Søgeresultat: original moments
Elvis Presley Platinum - a Life in Music

Elvis Presley Platinum - a Life in Music

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By the end of his life, Elvis in concert was a bloated caricature of his former self, churning out lacklustre medleys of hits. Memories of these sad dog-days on the road and the avalanche of indiscriminate releases which followed his death in 1977 have, at times, threatened to obscure Elvis' position as the founding father of rock & roll. But--thanks to Ernst Mikael Jorgensen, Roger Semon and Colin Escott who systematically overhauled his enormous library of recordings and sequenced them into definitive box-sets covering the 1950s, 60s and 70s--by 1992 Elvis' reputation as King was restored. The four CD box-set Platinum was released to commemorate the 20th anniversary of Elvis' death. While much of the material here is made up of familiar hits such as "Love Me Tender", "Hound Dog", "Can't Help Falling In Love" and "Moody Blue", there are also 77 unreleased performances spread over the set. Of course, "unreleased" doesn't necessarily mean "better". The original versions of "Heartbreak Hotel", "Rip It Up" and "That's All Right" are so firmly embedded as the foundations of rock & roll that the new versions here can add little lustre. But what makes Platinum a real treasure-trove is hearing Elvis off-mic--whether off-duty or working up songs in the studio prior to recording. While never analytical in his approach, Elvis had an instinctive grasp of all manner of music--and as you can hear on these tracks, he could slip with ease from rock & roll to gospel, ballads or the blues. Among the most revealing recordings are Elvis relaxing at home, tackling such diverse material as "I'll Take You Home Again Kathleen", "Blowin' in the Wind" and "Blueberry Hill". Other intriguing moments come from eavesdropping as Elvis warms up before a session--perhaps mindful of the fact that rock & roll was "the devil's music", Elvis always chose gospel music to limber up with prior to recording. The version here of "Oh How I Love Jesus" is called "perhaps the best sense we'll ever get of Elvis sitting around at home singing for himse
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Elvis Presley Platinum - a Life in Music
Godfather - The Game (DK) /PS2

Godfather - The Game (DK) /PS2

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-The world of The Godfather: Experience a decade of violence in New York City from 1945-55. -Classic Film Moments: Non-linear action adventure gameplay with missions direct from the film and original missions with characters from film provides an experience for all types of gamers -Put yourself in the Godfather: Players will create their own mobster and put themselves in the action of the game and experience the fiction of The Godfather-Respect and Consequences: Players will use their powers of loyalty and fear to earn respect throughout New York City. Decisions made by the player in the game will have lasting consequences.-Control New York: The control of New York will be challenged by the five families from the fiction including the Tattaglia, Cuneo, Sollozzo, Brazini, and Stracci families Rating:AAAGenre:ActionPlatform:PlayStation 2
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Godfather - The Game (DK) /PS2
Sepultura Arise

Sepultura Arise

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In their previous seven years' existence Sepultura had steadily established themselves as Brazil's premier metal outfit, but it wasn't until 1991's breakthrough album Arise that they truly captured the hearts and minds of the international rock mainstream. Subsequently re-released with the addition of four bonus tracks--including the band's monumental annihilation of Motorhead's "Orgasmatron"-- Arise highlights Sepultura's irrefutable stylistic kinship to Metallica. The harmonic interplay between Max Cavalera's rock-solid rhythm work and Andreas Kisser's lead lines--on occasions the six stringed equivalent of a fully-throttled dentist's drill--is devastating. Max's tortured vocal, meanwhile, absolutely refuses to take prisoners while brother Igor's rhythmic battery is sheer, unfettered aggression. Moments of restraint, as on the quite astonishing "Altered State", merely accentuate the band's trademark brutality. Even with historical perspective, Arise retains its original ignominious appeal; an essential purchase. --Ian Fortnam
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Sepultura Arise
Tortoise The Brave and the Bold

Tortoise The Brave and the Bold

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Tortoise and Will Oldham have been mutual admirers of each other's work for years, but they never got around to working with one another. That has all changed as Chicago's finest post-rockers enlist Oldham (in his Bonnie Prince Billy guise) to record an album of cover versions. On The Brave & The Bold, these quite natural bedfellows rework ten very different tracks by artists as diverse as Elton John, Bruce Springsteen and Milton Nascimento. The album starts out well with a cracking version of Nascimento's "Cravo E Canela" that retains the original's upbeat Latino-rock spirit. The songs that follow are all interesting choices but offer mixed results. Richard Thompson's superlative "The Calvary Cross" and Devo's energetic "That's Pep!" are certainly effective, as is the stylish version of Don William's "Pancho"; but the versions of Springsteen's "Thunder Road" and Elton John's "Daniel" feel bloodless. And that's the problem in general: despite a plethora of inspired moments and several great covers, the album in general vies too often for a nonchalant middle ground.-- Paul Sullivan
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Tortoise The Brave and the Bold
Juana Molina Segundo

