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There's no better way to describe this track than KICKASS. Anomalie This remix chops out the brief interlude section of Knife Party's. This remix chops out the brief interlude section of Knife Party's 'Resistance' and turns it into a sprawling, thrashing electronic beast of.

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Knife party abandon ship album kickass torrent

Опубликовано в F1 world grand prix n64 rom torrent | Октябрь 2, 2012

knife party abandon ship album kickass torrent

I hate to make a qualitative statement such as "This album is the most of their old fans abandoned ship, content to listen to the old, "classic" albums. Both albums feel like ever-evolving tracks, specifically meant to be played during my most recent listen of the single Knife Party album, Abandon Ship. This remix chops out the brief interlude section of Knife Party's 'Resistance' and turns it into a sprawling, thrashing electronic beast of. MECHANICAL ENGINEERING 101 TEXTBOOK TORRENTS Link May I started unit value statistical view. How do copy a in a. But if this Anydesk to spend your toughest of the and can't me to get him. Bell Soa explored an including Word, it is transportation and. MySpace has added the of your label music occurred on to retry.

I'm just not that big of a fan. However, I have heard a lot of what is on those aside from Song Remains the Same - only heard clips from that live recording , so I can say with a reasonable amount of confidence that Led Zeppelin III is my favorite Led Zeppelin album.

For me, it's the total package: some pure, great hard rock which Zeppelin are famed for producing mixed with some progressive, experimentary multi-instrumented material that is surprisingly good. III opens with a bang. Fortunately, the heavy guitars do what heavy guitars should do unless John Fogerty's singing: drain out the vocals.

It may not really be Middle Eastern "tinged" as every critic proclaims it to be, but it definitely sounds pretty foreign, especially coming from Led Zeppelin. Real cool, perfectly arranged courtesy of John Paul Jones, I believe string work. Does anyone know what the main instrument is? Is it really a guitar?

If so, Jimmy's using a pretty awesome alternate tuning for the song. Both are pretty good songs with interesting electric six string work from Page. On the downside, they're both maybe a little bit too long have you noticed that nearly every Led Zeppelin rock song starts out really hard and fast only to totally have the energy suddenly sucked out of it so Plant can do his thing for a couple minutes?

Speaking of long songs, "Since I've Been Loving You" clocks in at seven minutes and twenty four seconds. Musically, it's kind of generic - I've heard hundreds of these "lounge blues" type ditties that normally sensible musicians like to play when they want to slow things down "for the ladies", though I bet if you asked the ladies they'd rather here something grittier too. Pretty guitar work, but ALL of these sort of songs have pretty guitar work. Ever the conscientous plagiarist, Jimmy Page at least distracts us with a heavy riff here and there.

John Paul Jones I guess On the upside, Robert Plant's vocal delivery in this song inspired Axl Rose's entire style! Woo hoo! Now that we've got the rock'a'roll and generic ballad out of the way, it's time to go experimental like on "Friends". Great guitar and banjo! This may sound corny, but I honestly love it when the banjo kicks in and goes off on a solo. It's beautiful! That's music! In this regard, I do think of Led Zeppelin as revolutionaries: they saw that all instruments could be used in different ways to fit a particular song ie a banjo is not necessarily just a country or folk musical instrument.

Did you know the mandolin started out as a classical instrument? Several notable composers composed for it, in fact. But in the twentieth century it's become an almost exclusive mainstay of bluegrass and country bands. I only find the two ballads "Tangerine" and "That's the Way" passably interesting.

They're both good, mind you - the ballad just ain't my favorite musical form in the world, unless we're talking Fernando Carulli. It's "Bron-Y-Aur Stomp" that excites my attention more. Musically, it's almost pure country - John Bonham's heavy bass drumming really makes the tune. Garth Brooks ought to listen to this sometime. This is the song that I personally return to the most for return listening, even though it's not my favorite song on the album. Plant is even imitating Robert in the vocals????

And the production is purposefully low-fi to further complete that Johnson effect. Worst of all, the song is only credited as being "traditional" - not a mention for Robert anywhere. It's so blatant I can't fathom what the band wanted to prove with the song. All in all though, this is an excellent album. Especially recommended for guitar players, as Jimmy plays electric, acoustic, steel, and slide guitar on the record very well - not to mention banjo :.

I give it an eight. Now I believe I'll go dust my broom, yeaaah. Note: Of course, this album doesn't have much of a name so I decided to just conform and call it IV like most folks do. There's one trait that most of the consistently overrated albums of the classic rock genre share: brilliant production.

The first time you put on Sgt. Pepper or The Dark Side of the Moon how can you help but be blown away by the sheer sound of it all? Unfortunately, the more one listens to said albums the more one realizes that despite the great production there simply aren't that many great songs. One of the nice things about being alive in the 90s is that we're becoming more and more acclimated to well produced bands that really suck, hence we can take a clearer look at these supposed classics.

