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Adrian Gonbar (Spain)

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Lemon Popsicles and Strawberry Milkshakes - Million Sellers
Lemon Popsicles and Strawberry Milkshakes - Million Sellers
Offered by Special Interests
Price: £3.87

9 of 9 people found the following review helpful
3.0 out of 5 stars Value for money, 1 Jan. 2013
Verified Purchase(What is this?)
This is a (mostly) late fifties Pop, R&B and Rock'n'Roll hits collection.

Undoubtedly the recordings have been processed in order to eliminate hiss and to balance the differences in volume among such uneven sources. The sound in general is just ok, quite clear but a bit lifeless too (I guess this is due to the total elimination of noise, which somehow gives the sound an artificial quality). Apart from that, the low frequencies are "beefed up" and there's a certain lack of nuances and detail. Thus, the sound by no means can be compared to the superb remaster job usually made by Bear Family Records and some other companies dedicated to reissue music from the forties and fifties, but, that said, it's more than acceptable.

There's a regrettable lack of information, as there are no notes at all, not even the recording dates. The tracks don't follow a chronological order, or any other recognizable rule. As well the selection of songs itself seems to be rather hit-and-miss, yet it is true that all of the recordings have been popular singles.

In short, considering its low price, this is a recommendable box set for casual or nostalgic listeners and for those who, like me, are interested in the history of rock and pop music or simply feel curious about the hits that people were listening to by those years on the radio, TV shows, jukeboxes, dancehalls or whatever.

I took care to seek the release year for each song, so here's the complete track listing accompanied by that information.


CD 1

1. What'd I say. Ray Charles. 1959
2. A big hunk of love. Elvis Presley. 1959
3. Dream lover. Bobby Darin. 1959
4. To know him is to love him. Teddy Bears. 1958
5. Venus. Frankie Avalon. 1959
6. It's only make believe. Conway Twitty. 1959
7. La bamba. Ritchie Valens. 1959
8. Way down yonder in New Orleans. Freddy Cannon. 1959
9. Poison Ivy. The Coasters. 1959
10. A teenager in love. Dion and the Belmonts. 1959
11. Seven little girls. Paul Evans and the Curls. 1959
12. Personality. Lloyd Price. 1959
13. There goes my baby. The Drifters. 1959
14. (Till) I kissed you. The Everly Brothers. 1959
15. Lipstick in your collar. Connie Francis. 1959
16. Here comes summer. Jerry Keller. 1959
17. You got what it takes. Marv Johnson. 1959
18. Shout. The Isley Brothers. 1959
19. Never be anyone else but you. Ricky Nelson. 1959
20. What do you want to make those eyes ... Emile Ford & The Checkmates. 1959
21. Put your head on my shoulder. Paul Anka. 1959
22. Lollipop. The Chordettes. 1958
23. Sweet little sixteen. Chuck Berry. 1958
24. That'll be the day. Buddy Holly. 1957
25. Living doll. Cliff Richard. 1959

CD 2

1. Mack the knife. Bobby Darin. 1959
2. Volare. Dean Martin. 1958
3. Smoke gets in your eyes. The Platters. 1958
4. Misty. Johnny Mathis. 1959
5. He'll have to go. Jim Reeves. 1959
6. Sea of love. Phil Phillips. 1959
7. El Paso. Marty Robbins. 1959
8. Fever. Peggy Lee. 1958
9. Catch a falling star. Perry Como. 1958
10. I loves you Porgy. Nina Simone. 1958
11. Heartaches by the number. Guy Mitchell. 1959
12. It's just a matter of time. Brook Benton. 1959
13. Why. Frankie Avalon. 1959
14. Among my souvenirs. Connie Francis. 1959
15. Patricia. Perez Prado. 1958
16. Only you. The Platters. 1955
17. It's all in the game. Tommy Edwards. 1959
18. Sugartime. The McGuire Sisters. 1958
19. It doesn't matter anymore. Buddy Holly. 1959
20. Butterfly. Andy Williams. 1957
21. Young love. Tab Hunter. 1957
22. Tammy. Debbie Reynolds. 1957
23. All the way. Frank Sinatra. 1957
24. All I have to do is dream. The everly Brothers. 1958
25. A fool such as I. Elvis Presley. 1958

