Thursday, 26 June 2008
Bob Marley and The Wailers
Artist: Bob Marley and The Wailers
Genre(s):
Reggae
Reggae
Discography:
Jamaica Joint Jump Digipak
Year: 2003
Tracks: 19
Greatest Hits At Studio One
Year: 2003
Tracks: 18
Greatest Hits At 1 Studio
Year: 2003
Tracks: 18
Natural Mystic
Year: 2002
Tracks: 16
Shakedown Marley Remixed
Year: 2001
Tracks: 13
Jungle Dub
Year: 2000
Tracks: 24
Talkin' Blues [Remaster]
Year: 1991
Tracks: 24
Rebel Music
Year: 1986
Tracks: 10
Uprising
Year: 1980
Tracks: 10
Survival
Year: 1979
Tracks: 10
Babylon by Bus [live]
Year: 1978
Tracks: 13
Exodus - Movement Of Jah People
Year: 1977
Tracks: 10
Live!
Year: 1975
Tracks: 7
Natty Dread
Year: 1974
Tracks: 9
Burnin'
Year: 1973
Tracks: 10
African Herbsman
Year: 1973
Tracks: 16
Catch A Fire
Year: 1971
Tracks: 9
Soul Rebels
Year: 1970
Tracks: 12
 
Thursday, 19 June 2008
'Hottie' could heat up 'Napoleon' fans
See Also
Wednesday, 11 June 2008
Soprano, Contralto, Tenore, Basso, Chorus, Orchest
Artist: Soprano, Contralto, Tenore, Basso, Chorus, Orchest
Genre(s):
Classical
Discography:
Tantum ergo in E flat major, for 4 soloists, mixed chorus and orchestra, D 962
Year: 1992
Tracks: 1
Wednesday, 4 June 2008
Steve Winwood, Nine Lives
There’s some good news and some bad news about the new album from Steve Winwood. The sleek production, laid-back grooves, deep-vein bass lines, sinuous percussion, and instantly singable tunes that have hallmarked his output since Arc Of A Diver in 1980 are all in place here. That’s the good news. If you’d like to hear Winwood’s undoubted talent break sweat a little, then it’s also the bad news.
Since reaching the platinum lined destination of 1986’s Back In The High Life there’s a sense in which Winwood has become something of a musical sleepwalker, content to languidly wander around his AOR / MOR surroundings rather than stretch and flex his muscles.
Of course his voice remains his greatest asset, possessing the apparent contradiction of being ostensibly thin and slight yet able to cut to the soul with telling effect. It’s this aspect of his work that has often carried material which would otherwise be anonymous and trivial in the hands of another artist.
I’m Not Drowning, a stripped-back blues shouter, limbers up nicely; Eric Clapton’s cameo kicks up the dust on Dirty City; Raging Sea (the second of three titles with aquatic allusions) surges with infectious licks, whilst Fly has a winsome charm that’s hard to resist.
Yet too often there’s a sense in which the individual components fail to connect effectively with each other, separated in a cloying sheen of too-glossy production.
Perhaps the worst offender is Other Shore. A bedrock of bongos, supple interleaving guitar and bass, and a wash of keyboards sway prettily behind a lyric that speaks of being free and the exhilaration of life and love. At around three minutes a sax solo gets all smoochy but the backing remains conspicuously unmoved by its ardent overtures and advances. It should be moving but isn’t.
The trouble with all of this is the album as a whole is taken at the kind of velocity that makes the queue in the post office on pension day look positively racy. Whilst there’s nothing intrinsically wrong with this record one can’t help feel that like so many recent Winwood albums that it could have been so much better. Nice tunes, shame about the pace.
Since reaching the platinum lined destination of 1986’s Back In The High Life there’s a sense in which Winwood has become something of a musical sleepwalker, content to languidly wander around his AOR / MOR surroundings rather than stretch and flex his muscles.
Of course his voice remains his greatest asset, possessing the apparent contradiction of being ostensibly thin and slight yet able to cut to the soul with telling effect. It’s this aspect of his work that has often carried material which would otherwise be anonymous and trivial in the hands of another artist.
I’m Not Drowning, a stripped-back blues shouter, limbers up nicely; Eric Clapton’s cameo kicks up the dust on Dirty City; Raging Sea (the second of three titles with aquatic allusions) surges with infectious licks, whilst Fly has a winsome charm that’s hard to resist.
Yet too often there’s a sense in which the individual components fail to connect effectively with each other, separated in a cloying sheen of too-glossy production.
Perhaps the worst offender is Other Shore. A bedrock of bongos, supple interleaving guitar and bass, and a wash of keyboards sway prettily behind a lyric that speaks of being free and the exhilaration of life and love. At around three minutes a sax solo gets all smoochy but the backing remains conspicuously unmoved by its ardent overtures and advances. It should be moving but isn’t.
The trouble with all of this is the album as a whole is taken at the kind of velocity that makes the queue in the post office on pension day look positively racy. Whilst there’s nothing intrinsically wrong with this record one can’t help feel that like so many recent Winwood albums that it could have been so much better. Nice tunes, shame about the pace.
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