Juana Molina Segundo

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Prior to Segundo, Juana Molina set aside the budding musical career she'd pursued since childhood to become one of TV's most acclaimed comedians in her native Argentina. Her original muse may have been denied for seven years, but was never forgotten; indeed, Molina has managed something of an unexpected musical delight here. Her breathy, gentle vocals haunt unusual song structures and the album's quiet, playful production seems like some restless ghost, wandering a sonic landscape that's as electro as it is Latin. That pan-cultural, less-is-more sense is rare on any collection, let alone on a sophomore album ( Rara was released in her native country in 1996) cobbled together between club gigs while living in Los Angeles. Driven by an insistent, plaintive guitar and producer/collaborator Alejandro Franov's delicate, bubbling synth riffs, Molina's unusually structured songs often seem to float in on a breeze and escape on a daydream. She's claimed the album was recorded in moments near the edge of sleep, and that stream-of-unconscious tack variously involves rhythmic choruses of barking dogs, ticking watches and rainforest soundscapes--most so delicately rendered they sometimes seem an auditory illusion--seasoned with impossibly plastic washes of synth and carried by Molina's sweetly somnambulistic vocals. More impressive, Molina's songwriting sense seems as inscrutably subconscious. This is a rare, true musical adventure from first track to last. --Jerry McCulley, Amazon.com
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Juana Molina Segundo
Stiff Little Fingers Anthology

Stiff Little Fingers Anthology

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Despite only reaching the UK Top 40 on two measly occasions, obdurate Belfast punks Stiff Little Fingers retain a sizeable following two decades after they first appeared on the John Peel Show and continue to prove a viable live proposition. This is due in no small part to the reputation of those classic early singles "Suspect Device" and "Alternative Ulster", each an incendiary blast of political anger and teenage disaffection meriting a place in any serious punk collection. Naturally, those tracks, together with the angst-tainted autobiography of "Wasted Life" and "Gotta Getaway" form the highlights of this three-CD anthology, which rounds up all the band's singles and B-sides. The tracks include include 1991's banned 45 "Beirut Moon", a flimsy Iron Maiden soundalike which dealt with the kidnapping of journalist John McCarthy in the Lebanon. Like compatriots the Undertones, Stiff Little Fingers floundered once they moved away from their original formula, experimental forays into pop and reggae in the 1980s proving largely uninspiring., At least the third disc, a passionate singalong live set featuring the band's most cherishable moments of energetic spleen (previously available as the album See You Up There) goes some way to explaining their enduring appeal. --Kevin Maidment
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Stiff Little Fingers Anthology
Nas God's Son

Nas God's Son

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Despite its grandiose title, God's Son features a semi-repentant Nas. After his stunning debut, many moons ago, it's been downhill ever since for the New York MC. Embroiled in petty spats, overblown productions, large paydays and a huge case of ego-itus, his original brilliance seemed lost forever. However the two-disc God's Son is a return to form. The first single, "Made You Look" is a barnstorming collaboration with Fat Joe. "The Book of Rhymes" is Nas back to his lyrical best, once again showing himself as the real inheritor to Rakim's MC crown. Nas goes deep into the funk on "Get Down", which features a heavy chunk of James Brown, another echo of Rakim's work to which Nas has openly aspired to. There are unsavoury moments. Nas's referral to sleeping with hookers on "Pussy Killz" veers between a sexual-health warning and a tongue lashing of women in general. He also advocates the creationist theory on "Dance". Perhaps he's trying to get the Texas Christian vote? However, such lyrical theorising will probably pass most by--those who just want to hear the beats. On this, God's Son delivers particularly well, especially with the Alicia Keys-enhanced tribalist "Warrior's Song". God's Son suffered heavy bootlegging prior to release and the track listing changed radically. Plenty of (good) material wasn't officially released--undoubtedly there's another Lost Tapes album on the way. Tupac's appearance on "Thugz Mansion" is proof positive that the Tupac impersonator out there is doing very good business. Why didn't they work the same trick with Elvis? --Jake Barnes
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Nas God's Son
GoldenEye: Rogue Agent (GameCube)