CD 3

1. Who's sorry now. Connie Francis. 1958
2. Poor little fool. Ricky Nelson. 1958
3. (Let me be your) Teddy Bear. Elvis Presley. 1957
4. Great balls of fire. Jerry Lee Lewis. 1958
5. Lonely teardrops. Jackie Wilson. 1959
6. I go ape. Neil sedaka. 1959
7. Come softly to me. The Fleetwoods. 1959
8. Donna. Ritchie Valens. 1958
9. Diana. Paul Anka. 1957
10. Love letters in the sand. Pat Boone. 1957
11. At the hop. Danny & The Juniors. 1957
12. Rawhide. Link Wray & His Ray Men. 1958
13. Maybe Baby. Buddy Holly & The Crickets. 1958
14. Wake up little Susie. The Everly Brothers. 1957
15. Peter Gunn. Henry Mancini. 1959
16. Magic moments. Perry Como. 1958
17. Love is strange. Mickey & Sylvia. 1957
18. House of bamboo. Andy Williams. 1959
19. Sixteen tons. Tennessee Ernie Ford. 1955?/1960?
20. Tequila. The Champs. 1958
21. Return to me. Dean Martin. 1958
22. Four walls. Jim Reeves. 1957
23. You send me. Sam Cooke. 1957
24. Chances are. Johnny Mathis. 1957
25. Beyond the sea. Bobby Darin. 1959
Comment Comments (3) | Permalink | Most recent comment: Jul 29, 2013 7:11 PM BST

Bundle Monster 4pc. Padded Neoprene Compact DSLR Camera Lens / Lense Protector Pouch Bag Kit For Canon, Nikon, Etc
Bundle Monster 4pc. Padded Neoprene Compact DSLR Camera Lens / Lense Protector Pouch Bag Kit For Canon, Nikon, Etc

4 of 4 people found the following review helpful
1.0 out of 5 stars Useless, 16 Dec. 2012
Verified Purchase(What is this?)
The material and making are good but the measurements of these pouches makes them useless because of its too narrow diameter (keep in mind that the opening is not elastic). Believe it or not the aprox. measurements of the ones I received are (diameter X depth) :

Small: 7 X 11.5 cm (2.8" X 4.5")
Medium: 9 X 15 cm (3.5" X 5.9")
Large: 9 X 19 cm (3.5" X 7.5")
Extra large: 10 X 25 cm (3.9" X 9.8")

No way to use them for a Canon 85 mm/f 1.2 lens, not even use the smallest pouch for a modest 50 mm.

The Perfect Blues Collection Box Set
The Perfect Blues Collection Box Set

5 of 10 people found the following review helpful
2.0 out of 5 stars This must be a joke, 14 Dec. 2012
Little Richard? Elvis Presley? Chuck Willis? Aretha Franklin? Mahalia Jackson? The Johnny Otis Show? ... The PERFECT blues collection? ... Let me recall instead a few names which (according to the compilators of this hit-and-miss collection) seem to be out of place here: Charley Patton, B.B. King, Albert King, Albert Collins, John Lee Hooker, Howlin' Wolf, Elmore James, Lightnin' Hopkins, T-Bone Walker, Sleepy John Estes, Skip James, Blind Lemon Jefferson, Tommy Johnson, Blind Willie McTell, Big Mama Thornton, Koko Taylor, Blind Willie Johnson, Freddie King, Corey Harris, Otis Taylor, John Mayall, Peter Green, the other Sonny Boy Williamson, James Cotton ... If you are interested you can check my list "A basic blues collection" (it is not "perfect", "definitive" or "ultimate", but honest).

Psychedelic Pill
Psychedelic Pill
Price: £6.11

12 of 17 people found the following review helpful
5.0 out of 5 stars To listen after meals, preferably, 9 Nov. 2012
Verified Purchase(What is this?)
This review is from: Psychedelic Pill (Audio CD)
Lately I have found several negative reviews on the last albums from some veterans like Bob Dylan, Van Morrison and Neil Young, among others. Huge artists, aged between 66 - 71, each of them has already left behind a legacy of more than 40 albums, many of which are essential milestones in the history of popular music. This fact doesn't mean they are sacred or untouchable, of course we all have our right to freely criticize what we don't like (indeed, criticisms seem to be well founded in the case of Neil's Americana). But on the other hand it makes me wonder what some people seem to expect from them nowadays, when they are living the last few years of their careers. Another masterpiece ? A change of direction ? A new found style or "modern" ingredients ? The passion and the naive hopes of a young man ? Perhaps a miraculously rejuvenated voice ? Me myself tend to like these old guys as they are, and I'm aware that with each new mature age album I will get "more of the same" stuff, which doesn't necessarily have to do with self-parody: it rather means to keep on being themselves doing what they know to do the best. Decadence is inherent to the human condition, but it is possible to keep a considerable part of the old flame alive. These guys are showing how, and that's good enough for me.

