147621509935103179317029251753.jpg) |
Laura Cantrell Humming By the Flowered Vine [VINYL]Se flere produkter fra AmazonLaura Cantrell's third album, Humming By The Flowered Vine, emerges into daunting company. Her debut, 2000's Not The Tremblin' Kind, was famously acclaimed by John Peel who'd probably listened to more albums than anybody else as "my favourite record of the last ten years, and possibly my life." The follow-up, 2002's, When The Roses Bloom Again, was also widely, and rightly, hailed a classic. Humming By The Flowered Vine finds Cantrell understandably, reluctant to tinker overmuch with a winning formula. Like its distinguished predecessors, it's a mix of Cantrell's own compositions, and obscure cover versions which would only have appeared on the radar of a serious country enthusiast Emily Spray's "14th Street", Jenifer Jackson's "What You Said", Dave Schramm's "And Still". If Cantrell does borrow from a big name, it's a previously unreleased song in this case, a sublime version of Lucinda Williams' "Letters". Humming By The Flowered Vine is a little more opulently arranged than previous albums. However, Cantrell's deceptively offhand, conversational voice remains an instantly recognisable and still treasurable idiosyncrasy, and her third album is a worthy addition to her canon. --Andrew Mueller Fragt: Ukendt! |
Pris 141.40,-
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Luke Haines New WaveSe flere produkter fra AmazonThe title, Auteurs' auteur Luke Haines would later explain, was "a crap joke", as was his decision to pose for the cover photograph got up as a 1950s matinée idol playing Lawrence Of Arabia. These were hardly the last signifiers of Haines' somewhat obtuse sense of humour, and New Wave was only the first of several unnervingly great and wilfully diverse albums by The Auteurs. It was heavily in hock to The Kinks and The Go-Betweens but had enough going for it on its own merits that it is rightly regarded as one of the best British debuts of the decade. Much of New Wave is consumed with fame; specifically, with Haines' fascination with and horror of those who have attained it. Songs like "Don't Trust The Stars", "Starstruck" and "Valet Parking" pick at the subject with the same morbid wonder as small children with scabs. Though Haines doesn't reach any firm conclusions--the last line of the album is "A test you took ... awaiting results"--he makes an unarguable case for himself as a striking new talent, and a genuine successor to Ray Davies and Mark E. Smith in the canon of great cantankerous British pop mavericks. --Andrew Mueller Fragt: Ukendt! |
Pris 84.80,-
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Bob Marley Songs Of FreedomSe flere produkter fra AmazonWhen Songs of Freedom was released originally in 1992, it was a perfect complement to either a greatest hits collection like Legend or the entire collection of the reggae master's albums. Songs boasts enough of the recognisable from Marley's canon to address the hit seeker, but the set also reaches way, way back to include Marley's first single, the youthful "Judge Not" from 1962, and then closes more than four hours later with a 1980 live take of "Redemption Song" from his last concert. In between are live takes, studio remixes, and, of course, standard looks at Marley standards, playing together as a perfect balance between the familiar and the new. The flow of famous takes increases into CDs three and four, where "No Woman, No Cry" appears from a 1976 set at the Roxy and where "Jammin'" and "Exodus" come in mixes that were new to fans in 1992. Of course these four CDs show in wide-angle view exactly how fantastic and commercially improbable Marley was. He was able to popularise tunes about both the repression of African nations and their liberation while also bringing to rock audiences an undeniably Jamaican music, breaking the U.S. and British geographic strongholds on the 1970s pop and rock marketplace. Never mind that he made Island Records' first fortune, he also created a body of work so lasting that a four-CD set heavy on alternate versions can stand out in any contemporary music collection. For the 1999 reissue of the original 1992 box set, no new music has been added. The format has changed, though, from a long-box presentation to a cube containing individual slipcased CDs. It's still a remarkable gem. --Andrew Bartlett Fragt: Ukendt! |
Pris 358.26,-