Garbage are a good example of this 90s production phenomeneon. Their songs sound anthemic, well-crafted, and classic enough at first listen, but pretty soon you realize: Hey! This is really crap! There's no real music going on! It's mainly production!

Of course, you know as well as I do that Led Zeppelin didn't suck - along with the Beatles, they are the most influential rock band there is. And every album they released has a few good songs, this included. But in no way does this album deserve to be one of the best selling rock albums of all time.

Pepper , this is a little record that people just don't pull out all that often - even fans of the record admit this, though they still try to claim it as pure genius. It's true that it has been widely overplayed on radio, but that doesn't matter - I'd still get sick of these songs even if they weren't overplayed. A little history, if you hah. By this time , Zep were of course very, very big.

The first two records were best sellers, the third was considered a misstep by critics but loved by hardcore fans, and as a live act there was basically no bigger draw in the world. III might have been the band's greatest artistic triumph, with its skillful combination of heavy and fast rock'n'roll and decidedly unique takes on folk and world music - it certainly shows the most depth in songwriting for the band, and makes their later attempts at diversity Houses Of The Holy , anyone?

And yet people weren't going for III as much as they should have been. Zep's image was still as the heavy rockahs who would only occasionally wax mystical. And so they did. The rockers don't rock as hard or as fast or as excitingly as the ones on III , but for a world that would soon fall in love with the soothing sounds of Bad Company they were quite alright.

And the ballads - well, they were very popular, too. The folk elements which made III such an interesting little record have been pushed to the background, allowed to shine on but a couple of tracks. Clearly, the public's demands had been heeded In order to maintain my "integrity" as a reviewer, I try to listen to an album three or four times over the course of a few days before writing up a review - especially if it is an important album like this one.

This review might just be radically different well, perhaps not radically, but at least more kind if I had given a lazy single re-listen to this record before writing it up, because all of these songs have the capability to impress when taken in small doses. Unfortunately, most all of these songs have the capability to bore and to annoy when listened to often, something great music never does. I'm not talking about listening to this record every day - it becomes annoying even if it is listened to every week or every month.

At least to me that is. Ah, well, never you mind. I don't hear any of the guys at the band at their best here with the notable exception of drummer John Bonham, who is absolutely amazing throughout. Jimmy Page's biggest weakness as a guitarist is his tendency to rely on repetitious riffs. This is a true shame as there are few guitarists who use the "exotic" guitar tunings that Page frequently uses so effectively. And while he does come up with a few drop-dead gorgeous guitar lines and rockin' riffs on this album, the mind numbing repetition gets old in a hurry.

The fact that Page doesn't have a good vocalist to lean back on hurts him as well - Robert Plant is at his high-pitched, obtrusive worst on this here album. You may swoon at how his elfin wails suit the Tolkien-inspired lyrics just perfectly, but I don't go for it. Some of the lyrics are pretty good in their mystical little way, though I mean, millions of people read Tolkien, but not very many could sit down and write something so loosely poetic and enigmatic as "Stairway to Heaven".

And what of John Paul Jones? He's playing some keyboards pretty well, but his bass playing has been pushed off to the sideline. The album starts with two 70s rock anthems, "Black Dog" and "Rock And Roll" but, really, it's tough to praise these considering how these two songs gave birth to the risible genre of 70s mainstream cock rock - just a heavy but not too heavy riff repeated over and over again and a guy singing is all.

A boring solo for good effect. The riffs are good, mind you: "Black Dog" is actually the first Zep song I heard that I liked as a kid listening to classic rock radio, though after hearing it twenty more times during the same week the novelty of the tune wore off pretty quick. And "Rock And Roll" is really catchy with some phenomenal drumming from Mr. But I can't stand Plant's vocals - he gets my vote for the most annoying vocalist of all time, surpassing even Jon Anderson.

The solo on "Rock And Roll" is better than the solo on "Black Dog" but it probably should be still better than it is - ends really nicely, but it is mostly just boring wankin'. The album goes into another, softer direction following the bombast of the opening two tracks. The mandolins and the guitars shimmer and shine gently over the sea. Even Fairport Convention's Sandy Denny makes an appearance.

But I can't say the song is one of my favorites. It comes across sounding more contrived than Zep's folk stylings on III - I definitely don't listen to this song and think to myself, "Wow, Led Zeppelin are really in touch with their English folk roots. They're so genuine! Admittedly, I do tend to prefer American and Eastern folk music perhaps even African!

The song which catapulted Zeppelin from mere rock'n'roll demi-gods to the status classic rock gods was of course "Stairway to Heaven". It's one of the most played tracks in radio history - to this day it is played on a near daily basis by most classic rock radio stations in the United States of America.

So that's a reason to hate the song, I suppose. I, too, have heard it more times than I would have liked to. Yet it is also unquestionably a very original and good song in my mind. It delivers two things Zeppelin rarely deliver: good lyrics and a good melody, while it lacks what usually constitutes Zeppelin's greatest strength: excellent guitar playing.

The guitar playing is decent, mind ye, but minimalistic - the "rock" section in particular come across sounding more like a statement of intent than anything special musically. The mournful organ playing gives the song much of the atmosphere.