So, what about Psychedelic Pill ? Yes, as some reviewers advise it's a bit self-indulgent in the duration of several songs, the prevailing theme (Neil Young memories) and lyrics that not always reach the heights of previous works (and to my taste could be a bit pedestrian here and there). In most of the songs the subject has a nostalgic taste (as you must already know this album has a close relation with the recent Young's autobiography). But the music is energetic enough to involve or even commit to the listener, and sonically alike to Sleeps With Angels and Ragged Glory: a guitar riff and erratic (at first sight), obsessive, piercing and passionate guitar solos leaden album. The three mammoth jam songs (Drifting Back, Ramada Inn and Walk Like a Giant, which are also my favourites) are electrifying, very intense and hypnotic. Repetitive? Yes, that's the question ! Their mantra-like (or if you prefer cathartic) appeal resides in repetition with rather subtle nuances or variations in rhythm, intensity or sonic palette as the song evolves. Of course for you to enjoy those longer songs an appropriate mood is required, not to listen to them expecting anything in particular but just simply letting yourself be carried along by the sonic stream that seems to flow effortlessly .

Here's an outline of the album song by song. All of them are rather mid-tempo, except Psychedelic Pill and For the Love of Man:

Disc One

1. Driftin' Back (27:37) --- Cathartic, intense ... the beautiful acoustic intro is followed by a fade in with the full band playing as a plane taking off. Well, he's driftin' back, and it's a personal, introspective, hard to communicate experience: "when you hear my song now/you only get 5%"

2. Psychedelic Pill (3:28) --- A lively and spirited psychedelic one, the only up-tempo and the most clearly footloose and easy-minded tune. Beware: flanger effect pushed to its limit.

3 Ramada Inn (16:50) --- Evocative, intense, tender, romantic but also bittersweet and troublesome, about a long term relationship

4 Born in Ontario (3:49) --- Celebrating and self-indulgent, the most openly country song of the set. I can almost hear the sound of the fiddle (which is not here)

Disc Two

1 Twisted Road (3:29) --- Another country flavoured one and the last of three free-and-easy songs (the others being Psychedelic Pill and Born in Ontario). Neil deliciously pays tribute to some influences: Dylan, The Grateful Dead, Hank Williams and Roy (Orbison? I guess)

2 She's Always Dancing (8:33) --- Yes, but the minor key and the dramatism of music are at least disturbing. Beautiful. I wonder who she is.

3 For the Love of Man (4:14) --- The only slow number. And the only "universal" lyric, not focused on personal or immediatly close matters. A melancholic ballad with country/mexican taste about world's injustice and distress

4 Walk Like a Giant (16:29) --- My favourite song hitherto. A short whistled melody of eight notes infectiously repeats all along this: a killer guitar riff steamroller of a sort of generational anti-hymn, talking about the desillusion of those who once thought could change the world for better.

5 Psychedelic Pill [Alternate Mix] (3:12) --- (and not so much flanger effect, maybe I'm crazy, but I prefer the former one)

Note: The cardboard double sleeve does not include a paper or plastic bag for the CD's , which is a flaw. The (too) small booklet with the lyrics is almost unreadable unless you use a magnifying glass (as ... ahem ... I did in fact). The printed lyrics of Driftin' Back differs a bit from what Young sings.

In short, this is a rather dense, excessive, compelling album (hence the title of this review) which I warmly recommend to the Neil Young/Crazy Horse initiated. Maybe those who are new to the team NY/CH should begin with a similar sounding but a bit more restrained, not so long jam oriented album, let's say something like Ragged Glory.

Despite its flaws and the fact that it falls short of being a must-have for the general listener, I feel more comfortable and honest giving this album 5 stars ( = "I love it") than a rather tepid 4 stars ( = "I like it"). Maybe 4.5 would be the perfect rating IMHO.