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Waterson Carthy Fishes and Fine Yellow SandSe flere produkter fra AmazonThe fifth album from the first family of English folk music, Fishes & Fine Yellow Sand is a solid, if unsurprising, addition to their impressive canon. The continuing use of melodeon player Tim Van Eyken as an "honorary family member" is a considerable asset to the group, and Norma Waterson's triangle playing is going from strength to strength. She is by far the group's best singer as well, although Van Eyken's performance on "Napoleon's Death" and "Twenty One Years On Dartmouth" make him a close second. Martin and Eliza Carthy's singing voices are an acquired taste; although the latter is a fine harmony vocalist and her violin skills are awesome. Three fine instrumental sets (reels, jigs and hornpipes) break up the songs. The material is mostly old English, with some American imports, and is linked by the theme of criminality or badness. The only non-trad song is Gerry Garcia's wonderful "Black Muddy River", which has been recycled from Norma's first solo album and appears in a surprisingly effective acoustic rearrangement. As always, Martin Carthy's distinctively percussive fingerstyle backs the other musicians throughout and the frequent meshing of melodeon and fiddle are a treat. --Jon Lusk Fragt: Ukendt! |
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Green Day WarningSe flere produkter fra AmazonAfter two years off following the release of the genre-expanding Nimrod, the usually insouciant trio Green Day are open to some weighty self-analysis. Gone are the raging rants, cartoonish antics, and anthropological musings about the punk scene, replaced by an introspection that brings to mind Michael Stipe and Bono. Like the U2 frontman, Billie Joe Armstrong still hasn't found what he's looking for, but he knows where he's been and is eager to move past the days when Green Day were considered the clown princes of rock. Witness "Jackass", which cautions, "Everybody loves a joke, but no one likes a fool". Proving that they aren't fools, Green Day take a substantial step forward, exploring new rhythms, sonics and subjects. While many of the tracks are still cheeky and infectious, the deceptively simple melodies belie a quest for meaning, faith and fulfilment. There's a tentative optimism here that's tempered by irony and flashes of self-loathing. Still, Warning transcends the darkness that clouded 1995's Insomniac. No longer so under the sway of the Buzzcocks and the Ramones, this time Armstrong and company dip into the early rock canon--the Beatles and Bob Dylan, among them. As a result, their first self-produced album is more "Nowhere Man" than "Blitzkrieg Bop". --Jaan Uhelszki Fragt: Ukendt! |
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Original Soundtrack Studio 54Se flere produkter fra AmazonAs if the genre didn't have enough stigmas to transcend, countless nostalgic compilations have done disco additional disservice by reducing the canon to a handful of obvious tunes trotted out endlessly. Fortunately, by including lesser-known gems like the Gibson Brothers' "Que Sera Mi Vida" next to classics by Sylvester, Dan Hartman, and Chic, the music supervisors of 54 have assembled irrefutable proof that the late '70s weren't the musical wasteland those idiots who torched their Donna Summer LPs claimed. However, the producers apparently weren't entirely immune to the commercial leanings that undermined disco via overexposure; program your CD player to skip the annoying cut-and-paste medley "Studio 54" and Mary Griffin's updated "Knock on Wood," which pales next to Amii Stewart's chart-topping 1979 reading. --Kurt B. Reighley Fragt: Ukendt! |
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Sinead O'Connor So Far... The Best OfSe flere produkter fra AmazonWith a distinctive voice and controversial statements, Sinead O'Connor was briefly in the limelight and quickly in the doghouse. But even her opinionated politics can't take away from the beautiful work she's contributed to the post-punk canon. O'Connor's poignant delivery of Prince's "Nothing Compares 2 U," is still heart-wrenchingly painful. "Troy" is equally evocative. So Far... The Best of Sinead O'Connor provides a thorough sampling of O'Connor's early years. Emotionally charged rockers like "Emperor's New Clothes" and "Mandinka" are essential inclusions, as are her rhythmic explorations with Bomb The Bass, "Empire," and the early "I Want Your (Hands On Me)." Sadly, her Cole Porter contribution to Red, Hot, And Blue was omitted. But O'Connor proves she rightfully deserves diva status with her rendition of "Don't Cry for Me, Argentina." As if there were ever any doubts. --Steve Gdula Fragt: Ukendt! |