GoldenEye: Rogue Agent (GameCube)

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Using the name GoldenEye for this latest 007 game could be one of the most ill-advised choices in marketing history, since it beggars all sorts of unkind comparisons to Rare's seminal N64 title, which to this day remains one of the best games ever made. The choice of name is all the more puzzling because the game has nothing to do with the film or, save the first person perspective, Rare's magnum opus. In fact the rather unlikely reasoning behind everything is that you are an evil ex-MI6 agent who after a fight with Dr No is given an, err? golden eye by Auric Goldfinger. The game's premise is such that all of Bond's greatest bad guys are still alive and caught up in a sort of underworld civil war, in which your character seeks to be the real beneficiary. Ignoring such nonsense though, and looking purely at the game, the AI seems quite good and the replacement of Everything or Nothing's "Bond Moments" with scripted "Death Trap" sequences is fairly amusing. Unfortunately though the developers seem to have forgotten that the original game was as much lauded (at least a year before Thief or Metal Gear Solid) for its stealth gameplay as much for its shooting and this element seems total absent from Rogue Agent. The multiplayer is also unconvincing with no radar and rather sprawling level design. It might turn out all right when it's finished but at the end of the day this is no GoldenEye. -- David Jenkins
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GoldenEye: Rogue Agent (GameCube)
Lionel Hampton The Lionel Hampton Story

Lionel Hampton The Lionel Hampton Story

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When it comes to big bands, most jazz critics talk about Ellington as being the longest-lived. They conveniently forget the brawling, crude but hugely vibrant and influential Lionel Hampton outfit, which even today thunders on, close on 60 years later. This collection starts in 1937, five years prior to Hampton's big band, with selections from a breathlessly brilliant series of all-star small-group sessions he led for RCA Victor which should be in anyone's collection. Hampton began recording with his big band in 1942 and soon hit with "Flying Home", featuring Illinois Jacquet on a tenor sax solo which helped shape popular jazz and blues for the next decade. It also set the pattern for Hampton's own group, encouraging this natural showman to pull out all of the stops all of the time. The compilation selects sides up to December 1949, including the equally rampant 1944 "Flying Home No.2", featuring Arnett Cobb out-Jacqueting Jacquet. There are quieter moments in this set, but the whole point of Hampton is raunch and strut. Although this set doesn't benefit from the greatest of transfers from the original 78s, it is divine stuff, at a fantastic price, brilliantly packaged and annotated. -- Keith Shadwick
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Lionel Hampton The Lionel Hampton Story
Willis Come Get Some

Willis Come Get Some

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At 32, Hayley Willis is making her debut a lot later than most people in her line of work, but that's not a problem: Come Get Some is an album of songs of experience, and Willis's voice, words and music sound all the better for the lengthy gestation that this startlingly fine album has endured. The music on Come Get Some is far more redolent of the southern United States than the southern estates of London: a sparse, feral swampy blues, occasionally reminiscent of the more tender moments of Sixteen Horsepower ("Paper and Stone" and "Talk to Me" are particular highlights). Overall, comparisons to Joni Mitchell, Carole King, Bobby Gentry and, especially, PJ Harvey would not be unreasonable, but they wouldn't tell the entire story. Willis may well be that rarest of things in a ridiculously oversubscribed field: something genuinely original. --Andrew Mueller
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Willis Come Get Some
Alanis Morissette Unplugged

Alanis Morissette Unplugged

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Cutting the electricity only really began to sound like a good idea when Kurt Cobain picked up his acoustic on Nirvana's Unplugged In New York sessions, and on the whole it tends to bring out the worst in an artist and their audience--muso tendencies, obscure cover versions, and a reverential hush punctuated only by obsequious applause. Alanis Morissette's Unplugged, accordingly, is a mixed bag--there's plenty of dispensable moments, like the warbly dirge of "Joining You", or a singularly pointless "Head Over Feet", almost a carbon copy of the original. The gems, though, include a stripped-down, Tori Amos-esque take on "You Oughta Know", which reverberates with repressed bitterness over the minimal tones of piano and keening violin. Quite wonderful, but if only the sycophantic industry crowd weren't quite so enthusiastic in their praise. --Louis Pattison
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Alanis Morissette Unplugged
Estee Lauder Pleasures Cologne Spray ( Unboxed ) 05496380605(50ml/1.7oz)