Thanks for reading.

Clockwork Angels
Clockwork Angels

69 of 73 people found the following review helpful
5.0 out of 5 stars Fresh, vital and captivating, 21 Jun. 2012
This review is from: Clockwork Angels (Audio CD)
Hard to believe how fresh these guys are able to sound 38 years after their first album.
I had not great expectations about this one. Based on the two previous studio albums, I just awaited another "Rush by numbers" work. I mean: powerful, hard hitting and masterfully executed, but not especially inspired.. I liked Snakes and Arrows a bit more than Vapor Trails, but somehow the spirit of old Rush' golden era (let's say the one that flew over A Farewell to Kings, Hemispheres, Permanent Waves and Moving Pictures) seemed to be forever gone.

A digression here : Vapor Trails, especially, is a quite tiresome album to me. It stays a bit to much in the low frequency sonic spectre: too much bass guitar, to much bass drum, and too much guitar power chords, not properly equilibrated by other sonic and musical ingredients, which makes it a hard task to listen to it, from beginning to end, without taking a break. Snakes and Arrows, while walking the same sonic territory as V.T., was more varied and dynamic, and I found it more enjoyable. Not bad albums to my taste, but not exciting enough.

Clockwork Angels, however, is gifted with a different nature. It is tremendously fresh, vital and captivating, and makes me recall the best years of the band. Yes, Rush look younger than yesterday, playing with enthusiasm a set of convincing songs. Nothing to do with (like someone could fear), a tired old group. There are no fillers in this album. It is a concept album equipped with its proper organic quality. From the beginnig, the listener is propelled by an exciting, dynamic music, feeling the need to know how the story goes.

As I said it is a concept album, based on a sci-fi story. There is a "perfectly organized" world where people are instilled to not to think by themselves and to be content with their destiny ( Planet Earth, year whatever, I guess) . The album tells the adventures and reflections of an inconformist young man during his quest for truth.

Compared to previous albums, I find that Neil Peart's drums playing is a bit more restrained, and that the drums are not so loud in the mix . Just a matter of nuances; don't worry, Neil Peart is still there and you can hear and enjoy his playing .
Geddy Lee's voice is in good form, and maturity has made him gain expresiveness. The bass sounds hugely powerful but very defined and clear too.
Lifeson `s guitar makes also a quite restrained job (at least not prodigal in solos), but the instrument has a killer full tone, and the playing is very expressive and piercing when strictly necessary.
The whole album sounds clear and well defined even at a low volume (a quality that was not shared by Vapor Trails and Snakes and Arrows).

The songs:

1. Caravan - Is Rush in pure and best form. Intricate rhythms, guitar riffs, catchy chorus (" I can't stop thinking big ") A
statement of purposes. It ends with a beautiful reflective passage a la Pink Floyd, where acoustic and electric guitar
with tremolo effect take command.
2. Bu2B - Another classic Rush tour the force rocker propelled by mighty drums. "We were taught that we lived in the best of
all possible worlds".
3. Clockwork angels - Rush trademark intricate, fierce ternary tempo. Wonderful guitar solo.
The pedlar 1 - Short instrumental integrated at the end of Clockwork angels. Old (and all) time Rush.
4. The anarchist - Another powerful rocker, where the rebel anarchist character is introduced. Strings and guitar solo with
a northern africa/arab flavour (a la Page&Plant).
5. Carnies - The rock goes on. The young man's fate changes since his encounter with the anarchist.
6. Halo effect - A nice ballad about following false illusions. Beautifuly sung by Lee. Short enough (3:14) so the
trepidant pace of the album is not left for too long.
7. Seven cities of gold - Another uptempo heavy rocker with catchy chorus. High pitched Lee's vocals recalling older works.
8. The wreckers - It begins with an openly pop a la Byrds intro, rapidly changing into a minor key melody. This could be a
rather "radio friendly"song, despite its serious, sour matter: "All I know is that sometimes the truth is
contrary/everything in life you thought you knew". All along the song there is a constant contrast between the a-la Byrds
and dramatic character passages, so the result is melodically varied and appealing.
9. Headlong Flight - A killer epic, vaguely reminiscent of Iron Maiden. Our hero declares he would not change anything he did
("I learned to fight, to love, to feel")
10. Bu2B2 - Short mature bittersweet reflections by Lee & strings only.
11. Wish them well - This is the most pop oriented song in the album, almost in a Paul McCartney's style (no joke) , except
for another piercing solo by Lifeson. It makes sense considering the positive message: the benefit of not keeping anger
and grudges in our hearts
12. The garden - Masterful slow tempo with another positive, mature declaration of principles: "The measure of a life is a
measure of love and respect / ... / A garden to nurture and protect". Strings intro, acoustic guitars, and, from the
4:30, a beautiful, emotive crescendo that soars high for a perfect album's end.