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David Bowie Young Americans: RemasteredSe flere produkter fra AmazonBy 1975, when Young Americans was originally released, people were accustomed to being surprised by David Bowie. Even so, his decision to immerse himself in the traditions of Philadelphia soul raised eyebrows to heights rarely witnessed before or since. In retrospect, Young Americans occupies a reasonably logical place in the Bowie canon, containing both faint echoes of the glam excess of the preceding Diamond Dogs and subtle hints of Bowie's encroaching cocaine paranoia that would result, a year later, in the compellingly deranged Station To Station. It has never been in Bowie's nature to do things by halves, and he went about making Young Americans with the demented energy that has propelled his career to such towering altitudes and such horrifying depths (guest musicians included John Lennon, Luther Vandross and David Sanborn). The quality control was certainly uneven--the album contains such great moments as the title track, "Fame" and "Win", and a lot of wishy-washy fillers, even by Bowie's standards. But, taken as a whole, Young Americans remains one of the most influential records of Bowie's influential career. --Andrew Mueller Fragt: Ukendt! |
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Paul Simon Paul Simon 1964-1993Se flere produkter fra AmazonIn contrast to the single-CD Negotiations and Love Songs, which skates swiftly across his solo canon, this three-disc box follows Paul Simon's evolution from the folk-rock of Simon & Garfunkel toward a highly personalized synthesis of pop, vintage rock, folk, and world music. Laid out in chronological order, 1964-1993 reminds us that the Queens, New York, troubadour was dabbling in hymn-lined melodies, Third World accents, and doo-wop melisma long before Graceland or Songs from the Capeman. While Simon's painstaking craft produced little in the way of shelf material (consisting here of a long unreleased track, "Thelma," a solo demo for "Bridge over Troubled Water," and live versions of six other classics), the set does make room for sturdy gems, including "Slip Slidin' Away" and a satisfying array of his enduring album tracks. --Sam Sutherland Fragt: Ukendt! |
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Duke Ellington & His Orchestra The Ellington SuitesSe flere produkter fra AmazonCertainly one of the more obscure entries in the Ellington discography, this collection combines three distinct works, most notably 1959's masterpiece, "The Queen's Suite." Written as a personal thank you to Queen Elizabeth for her courtly reception of the Orchestra during the previous year, "The Queen's Suite" is, quite fittingly, a highly orchestrated six-part opus that tends toward beauty, grace, and elegance as opposed to heated improvisation, raw emotion, and blues inflections. From the exquisitely fluttering opener "Sunset and the Mockingbird" to the majestic and brassy "Northern Lights" to the sublimely delicate piano solo "The Single Petal of a Rose" to the fierce finale "Apes and Peacocks," the 20-minute suite is an absolutely stunning delight. This collection is rounded out by a pair of early-1970s recordings: the six-part "Goutelas Suite" is a bold and mysterious piece centered around the ruminative "Something" and hard-charging "Having at It." The three-part "Uwis Suite" is notable for "Klop," the only polka in the Duke's canon. --Marc Greilsamer Fragt: Ukendt! |
Pris 84.80,-
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Ben Folds Whatever and Ever Amen: RemasteredSe flere produkter fra AmazonBen Folds' Five's Whatever and Ever Amen is a fantastic collection of songs from a band beginning to believe in itself as something more than a novelty act. Having excised much of their regrettable tendency to flippancy with their first album, the three members of Ben Folds Five delivered a classic follow-up: the single "The Battle of Who Could Care Less" is a witheringly witty character study of middle-class wasters that could be thought of as an American companion piece to Pulp's "Common People". Angry and articulate, Whatever and Ever Amen is a rewarding exploration of the hitherto virgin territory between Elvis Costello and Jerry Lee Lewis. It also contained the instant live favourite "Song for the Dumped", which in one transcendentally splendid moment--Folds' exuberant yelp of "Well, fuck you, too / Give me my money back, you bitch"--managed to make the rest of rock's vast canon of unrequited affection feel somewhat redundant. --Andrew Mueller Fragt: Ukendt! |