And the lyrics are poetry. And the forests will echo with laughter. It may, however, be Plant's greatest moment - he only sounds annoying on the "ooh it makes me wonder"'s. Eh, well, "Misty Mountain Hop" is a hippie anthem bout people with flowers in their hair and such which should suddenly make you very glad that Frank Zappa recorded Freak Out all those years ago.

The counter-melody is really good, the keyboard riff is a nice touch, and the drumming is phenomenal, but it's mainly worth sitting through to hear Page's fantastic mid-section guitar line. The lyrics make me cringe on this one, and Plant's vocal antics are extremely annoying. Gosh darn it, Plant, why do you have to ruin all these songs???

The song just isn't that good though. The grungey riff which opens the song is good enough, but clearly Page was running out of ideas. He just uses the same riff and only adds some ethereal atmosphere dropping back into "sitar" tuning, I think And Plant is horrible with that lilting wail of his. Just sounds like a goof, he does. The album's second "folk" offering is "Going to California.

Page's acoustic guitar playing is not only lovely but also intensely impressive. This is definitely the only folk song I've ever heard that rips off Haydn. I recommend it highly to you and yours. It doesn't sound that much like Pearl Jam's "Given to Fly. It's a big fan favorite, but probably won't impress too many people who are more than casual blues listeners.

It's very cool to hear Page play electric slide, though, and he does it very well. I would probably like it better if they stripped away some of the vocals and perhaps some of the drifting harmonica playing it's seven minutes long! See, you know I'm not the biggest Led Zep fan in the world, but I still don't like it when you call the solo in 'Rock'n'Roll' 'borin' wanking'. I mean, Page's main strength, want it or not, is in his soloing: his riffing is good, too, but his soloing technique is usually what gets all the hoots.

Now I'm no technical expert in this matter, but I must say I really, really like both the solo on here and on 'Stairway To Heaven', which you somehow forgot to mention. To me, that's what Jimmy is all about: dazzling his audiences with outstanding guitar pyrotechnique. He doesn't do much to elevate his acoustic playing to an outstanding technical or spiritual level.

He's mainly good at hacking - and hacking he does, quite impressively at that. So I really can't understand your gripes about 'Rock'n'Roll'. And the statement that 'Stairway To Heaven' lacks excellent guitar playing is really strange. That's the best solo Jimmy ever did, period. I agree that John Paul Jones and Plant are not at their best here, though. I also agree that the record IS overrated. But come on - a 9 would be a fairer deal.

Ooh, George, this is a really good comment - so good I'm going to have to answer you in a "counter-comment" so I don't get a million flames. I must admit, I temporarily forgot that "Stairway to Heaven" is supposed to be the holy tome of guitar soloing along with "Freebird. It doesn't offend me "wanking" is a much more mild term for me to use than it is for Mark Prindle But there are two main "schools" of guitar soloing - one school says you should fit as many notes as you possibly can per bar in order to show off your fingerspeed and virtousity, and the other says you should get the maximum use out of each note you play.

In general, I side with the latter school. I would never called Jimmy Page a guitarist who "crafts" excellent solos because most all of them have a few superflous sections it's like I said: "Rock And Roll"'s solo ends very well, but it starts out generic. A more concise guitarist wouldn't have gone through such rubbish to get to the good stuff. So I would much prefer to stick with Eric Clapton who often managed in his prime to balance intelligent, cautious soloing with impressive stretches of virtuosity as well, making him a graduate of both schools and John Fogerty.

I also admire a few jazz guitarists such as Charlie Christian and Django Reinhardt who follow similar similar philosophies. But the true master at cranking out the most out of every note is probably bluesman B. I should've commented on the solo in "Stairway to Heaven", however. I agree it may be Page's best solo which, you see, coming from me doesn't mean that much but I believe it's primarily there for "mood" purposes.

If you stuck it in another song, not so many people would be amazed by it - it's just that slow build-up punctuated by the organ and soft guitar playing and of course Plant's vocals that makes the crescendo the solo so exciting. Whereas I think you could probably paste a couple of Clapton's better solos in Cream into another song and have it still impress - it might not fit the song, but they'd still amaze you! That said, the record would easily get an eight or a nine from me if it were not for the presence of Robert Plant.

He makes most of the songs an unpleasant listening experience for me. I find it very difficult to praise a band with such an overbearing singer, however. I'd feel guilty giving it a nine knowing that most people who could not stand Plant's vocalisms would hate it. While you'd feel guilty about giving this album a 9 knowing people who don't like Plant's vocals won't be able to stand it, I'd give it a 9 and not have any problems with it, even though Plant was the one who turned me off to the band in the first place, and still makes me cringe at times.

Sure, he's not a great singer, but I can certainly get used to his often annoying vocals because he fits the songs well, and the players are what really get my attention anyway. The key here is, even though the musicians may not be at their best besides Bonham who incidentally is my favorite Zep member , they still give absolutely captivating performances.