Highly recommended.
Comment Comments (8) | Permalink | Most recent comment: Apr 11, 2013 10:19 AM BST

About Time
About Time

4 of 11 people found the following review helpful
2.0 out of 5 stars Long time (old time) TYA fans beware, 19 Jun. 2012
Verified Purchase(What is this?)
This review is from: About Time (Audio CD)
This album is the result of a 1988/89 reunion of the original TYA's lineup (the group had splitted after "Positive vibrations", in 1974).
By 1988, Alvin Lee had already reached 8 albums as a soloist artist (plus the brilliant 1973 "On the road to freedom" with Mylon LeFevre). A prolific and varied (although uneven) career was behind him. So, what was the reason for this reunion ? Mystery to me, but for sure it was not to revive old times, at least musically. Among other considerations, this rather looks like an "updating" movement (or should I say a false move), that makes me recall the one of ZZ Top when their 1983 "Eliminator" album, but, in the case we're talking about, without any of its fun.
The last three soloist Alvin Lee's albums before this reunion (Firefall, RX5 and Detroit Diesel), while appealing enough, were showing a certain lack of focus (sort of a dissolution into a too generic kind of rock) and some of the eighties (bad) practices in matter of production (for example drums too loud in the mix, and played in a mechanical, unispired way, with a thin, metallic sound quality, all adorned with a lot of reverb).
Well, sadly many of those production issues are present in "About time" too. Where has the magic of the trademark TYA mesmerizing sound gone ? No swing, no groove, no dynamics, no tension, no jazzy nor bluesy feeling can be found in this album. The bass guitar is almost absent, and Churchill has changed the piano and organ for cheesy sounds from Rolands and Korgs. Any obscure session musician could have fulfilled the low profile requirements for drums, bass and keyboards on this album. Alvin Lee himself, TYA's alma mater, extensively uses many of the tricks that were so fashionable then during the eighties, such as pinch harmonics, tremolo bar, tapping ... which are not exactly the ones which defined his style as a guitarist. He plays fast, sometimes his phrasing is amazing, but too frequently it's also dull.
The songs are mostly between texas boogie and southern rock, generic and derivative (don't think that you're going to hear anything like the best ZZ Top or Lynyrd Skynyrd). There are also a rather badly sung blues written in the style of Gary Moore by the same time (Outside my window), and a song which seems to be intended for the band to swing, but it does not, despite the drummer playing with brushes (I get all shook up). "Bad blood" is a dated AOR song with keyboards and guitars in the style of Yes when in the stage of 90125 and Big Generator.
Whatever they were trying to do, after this album TYA splitted again, and Alvin Lee returned to his (maybe since then reinvigorated) soloist career.
Sadly, this reunion only added a spot to the (apart from this) stunning Ten Years After's discography.