Pris 89.33,-
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Indigo Girls All That We Let inSe flere produkter fra AmazonGrammy-winners for their major-label debut back in 1989, Indigo Girls have spent the last 15 years proving and re-proving their worth. Too easy on the ear to suit the roots revival and far too politically spiky for the mainstream, they've been forced to plough their own furrow, and have thus cultivated a voice that grows ever stronger. All That We Let In sees the duo split songwriting duties more or less evenly. Amongst Amy Ray's contributions are the snappy ska of "Heartache for Everyone", the rocking and surprisingly epic "Tether", and the Celtic-tinged "Dairy Queen". Emily Saliers, meanwhile, weighs in with the simply beautiful love song "Free in You" (a sure-fire number one if it's ever bellowed out by Whitney Houston), "Come on Home" (a delicate tale of betrayal) and the masterful piano and cello infused title track, inspired by the death of an activist friend but hugely life-affirming nonetheless. At first listen, Saliers' efforts seem softer than her bandmate's, homespun and prettily descriptive where Ray's tracks are overtly pointed. It's only later that you realise how dark they both can be. With Joan Osborne providing occasional backing vocals, All That We Let In is classy, literate and often touching addition to their canon. -- Dominic Wills Fragt: Ukendt! |
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![Original Cast Recording Loewe: My Fair Lady: Original London cast [SOUNDTRACK]](http://img.kelkoo.com/dk/small/823/694/4165088024143486574208540328553694823.jpg) |
Original Cast Recording Loewe: My Fair Lady: Original London cast [SOUNDTRACK]Se flere produkter fra AmazonMy Fair Lady is without question one of the greatest shows ever created for the musical theatre. It's a charming, hilarious and touching adaptation of George Bernard Shaw's Pygmalion, pitting flower girl Eliza Doolittle against Professor Henry Higgins, the self-absorbed and ill-tempered linguist who bets that he can turn her into a lady by improving her diction. Lerner and Loewe's score includes some of the best-loved songs in the canon such as: "The Rain in Spain", "On the Street Where You Live" and "Get Me to the Church on Time" among others. The 1959 London-cast stereo recording is generally held in lower regard than its Broadway counterpart, which was recorded three years earlier in mono. But why quibble? The principals are all the same--Rex Harrison as Higgins, Julie Andrews as Eliza, Stanley Holloway as her dad, and Robert Coote as Colonel Pickering (Leonard Weir replaced Michael King as Freddy Einsford-Hill). --David Horiuchi, Amazon.com Fragt: Ukendt! |
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Olivia OliviaSe flere produkter fra AmazonEyes rimmed with smoky charcoal liner, lips glossed to a porcelain sneer, Olivia--the first artist to be signed to Clive Davis' J Records--fronts like she's hip-hop-hard and soul-singer-soft on the cover photo of her self-titled debut. Luckily for her, the music biz is all about image these days, since there's not much to back up her posturing on this collection of ho-hum titillaters. The 20-year-old singer/rapper from Queens does her best to exude diva-like traits--sex kitten appeal, bling-bling bravado, and a whole lot of attitude. And these elements come together nicely over the infectiously low-down groove of "Bizounce", the album's slang-slinging first single (yet another addition to the growing canon of no-scrubs anthems). But Olivia's voice--a delicate, girlish mezzo soprano à la Mya or Aaliyah--is ill-suited to the tough-as-nails swagger she tries to convey with lyrics like "Nigga, you ain't knowing you was f***ing with a star" ("Silly Bitch in Love") or "I'm in love with America's most dangerous thug" ("Til He Comes Home"). For all of her bluster though, Olivia's more than a pretty face-she's got a knack for delivering R&B melodies with hip-hop flair. And occasionally, her vocals shine (like on the lilting ballad "It's on Again")--hopefully indicating that she will transcend her current role as a pre-packaged pop star. --Sylvia W Chan Fragt: Ukendt! |