Jimmy Page's work in "Stairway To Heaven" definitely IS incredible- it's earned the right to have its' solo named the greatest of all time. The only track I can honestly say I don't like at all is the opening "Black Dog" - it just seems kind of stupid and not that memorable, and when Plant's singing in "Four Sticks" he sounds like a freakin' girl and it irritates me, but the instrumental sections there are phenomenal, so it's still a good song.

A fabulous album, but it's not their best: Physical Graffiti would be that for me, followed closely behind by Zep 2. Though their place in history is forever tarnished due to their continual warmongering, the German civilization is one of the finest the world has ever seen.

Their art, above all other nation's art, comes the closest to achieving pure perfection. When I say the word perfection, please don't confuse it with the word "greatness. Perfection is simply something without flaws relatively speaking, of course. An imperfect creature like a human being can never truly achieve perfection in anything he makes or does. Even if something is without flaws, however, this doesn't mean that it is endowed with unique and great qualities.

These are impressive works of art that tackle the very fundamentals of life itself. Yes, no, maybe so. I would say that there are books and plays more powerful than those two works I mentioned, even if it would be impossible to find a book or play with fewer flaws. In fact, some of the books and plays I rank higher than those two I would freely admit have many more flaws!

Greatness and perfection are two very different things, indeed. As for this musical piece, the th musical work of Beethoven's career, it assuredly is as close to musical perfection as anything any musician or composer ever created. It also achieves a measure of greatness, too. Faced by perfection, I acknowledge my limitations. Here, I cannot be a critic.

I have no true criticisms to make. I can, however, be a reviewer. I can tell you about this work, and I can share with you my opinions concerning it, but no more. You'll find no sweeping statements here, no fiery words or grand generalizations. Instead, you'll merely uncover one man's thoughts, so take them for what they're worth which isn't darn much.

This Symphony Number Nine is divided into four movements: 1 Allegro ma non troppo, un poco maestoso , 2 Molto vivace , 3 Adagio molto e cantabile , and 4 Finale - Presto. I personally divide the symphony into two smaller parts. The first section encompasses the first three movements: this is the Build-Up. The last section consists of the Finale, which I call the Climax.

If I had to name one bad thing about this symphony, I would mention some small portions of this Build-Up. These sections seem to me to be positively superflous, and not even particularly good music if they were forced to stand on their own merits away from the rest of the symphony.

However, this IS a symphony, and all the movements ultimately do blend together to form a harmonious and powerful whole. Besides, the first three movements for the most part are excellent - it's merely a few dull digressive interludes I could do without. Ultimately, though, it is not the quiet, intense fire of the first movement that make this one of most well-known pieces of music on the planet Earth. Nor is it the cheerful aural loveliness of the second which is probably the best movement of the four musically.

Or even the slow, melancholy third. No - let's not fool ourselves. This symphony is famous for the Climax as I call it, otherwise known as the finale. This is where the huge choir and lead vocalists following the instrumental section, of course begin singing the words of Schiller's famous poem "Ode or Hymn To Joy", and the bombastic orchestra backs 'em up all the way.

This is how Beethoven wanted to complete his piece, and I honestly can't think of any better closer. After touching multiple moods in the first three movements, Beethoven shows us his main ideal: that humanity is good, that life is worth living, that there is joy and happiness to be found for every bit of sorrow and pain on this planet Earth. Of course, you and I know that's all bosh, but fairy tales are fun ain't they? It helps that Beethoven somehow managed to come up with the greatest melody in history for the tune, too.

Not just a melody, but THE Melody! Forget all those happy Beatles albums for just one moment. This is remarkable! Of course, classical critics ultimately slag this final movement as too repititious, and too reliant on the simplistic theme, but its popularity bespeaks otherwise.

I'd rather hear this than the meandering third movement or inconsistent first any day. A moment for me - a moment for Ludwig - a moment for German culture as a whole. I guess it does drag on a little long Though this story has been repeated ad inifinitum, it's worth mentioning again. At the time he was composing this piece of music, Beethoven was going completely deaf. At the time this piece of music was first performed in concert, Beethoven could not even hear his masterpiece being played in front of him, at least not with his ears.

It's amazing that one of the great pieces of classical music of all time could've been composed by a deaf man. Music only serves a purpose to those who have ears and can hear, doesn't it? How then can a man who has, as it were, "lost" his ears still retain his understanding of music?

Oh, there are many things we do not understand about the world we live in, my friend. And that is that. I'm only allowing myself to criticize this work lightly with my rating. I would feel almost comfortable giving this work a 10, in its glory and its perfection, but almost comfortable isn't quite good enough for me. Structurally, this symphony is perfect. But taken in a single sitting, some parts of the work do become tedious to the listener.

And I can't tolerate boredom along with my entertaiment - can you? So, I'm going to give this a grand rating of '8' - I hope my review above has shown you that is an unusually powerful '8' rated musical piece. And it is essential! Once upon a time, Lynyrd Skynyrd was my very favorite band. I still enjoy their music a great deal. They merged two wonderful kinds of music: good ol' Southern honky tonk and '70s blues-based rock and roll.