Estee Lauder Pleasures Cologne Spray ( Unboxed ) 05496380605(50ml/1.7oz)

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This clean, crisp fragrance perfectly captures the best moments in life. Brings you the warmth, freshness & energy . Top notes of citrus effervescence, nectarine, sky air accord. Middle notes of pimento, coriander seed, red ginger. Base notes of sandalwood, iridescent ebony, deep forest moss. Suitable for day & evening wear. The quality of this unboxed item will be as fresh & genuine as the original packing
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Estee Lauder Pleasures Cologne Spray ( Unboxed ) 05496380605(50ml/1.7oz)
London Symphony Orchestra Elgar-Symphony No 1 (LSO Davis)

London Symphony Orchestra Elgar-Symphony No 1 (LSO Davis)

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In the sleeve note to this recording of Elgar's Symphony No.1, conductor Sir Colin Davis is quoted as saying that age is impressing upon him the desire to look for more space in his musical interpretations. "There is no virtue in driving things just for the sake of it, which is a temptation of youth," he says. Well, this is certainly the music-making of a mature Elgarian, broadly conceived though never too stately, carefully paced, lovingly phrased, before the symphony really comes off the leash in the finale. Overall, some will prefer the more intense energy of a Solti or indeed of Elgar himself, but this is a distinguished Elgar One. Just occasionally there is a sense of the reading being over-studied--maybe in part due to the sheer clarity of the sound engineered by the legendary Tony Faulkner--natural and full-bodied, but affording almost too much detail in the somewhat confined acoustic of London's Barbican Centre. But there are some great moments--the building of tension in the rapt slow movement, for example, and especially in the closing section of the finale from the point where the main theme magically reappears at half the original speed, then on to the triumphant conclusion. -- Andrew Green
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London Symphony Orchestra Elgar-Symphony No 1 (LSO Davis)
Cat Power You Are Free

Cat Power You Are Free

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Many artists strive for eccentricity, but few carry it off as convincingly as Chan "Cat Power" Marshall. Over the past few years, her gigs have become legendarily flaky, engrossing marathons of shyness, fragments, works in progress and moments of transcendent beauty. Five years on from her last collection of original songs (1998's Moon Pix), Marshall has finally managed to rein in the silvery brilliance of these shows. The 14 pieces on You Are Freestill sound pretty loose and spontaneous, but compared with their rangy, digressive live incarnations they've been pulled into focus, helped by a notable supporting cast featuring Dave Grohl on drums and Eddie Vedder on harmonies. This time, Marshall's impressionistic vision is expressed with a new clarity whilst retaining the understatement and sense of dislocation that's always made it so affecting. Comparisons are sketchy: Marshall has previously been seen as kin to Bonnie 'Prince' Billy and Smog. Here, though, the elegant punch of "Free" and "He War" provide an American underground counterpart to PJ Harvey, while two outstanding piano blues ("I Don't Blame You" and "Names") are wonderfully evocative of Nina Simone. Confirmation, finally, that Marshall is one of the most original and compelling singer-songwriters around. -- John Mulvey
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Cat Power You Are Free
Star Wars - Battlefront II /PC

Star Wars - Battlefront II /PC

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-Star Wars Battlefront II improves upon the original game's single-player experience with open-ended, mission-based objectives inspired from all six Star Wars films. The compelling storyline spans more than 12 new locations, many from Episode III,including volcanic Mustafar and the space battle above Coruscant. All-new classic movie moments complete the Star Wars Battlefront II experience, as players battle within the interior of the Death Star and visit Princess Leia's blockade runner, the Tantive IV, as seen at the beginning of Episode IV A New Hope. In addition, at certain key moments within the battles, players can feel the Force as a Jedi. -For the first time ever, Star Wars Battlefront II players can engage in space combat and, during the same battle, board enemy ships to attack from within.-The stellar online play that marked the original Star Wars Battlefront returns even bigger and better for Star Wars Battlefront II. Players can locate their buddies and track their stats as they battle alongside more players than ever Rating:AAAGenre:First Person ShooterPlatform:PC
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Star Wars - Battlefront II /PC
Tortoise The Brave and the Bold [VINYL]

Tortoise The Brave and the Bold [VINYL]