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![Echo & The Bunnymen Siberia [VINYL]](http://img.kelkoo.com/dk/small/138/780/88049412548819409577972336396450780138.jpg) |
Echo & The Bunnymen Siberia [VINYL]Se flere produkter fra AmazonThe indian summer of Echo And The Bunnymen's surprising late Nineties comeback has now cooled, but Siberia is a commendable attempt to make up for lost commercial ground. If 2001's under-rated Flowers cast the Bunnymen as woebegone psychedelists contentedly mumbling from the darker margins of indiedom while the world looked the other way then Siberia is the obverse. Far from sounding overcast, the single "Stormy Weather" is possibly the most effulgently extrovert song in the band's canon and maybe even an ironic titular riposte to a career seemingly blown off-course. The jury's out on Hugh Jones' production; reassuringly retro as on "Heaven Up Here" (his last work with the band) or too burnished to harness the evident danger which lurks behind "Scissors In The Sand"? The qualities of "Everything Kills You" and "What If We Are" are less equivocal--grand, romantic mock-tragedies in the tradition of "Rust" or "Nothing Last's Forever but instances of deja-vu persist with a little too much self-referencing to songs we've already learned to sing and the suspicion that the chord progressions to "Parthenon Drive" inadvertently derived from heroic sources (namely the Velvet's "Lady Godiva's Operation"). Not Porcupine then, or Crocodiles. However, Siberia is a decent enough record coming from a band stubbornly unwilling to be left out in the cold. -- Kevin Maidment Fragt: Ukendt! |
Pris 141.40,-
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Abba The Definitive CollectionSe flere produkter fra AmazonIs there anything which screams the 1970s most indelible pop cultural clichés-more than the Swedish pop phenomena Abba and their Definitive Collection? While many a pundit snootily dismissed them during their prime as some sort of prefabricated aberration, their worldwide popularity peaked somewhere just south of Beatlemania. Indeed, Abba's music was as finely tooled and crafted as anything to come from a Volvo or Ikea factory --if occasionally more economically potent. This double-disc, 37-track anthology comes neatly on the heels of Mama Mia, the smash, if unlikely, stage show based on the band's hits, and documents every single released by the band's Polar label in their home country was as well as key tracks released as singles elsewhere internationally. When you hear the term "Europop," this is the canon from whence the term sprang. With a continental sense of vocal neo-classicism, informed by just the right ethnic clichés (and oft wed to the era's insistent 4/4 disco beat) to make songs like "Mama Mia", "Fernando", "Chiquitita" and "Voulez-Vous" work on a global scale, the writing team of Bjorn Ulvaeus/Benny Anderson and their respective partners in music and life, Agnetha Faltskog and Frida Lyngstad, developed the seamless, wall-of-sound productions contained herein. Definitive Collection features a rare single remix of "Ring, Ring" and a 1979 promo-only extended mix of "Voulez-Vous" as bonus tracks, as well as a concise, illustrated history of the band and each track. --Jerry McCulley Fragt: Ukendt! |
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Will Oldham Viva Last BluesSe flere produkter fra AmazonAfter the dead-Okie solo ballads of the previous full length release, Will Oldham (Mr. Palace himself) got an under-rehearsed band together and set them loose in the studio. Steve Albini's bare bones production is in plain view as drums scrape into the guitars with all the finesse of a basement tape. "More Brother Rides, " "Viva Ultra," "The Brute Choir," and "Work Hard/Play Hard" are the most rhythmic tracks Oldham's ever attempted and the improvisatory nature of the songs allow for some unexpected surprises (Liam Hayes' piano is a loose canon likely to veer off into another song while Bryan Rich's lead work is curiously incompetent at best). --Rob O'Connor Fragt: Ukendt! |
Pris 103.57,-
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