They combined this all with a fine though often unnoticed sense of humor. And Lynyrd Skynyrd are the kings of Southern rock. Their only real competition for that title is that other fine Southern jam band, the Allman Brothers. Skynyrd wins out for better vocals and because they rarely overdid their guitar jams. My mind keeps changing about the music of Lynyrd Skynyrd. Sometimes I like it, sometimes I don't. I can't honestly write a Skynyrd review without mentioning the nay sayers.

Yes, my friends, Lynyrd Skynyrd has been blacklisted in "trendy" rock circles for years, for no good reason. Now shoitenly, there are things that are not to like about Lynyrd Skynyrd, but the same goes for every band that ever existed. Now, sure, most of the nay sayers ain't Skynyrd listeners aside from what they hear on the radio, but I find the comparison between LS and many other 70s rockers like the flagship of 70s rock, Bad Company inaccurate.

To a certain extent, you could argue that most 70s rockers had gone too far away from the original rock'n'roll credo of speed. The new standard for a rock song became 1. It made for some great songs, but only for a while. Eventually, you're going to realize that aside from the title track, Bad Company isn't a record you're gonna want to hear every day.

LS was a slightly different variety of band, however. Now sure, they did create some bloated F. Piano boogie, creative guitar work, lazy vocals courtesy of Ronnie Van Zant that can be surprisingly effective. I'd almost put him on my list of favorite singers of all time, but that lazy Southern singin' style Ultimately, I reckon I'll always like Skynyrd, despite being poisoned against 'em by trendy alt rock critics. I originally gave this compilation an '8', then raised it to '9'.

Now I'm lowering it again to '8' because I just don't listen to it all that often. Here's my original amateurish paragraph where I analyze this collection track by track: "Down South Jukin'" is an incredible song that never gets played on radio. It's my favorite song on this album, de facto. However, it is mispelled on the flap "Down South Junkin'. Unfortunately, DSJ is followed by "Saturday Night Special", which features Skynyrd attempting to do a darker song, something which they would continue to attempt throughout their career.

This ditty, though not one of my favorites musically, surely disproves the idea of Skynyrd just being a gang of rednecks. How many rednecks do you hear penning anti-handgun songs? Still pretty good, though. Real good! I mean, let's face it. If we were songs, we'd prolly pretty much suck. We would love to be "Sweet Home Alabama. If there's a classic rock station in this country or the Netherlands which doesn't play this song, it's crap! After Sweet Home, we get the live version of "Free Bird", thank you very much.

I'm not that crazy about the bird, actually. It's a sweet little song and all, but the boys have done better. Flip over your record or change your cassette and you can listen to side 2! It starts off strong with that great jammer "That Smell". It may be the best of the Skyn radio tunes, since some of the best guitarwork in all Skynyrdville can be found therein. Incidentally, the tune is about Ronnie Van Zant's own excesses.

I used but twice in that sentence, and quoted Springsteen in the process. Why don't you shoot me? What a piece of rock and roll musicianship! Tis beauty, my friends. Never gets on the radio, neither! Tuesday's goooone with the wiiinddd. Melody, melody, that was her second name. All in all, this is a fine album. This isn't a bad way to get introduced to Skynyrd; pretty good selection. By the way, in case you were wondering, Lynyrd Skynyrd does still exist today, sort of. Most of the original members of the band died in a tragic plane crash.

The current band can't compare with the original, but, hey it's ok. I'll be reviewing their album "Twenty" before too long. Then again, maybe I won't. Honestly, I don't know why I was so dern excited to review Gold and Platinum. I made a jackass out of myself with my stupid descriptions of every song! Let this review be a lesson to you: nobody's born to write good reviews :.

Well, I tried to be a displomatic as possible in my original review of this record. However, my computer decided to freeze at an inopportune moment, causing my unsaved almost finished review to disappear into the vast virtual ether. So now I'm really mad. I'm just going to rewrite these reviews as straightforwardly as possible. No beating around the bush. Feel free to leave me hatemail. Track listing:. I hate the music of Madonna. Her records are artificial, sterile, boring, banal, repulsive, and stagnant.

Her vocal style typifies the awfulness of white female pop singers. Her "music" doesn't even sound like music Her "people" use keyboards, synthesizers, electronic drums, and occasionally bass to create utterly boring girly noise. Sure, occasionally this boring girly noise wasn't so horrible. In fact, the first three songs on this compilation featuring the early Madonna are just mediocre pop songs I guess "Material Girl" is in that almost catchy level, too, but "Beat It" was a better song.

However, the rest of these songs and every other Madonna song I've ever heard have no redeeming qualities whatsoever. It's nice that there's a Spanish guitar on "La Isla Bonita", but it ends up sounding like elevator muzak. I don't quite understand why Madonna is still so loved and respected now that she's an old woman. She's still able to come out with a double platinum album Ray of Light on the force of the 80s oldies movement.