From The Cradle
From The Cradle
Offered by streetsahead
Price: £4.24

8 of 11 people found the following review helpful
1.0 out of 5 stars Very disappointing, 29 Jun. 2011
This review is from: From The Cradle (Audio CD)
I have mixed feelings about Clapton's music and playing. While being part of Cream, undoubtely his heyday, Eric Clapton was an innovative musician (though to be honest we should keep in mind that many of the most memorable of their songs were written by Jack Bruce) and his great guitar playing during that band's span made him deserve critical acclaim as one of the best rock & blues-rock guitar players of his time. Certainly he is not the one to blame because some worshippers began to judge him a guitar God too, and then the press adopted that flamboyant label to qualify his supposed supernatural guitar skills, rising the whole thing to a high level of exaggeration. Maybe some people got confused enough to compare Clapton to a real virtuoso like Hendrix, or a truly dedicated blues player like Peter Green. In my humble opinion, Clapton is indeed an extraordinary guitar player and a good song-writer, but by no means a guitarist (and even less a bluesman) so far ahead of his contemporaries.
On the other hand, all along his uneven career, Clapton - who seems to love the blues sincerely - has hugely contributed to make this music genre more popular by adding blues songs to his regular repertoire, and playing them (in general) with great taste. Apart from that, he has taken lots of classic blues licks and has tastefully introduced them in his own playing style not only when playing straight blues songs. This has turned him into kind of a "concise guide to the blues" for white wannabe blues players especially. I mean, if you want to learn dozens of effective blues guitar licks and tricks, then listen to Eric and you will rapidly get a respectable amount of blues language devices ready to use.
Curiously (and I think this is very significant) despite his interest in the blues, by 1994 and being almost 50 years old, Clapton had not made but one album dedicated to this genre exclusively, the only exception being "Bluesbreakers-John Mayall with Eric Clapton", from 1966.
In 1989, having left behind almost ten obscure years flirting with mainstream and mediocre lightweight stuff, the excellent Journeyman represented a return to good form. And later, after the tragical death of his son, Clapton was courageous and clear-thinking enough to make the more than decent Unplugged, in 1992. So it seemed the man was back again and looking back to his roots, thus it was no surprise the arrival of a new album finally dedicated to play covers of classic blues songs only.
Sadly, all the (I have no doubts) good intentions that inspired "From the cradle", failed painfully. First of all, in this album Clapton inexplicably refuses to use his natural (by the way charming) voice, and he pathetically mimics the voice, phrasing and pronunciation of great black blues singers. Thus, his singing is ridiculously affected, and overemphasizes his phony "black" character. For example, listen to "Blues before sunrise": his voice changes several times all along the song (0:50, 1:11, 1:39, 1:49 ...) just because sometimes he can't help but singing with his "real" voice. A second painful issue are his (especially) electric guitar solos: most of the times they are overplayed collections of uninspired licks, something between, let's say, a certain Bonamassa when beginner and a certain Johnny Winter frantically out of control. In addition, his electric guitar sound has an horrible tone. And finally, the drums and the bass are terribly uninspired and lifeless, and too loud in the mix.
Sadly, things didn't go any better with the ten years later all Robert Johnson covers "Me and Mr. Johnson".
So, it's really funny how Clapton is the first name that comes to mind to most people when asked about a favourite white blues player, instead of Stevie Ray Vaughan, Robben Ford, Coco Montoya, Peter Green, Mick Taylor, Mike Bloomfield, Johnny Winter, Chris Duarte, Gary Moore, Buddy Whittington, Rory Gallagher, Duane Allman, Miller Anderson, Kim Simmonds, and other white guitarists that have recorded ten times more (and most of the times better) blues than him.
Anyway, if you insist on listening to Eric Clapton playing the blues (which after all is a very good idea), better check the blues style songs he played with Cream, Derek and The Dominos or here and there all along his mostly excellent soloist 70's albums, in which he sounded and sang like ...Clapton. Not God but good.

NOTE: On 25 November 2014 I'm changing my vote from 2 stars to 1 star. Sorry, but this album is utterly unbearable to me.
Comment Comment (1) | Permalink | Most recent comment: Mar 15, 2013 9:31 AM GMT

Stormbringer (35th Anniversary Deluxe Edition)
Stormbringer (35th Anniversary Deluxe Edition)
Price: £12.64