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Tortoise and Will Oldham have been mutual admirers of each other's work for years, but they never got around to working with one another. That has all changed as Chicago's finest post-rockers enlist Oldham (in his Bonnie Prince Billy guise) to record an album of cover versions. On The Brave & The Bold, these quite natural bedfellows rework ten very different tracks by artists as diverse as Elton John, Bruce Springsteen and Milton Nascimento. The album starts out well with a cracking version of Nascimento's "Cravo E Canela" that retains the original's upbeat Latino-rock spirit. The songs that follow are all interesting choices but offer mixed results. Richard Thompson's superlative "The Calvary Cross" and Devo's energetic "That's Pep!" are certainly effective, as is the stylish version of Don William's "Pancho"; but the versions of Springsteen's "Thunder Road" and Elton John's "Daniel" feel bloodless. And that's the problem in general: despite a plethora of inspired moments and several great covers, the album in general vies too often for a nonchalant middle ground.-- Paul Sullivan
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Tortoise The Brave and the Bold [VINYL]
Pentangle At the Little Theatre

Pentangle At the Little Theatre

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Given that the jazz-meets-folk blueprint that the original Pentangle created in the 1960s has rarely been improved upon, it is perhaps only fair that vocalist McShee resurrected the name a few years ago to pick up where she left off. Despite the fact that the band was home to guitar legends John Renbourne and Bert Jansch, the 21st-century version is lacking in the six-string department, preferring instead a musical collage of percussion, keyboards and saxophones. The jazz influences are still there--McShee is more of that ilk than a traditional singer, although it's from the folk world that she draws most of her material--now wedded with a global, almost ambient groove. Recorded live, At The Little Theatre showcases the band in freewheeling form, developing on a selection from their fine Passe Avant album and revisiting a few choice moments from the archives. Fans of three-minute pop nuggets would probably do best to avoid, but it's highly recommended to those of a more adventurous nature. -- Phil Udell
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Pentangle At the Little Theatre
Felt Ignite The Seven Cannons

Felt Ignite The Seven Cannons

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These are the two most commercial early-80s Felt albums, and The Strange Idols Pattern, from 1984, is also the best. Its delicate, gossamer-thin sound perfectly couches Maurice Deebank's sparkling, intricate guitar lines and Lawrence's breathy introspection; the whole thing sounds like cool, clear water, trebly and spacious, and has immense charm. 1985's Ignite The Seven Cannons saw Martin Duffy--later of Primal Scream--join on keyboards, but the transition from the original Felt sound to the lush, organ-driven atmospherics of later years was not a smooth one. For the most part, Duffy's contribution just clutters a muddy mix, but there are moments where the new Felt sound falls into place--brilliantly on the sullen epic "Primitive Painters". --Taylor Parkes
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Felt Ignite The Seven Cannons
Sony Ericsson Mobile Camera MCA-10 View

Sony Ericsson Mobile Camera MCA-10 View

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Original Sonyericsson MCA-10 kamera.Passer til: r520, r380, t39, r320, t29s, t68Want to share images with a friend who is not there. Thanks to the Sony Ericsson mobile camera CommuniCam? MCA-10 view, you'll be sharing all those magical moments in a matter of minutes. MCA-10 View is so small and light that you can carry it in your pocket. Connect the camera to the phone. Take a picture. Check the picture in the display. And then send the picture to the e-mail address of your choice. That?s it
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Sony Ericsson Mobile Camera MCA-10 View
Dianne Reeves Bridges

Dianne Reeves Bridges

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Vocalist Dianne Reeves signed with Blue Note at the back end of the 1980s, and has been riding Jazz's treacherous commercial currents ever since with albums that move elegantly between jazz, soul and world music. She's a superb technician, with a clear, powerful delivery, not as unconventional as her similarly lauded labelmate Cassandra Wilson--but perhaps more versatile. If her recordings are a little less satisfying than her live appearances, it's probably because there's too much elegance. George Duke (her cousin) has produced most of her Blue Note outings (including Bridges), and what he produces is a very smooth and immaculate studio sound--big and rich, but not as exciting a sound as Reeves makes naturally. Comprising a mixture of original tunes and works by top contemporary songwriters Peter Gabriel, Patsy Moore, Leonard Cohen and others, Bridges is lovely, without a doubt--her version of Joni Mitchell's "River" must count among her best recorded moments--but much of it could benefit from a little less production and a little more energy.-- Linton Chiswick
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Dianne Reeves Bridges


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