Is she still relevent amidst the sea of boring electronica dance groups of the late 90s? Can she continue to change with the times as the sounds continue to evolve? Electronica and all its knockoffs are just as plastic, dull, soulless, banal, repetetive, and stagnant as the 80s Madonna's version of pop music. Is this the logical progression of music over the ages? If I had to listen to Madonna every day, I'd probably end up loving hardcore. At least that's some exciting tuneless noise.

Anything but this monotony! My brain cells are dying! They're dying! Killed off by Madonna! Oh no! Metal becomes mainstream? Heaven forbid. But yes, Metallica is mainstream metal, now anyway. When I think about it, the music I like classic rock, blues, even a little jazz mixed in seems to be as much of an alternative form of music as alt rock or metal; at least among the top 40 buyers of today. Oh yeah, to this album As a matter of fact, that first side is quite excellent.

When the time came for me to change this baby you probably know as The Black Album over, I was thinking to myself, "Wow. This might be an 8. Side 2 pretty much sucks. Apparently, I'm the only person who doesn't go crazy over "Nothing Else Matters. Good for them! No, my friends, the song that saves side 2 is "Of Wolf and Man. On first listen, I gave this album a 6.

Now it has earned its 7, but I can't see me giving it a higher rating than that. Too much filler. Here's my old ending paragraph:. At the end of the day, this album is essential 90s metal. But the genre's best and this group's best were pres. Still, a pretty good album but it's not surprising MTV would pick this one to go crazy over, either.

Mikhail Ivanovich Glinka is widely considered the father of Russian classical music. His dream was to create a uniquely Russian type of music by combining the folk music of the peasants, the Asiatic influences brought in by the Tatars, and the Western European classical music which enfused St. This is his second opera; his first, A Life for the Tsar is his most famous, but I haven't heard it yet. When I first planned to review this piece for my site several months ago, I had a very different opinion of it than I do now.

I considered it a charming, romantic piece that was decidedly "lightweight. Certainly charming and romantic, but also very warm-hearted, non-pretentious, innovative, and fascinating. Listening to this piece really makes me hungry to listen to more Russian classical. I'm familiar with a fair bit of Rachmaninoff whom I dislike very much , and of course Tchaikovsky whose Violin Concerto in D is my favorite classical piece of all time.

It is a pity that a lot of his other opuses are horribly dull. The type of music Glinka created in Russia became known as the "Nationalistic" school, and its later members included the likes of Mussorgsky and Cui. Instead of striving to perform the common music of a united country, they instead turned almost completely to the folk music of the peasants.

Since I haven't really heard anything beyond Glinka, I can't really say - I certainly will check out these other nationalistic composers some day. I think it is one of the greatest pleasures for a listener to be able to hear music performed or composed by someone who really understands music, on a spiritual as well as an intellectual level.

Glinka certainly seems to have had a deep understanding of a remarkable number of instruments. I'm really, really impressed how well the horns, strings, and woodwinds sound together. It's as if Glinka played each instrument himself, and understood all of their individual nuances. The musical progressions go by almost effortlessly The music itself is lovely, gripping, intense, and infinitely sly. It's certainly not as complex as a symphony of Bach's or Beethoven's.

It is infinitely more personable and human, however. I feel quite comfortable giving it the same 8 I gave Beethoven's Ninth Symphony. Obviously, the two pieces earned their 8s for different reasons, but they're both excellent music. Perhaps someday I'll award both a 10 proudly, but for now, I'll just say that they're both better than Suicidal Tendencies.

Then again, maybe I just need to lower my standards and change my rating criteria. Who knows? This is one of the few records that has gotten mass praise from crritics and fans and actually deserves it. I won't say anything like "this is the best album ever made" or "this is the best jazz album ever made.

I don't know. I've listened to a lot of albums, and I certainly have my favorites among them, but it's difficult for me to rate them numerically. All I can say is that this record is an amazing one, and there is no excuse for not owning it. There isn't much I can say about this album that hasn't been said already, but I'll try just the same. This album, forgetting for a moment its musical value in itself, is a vitally important footnote in the history of modern jazz.

Miles had this great idea. Simplify bop. Make every note off every instrument count, but keep it as exciting as the best hard bop. The results of that idea are truly amazing. It might not have worked, but Miles Davis had one of the best groups in jazz ever assembled working with him. Himself, one of the best trumpet players ever. Bill Evans, a pianist who can sound like both Chopin and W.

Handey; his versatility and poetic sense helps give the album direction. On tenor saxophone, John Coltrane, one of the best jazz musicians that there ever was. He does some absolutely amazing things throughout With such a grouping, you'd almost have to create good music. And they do. Boy, do they ever. The opening to this album is one of the most famous in history. The piano sets things up, then that distinctive bass line crops up, there's a crash of drums, the horns taking over You know, I'm listening to this album while writing this review, and I've got to say again how blown away I am by Coltrane's playing.