7 of 8 people found the following review helpful
5.0 out of 5 stars Definitely great, ignore birds of bad omen, 28 Jun. 2011
I will never understand why lots of Deep Purple fans don't like this album. Yes, it is different from In Rock and Machine Head, the two studio masterpieces everybody loves (I think Machine Head could easily be among the top ten rock albums of all time). But, being realistic, Deep Purple may not have been able to make another Machine Head even if Ian Gillan had fallen in love with Blackmore and had married him. If it was so easy to create a string of masterpieces, I guess they would not be such things. Remember the rather dissapointing Who Do We Think We Are ?
I think that many fans are much too nostalgic, and tend to refuse any kind of line-up changes or musical innovations, immediately qualifying them as some kind of treachery or creative weakness. Other ones simply hate Glenn Hughes and/or David Coverdale (and Tommy Bolin, Steve Morse, ... everyone who was not part of MK II).
Here we got a new musical direction where Deep Purple leaves room for a few slow numbers (Holy man, The Gypsy and Soldier of fortune, which are intense and powerful, not at all AOR mellow, sticky ballads), and some touches of soul or funk (more notorious in You can't do it right). Love don't mean a thing is a sensual and bluesy mid tempo song, Stormbringer really sounds like thunder and strikes like lightning, and the rest (Hold on, High ball shooter and Lady double dealer) are breathtaking rockers. The album is full of memorable bass lines, guitar and organ riffs, and superb solos of guitar, piano, organ and synthesizer; the drums and the voices are impeccable.
Ah, yes, of course, the remaster is ok.
Comment Comment (1) | Permalink | Most recent comment: Feb 13, 2013 6:52 PM GMT

Offered by Fulfillment Express
Price: £10.00

4 of 7 people found the following review helpful
5.0 out of 5 stars Music giants, 25 Jun. 2011
Verified Purchase(What is this?)
This review is from: Interview (Audio CD)
I can't add much more after what "Gentlegiantprog" has said. I think this is the last Gentle Giant masterpiece. By the days it was released, however, many prog music listeners actually thought that it was a bit disappointing if compared to its predecessor Free Hand in the creative department. 1976 was a year of skepticism for (not only) prog rock aficionados; everything seemed to be done, and all those magnificent albums like Dark side of the moon, Wish you were here, Brian salad surgery, The lamb lies down on Broadway, Red, Aqualung, Fragile, Close to the edge, Free Hand, etc. were going to make any further effort to be judged very strictly. And it was true that many bands were living difficult moments because of personal changes and/or creative crisis. Time has made its work, nevertheless, and the perspective of all these years allows us to appreciate the artistic value of this breathtaking album.
For those who are new to Gentle Giant, I would say that for some reason I don't know, this band never was as massively known as, for example, Pink Floyd or Genesis, while being in the same league in its own right. It would be easy to say that Derek Shulman is quite similar to Peter Gabriel and the band's music is a mix of Genesis, Yes, King Crimson, Jethro Tull and Frank Zappa with some extravagant or weird additions like strange and changing time signatures or a capella passages. But that would be too far from reality: these guys were master musicians with their own bold and original ideas, and an unique way of approaching rock music. Don't miss them.

30 Seconds To Midnite
30 Seconds To Midnite

5 of 5 people found the following review helpful
3.0 out of 5 stars Good music, awful production, 23 Jun. 2011
This review is from: 30 Seconds To Midnite (Audio CD)
This is (except two songs) a covers album, the last Marriott made before his tragical death in 1991. He is plenty of power here and, as usual, his singing is tasteful and passionate. The songs selection is just superb, mostly soul and R&B classics that fits Marriott's style perfectly. So, what's wrong with this? Well, the drums at the very beginning should be a serious warning: is this Judas Priest's "Ram it down" perhaps? This album is a victim of the dubious taste of so many producers in the eighties. In this case the "criminal"'s name is Stephen Parsons. Surely trying to give the covers a "modern" sound for "the standards" of that days (1989), something closer to the techno style of, let's say, Eurythmics, here we got that drums: repetitive, mechanical, metallic, waaaay loud in the mix, and those awful keyboards that many times take the place of the bass too. Don't expect swing, groove, dynamics nor feeling beyond Marriott's voice. That supposedly modern treatment could have worked well with 2 or 3 songs, it could have been funny, but to spread it to all the album is simply a question of bad taste. All this dated rubbish surrounding Marriott is not enough to completely ruin the album thanks to the superb quality of the songs, that can bear even this unrespectful treatment, and the good performance of the singer. One, two or three stars depending on your nerves and patience.
Tracks: Knocking on your door (John Fogerty) / All or nothing (Marriott,Lane) / One more heartache (Robinson,White,Moore, Rogers, Tapin) / The um um um um song (Curtis Mayfield) / Superlungs (Letich) / Getup, stand up (Bob Marley, Peter Tosh) / Rascal you (Sam Theard) / Life during wartime (David Byrne) / Phone call away (Marriott) / The clapping song (Lincoln Chase) / Shakin' all over (Kidd) / Gypsy woman (Curtis Mayfield).

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