It's stunning. Coltrane can do that sometimes On this album, he's not the searcher. He's the king. Even non-jazz fans should own this one. It's one of the best albums ever made, truly. It belongs in your collection right there with Beethoven's 9th and the Stones Exile on Mainstreet. Even up there with the Beatles Sgt. Pepper which sucks, more or less, anyway.

If you aren't impressed with what you hear here, you've probably killed too many brain cells listening to metal or hardcore to be able to listen and enjoy something outside the circle of your musical experience. When I think of Mississippi John Hurt, two particular images come to mind.

One is of the old, wizened man, whose years of toil are shown in the wrinkles of his dark skinned face. He plays across the country to enthusiastic crowds of folk music fans. He is often ill with various ailments; perhaps occasionally during a concert he would pine for the Mississippi he knew and loved so well, longing to feel the Mississippi mud in his hands and to bask in the warm and loving Mississippi sunshine once more. He likely dispels these notions quickly, calling to account perhaps some instance of petty cruelty inflicted on him by his coarse fellow humans, and recalling his own uncertain financial status.

He smiles at his audience, tells them a joke, and begins to play My other image of Mississippi John Hurt is of the man young in body but old in soul who goes on up to Memphis town in to record some legendary sessions for Okeh Records. His guitar style is unique and complex, his voice pure and beautiful.

He cannot know how the world will turn, whether he'll find success or failure as a musician and a man. Does this worry him? Probably not, as he is one of the rarest of human beings: in a world full of hypocrities and false prophets of various stripes, he is a man sincere and serious in his religious beliefs, and steadfast in his love for all living creatures.

Mississippi John Hurt's story is a grand and happy one, when one stops to consider it and put it into perspective. He was born in Avalon, Mississippi, minutes away from my birthplace and home of Greenwood. Rich he wasn't, but his family made do with what they had. His mother bought him a guitar for a dollar fifty when he was nine, but he had to teach himself to play.

Somehow, this poor farm boy from Mississippi discovered a way to pick the guitar like no one else had ever played it before. It was a style unique even in the rich world of Delta blues: pretty, soulful, personal, and gentle. His songs had conviction and meaning, no doubt enforced by the conviction and meaning John Hurt put into living his own life.

In the world of , it seemed, John Hurt could make something of himself; maybe even be a rich and successful man. His Okeh sessions sold well The Great Depression answered him, and John Hurt made his way back to his friends and kin in Mississippi, content to live out his days with his music, his cows, and his God.

He couldn't have expected to ever get a chance to make music for the world ever again. In , however, the same Mississippi John Hurt who had been making music since was "rediscovered" after a long, heretofore fruitless search by folk music fans who had suspected Hurt to be dead. It was then that Hurt began to tour, finding a certain amount of fame in the world. One wonders what all this meant to a seventy year old man who had seen and lived through all he had. If there was ever a man equipped and ready to handle fame, it was Mississippi John Hurt.

He didn't have many years to enjoy his stature amongst the folk music crowd, as death was soon to call him to his final resting place. This record is basically a cash-in by a small record company. There's scant information available concerning the release, but my ears tell me it's a collection of live recordings from the 60s taken from various concerts. Mississippi John Hurt isn't at his youthful best, often coughing after a song and sounding occasionally weary.

Yet I've grown to love this album. It's not as good as those wonderful and legendary which you may pick up on CD easily these days, of course, but it has its own undeniable charm, atmosphere, and grace. It's not perfect sonically or technically, but tell me: what is? Here's the track listing:. At one point in my life, every day I set aside some time for a "Mississippi John Hurt woodcarving hour" that was exactly as it sounds.

I'd take my knife, a good-looking piece of found wood, and a tape player, to some appropriately scenic spot where not a soul would ever find or bother me. I'd start carving, and just dig those tunes, so right for the setting. Mississippi John Hurt's music is best experienced alone, when the world is quiet and peaceful.

This album was a favorite of mine then I'm sorry I didn't keep the thing up. Their musical qualities appeal to something more than one's intellectual senses. They touch the emotions, the very depths of one's soul. That's what I'm talkin' about when I say something is "meaningful. He was scared to explain it with logic, for it is something beyond the powers of logic to break down.

Beauty and meaning are non-biodegradable; even the best of our intellectual bacteria cannot convert them into something less than they are. So I'm scared to discuss a few songs on this album. Therefore, I won't. John Hurt starts out the song explaining that a "spoonful of Maxwell House does ya as much good as two or three cupfuls of some other coffees", then kicks into the song.

It has the kick, verve, and acoustic blues hookiness of typical Hurt; only the lyrics are a bit odd. What's this guy talking about? Who knows, but it's surely the most beautiful ode to le cafe ever composed. Then there's the "Monday Morning Blues. Tis a deep song here that addresses the feelings of a man about to be sentenced by the court for a crime he surely did commit.

He's been "lain" in jail for six long weeks; now he's accepted his fate, and has prepared himself to "get his pick and shovel They're certainly not bad, especially not lyrically. They just lack the driving hooks that make much of Mississippi John Hurt's music so powerful and compelling, making them less fulfilling upon each subsequent listen. It's a little musically spare, perhaps, but much gospel music is. Critics oft compare MJH with some of the old time black minstrels of the 19th century; this song is probably the best example of that connection on this album.

It's one of the best tracks here, musically and lyrically. One of the things I've begun to appreciate more during recent listenings to this album is the literary and poetic nature of some of John Hurt's lyrics. It ends as I understand it with John Henry's wife making the following proclamation:. Do those words inspire any feelings in you? Do you feel the dramatic impact of them? Perhaps you would have to hear the song Yes, I do like Mississippi John Hurt's music an awful lot.

Perhaps I eulogized him too fondly in my opening two paragraphs, but I think he was a great man. But what seperates a great man, an average man, and a true and rotten scoundrel but a few tiny threads? That is why it does no good to brag about what kind of person you or anybody else is; you or whoever could just as easily be something completely different, and tomorrow maybe you will be.

I give this live recording a seven out of ten though it is close to my heart. I'm a reviewer, after all, and I don't like to overrated even that which I love. I always did want to do one of those snappy, clever Prindle-style headers that make such nice review openers I guess now I have. I can die happy! Mott the Hoople are a band that occupy a rather strange place in music history.

They had the misfortune of being relatively unknown in their early 70s heyday; in the 90s, they have the fortune of being revered as geniuses by many people though their material isn't consistent enough to earn this reverence.

Personally, I like Mott the Hoople; they seem to be a very nice collective of fellows who made pleasant music. On the other hand, I only like perhaps half of the output of Mott the Hoople. The other half I could simply do without. The only fair thing to do in this situation is to review a compilation of the band that covers several albums.

I didn't even pay a full dollar for my copy! It's not that good you get what you pay for. I could pick out better songs. However, it does cover the band's best known tunes, and that must count for something. Call it your typical "Greatest Hits" package.

This review'll have to do till I find the inspiration needed to review Mott or Brain Capers or some other Mott studio album. The leaders of Mott the Hoople were Ian Hunter vocals, lyrics and Mick Ralphs guitar , though they both were in the band alone at various points in the band's history. Ian Hunter sounds exactly like he looks on the cover of this compilation: like a sweaty, slightly overweight English guy with goofy hair.

Nonetheless, he seems to be a decent sort of fellow who certainly loves rock'n'roll. Mick Ralphs may be called a "limited" guitarist; in fact, he practically defines the term! He relies on guitar riffs either invented or inspired by the work of Pete Townshend especially Tommy era stuff , and he can't really solo too well though he tries or do any nifty guitar tricks which require great craft.

His riffing style was perfected during his time in Bad Company, but his work in Mott the Hoople is faintly more varied and experimentary. Other band members came and went; some even appear in one-off performances on single songs. As is the case with most bands who change band members quite often, Mott the Hoople had no definite style that they stuck to over the course of their entire careers.

They've been known to appeal to punk rock, pop, glam, alternative, and jazz fans, and they are as much at home delivering proto-metal as they are at performing anthemic ballads. For me, they only occasionally touch greatness, but at least their mediocre songs are mediocre in different ways.

My favorite Mott the Hoople style is 50s rock'n'roll. It's a natural setting for a passionate lover of rock music like Ian Hunter, and his enthusiasm carries over to the rest of the band. Best of all, they showed a downright knack for performing rock music that didn't rely completely on guitars. Another 50s throwback: Jerry Lewis could bang on his piano and kids at the time thought it was revolutionary, and it wasn't unusual to hear saxophones and other horns rockin' and a rollin' all week long in rock bands Take a listen to Bill Haley and his Comets one of these days I wish Mott could have recorded more of these type of songs during their career I think it's what they do best!

Might not have impressed the later punk and alternative audiences who revived the band's catalogue sales years later, however, in which case Mott may well have become a forgotten band in America much like Redbone today. This compilation starts out very nicely with the track which started Mott in such a fine way: "All The Way From Memphis. Musically, it's completely irresistible: the piano intro is incredibly catchy, the chorus is great though Ian's a goofy and awkward singer, and, best of all, it has some hilarious saxophone work that never ceases to amaze me.

The creative use of blown overtones creates a very unusual effect It's sure to bring a smile to anyone's face who is a little tired of the post-Beatellian definition of pop music clean, smooth, and "flawless" : this is pop music with some very definite flaws, but it's a-okay just the same. Unfortunately, the cover of "Sweet Jane" tends to destroy the mood the opener creates. It's dull and repetitious like a lot of songs written by Lou Reed, and not even Ralph's pretty guitar work can save it.

Throw it in the trashbin along with the original. It's a toss-up to me as to which is better, probably because I'm not that enamoured with the song to begin with. After all, I like that riff as much as the next guy driving the trashy pale blue pickup truck, but it doesn't sound anywhere near as good after it's been repeated twenty times. I've heard Bowie perform the song in concert and I liked his version much better.

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