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| GREEN DAY music band GROUP Custom Italian 9mm PHOTO CHARMS for bracelets | | | US $6.59 | 27d 4h 55m |
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| | A Group $14.38 The final West Coast Pop Art Experimental Band album didn't even feature the band's name (although for once all four bandmembers, including Michael Lloyd, were properly credited in the liner notes): Bob Markley had suggested that they change the band's name for this release, and the rest of the group consented, perhaps simply tired of dealing with Markley's legendary egomania. Surprisingly, this is actually not a bad record at all (certainly it's better than the last-gasp efforts of the group's former labelmates the Electric Prunes and the Beau Brummels, which came out around the same time), including both some excellent string parts by Lloyd and some of Danny Harris' best vocals. (Brother Shaun Harris appears only on the final track, a superior remake of "Outside/Inside" from 1969's Where's My Daddy?) Musically, the simple, often delicate sound is most akin to the group's first indie album from 1966 (reissued on Sundazed in 1997). The soft-edged arrangements prominently feature Lloyd's keyboards and overdubbed harmonies courtesy of Harris and Lloyd; most of the guitars are acoustic for once. Lyrically, however, Bob Markley seems to be continuing Where's My Daddy?'s creepy themes of paranoia, class resentment (for someone who funded the band through his trust fund, Markley seemed to write an awful lot of songs about wealth redistribution), and, perhaps most tellingly in light of the lyricist's eventual legal troubles, a predilection for underage girls. That blend of musical beauty and lyrical ickiness is, at heart, the true legacy of the West Coast Pop Art Experimental Band. ~ Stewart Mason, Rovi |
| | Group Improvisation That's Music! $9.58 Although they were mainstays of a '90s garage punk scene that included the likes of the Makers, Impala, and Rocket from the Crypt, Austin's Lord High Fixers -- led by Texas punk legends Tim Kerr (guitar) and Mike Carrol (vocals) -- had little to do with those bands' penchant for cocktail sleaze and pomade-drenched drag strip machismo. Witness 1997's Group Improvisation! That's Music! Though clearly rooted in the very same fuzzed-out 60s punk that captured the imaginations of the band's peers, this 10" on Sympathy for the Record Industry draws upon a much wider more esoteric set of influences. The title alone is a clear nod to the revolutionary precepts of 60s free jazz, while the lead-off track, "Lower Egypt (Song for Byron)," features Baltimore-based psych-punk poet/shaman Daniel Higgs offering up some words of communion with the great beyond. The CD version of this set adds various out of print singles including "Sal Paradise Delegation" and covers of the Supremes and the Who (by way of Mose Allison's "Young Man Blues"). While not as definitive as the epic Is Your Club a Secret Weapon?, Group Improvisation is a nice introduction to the band's unique musical manifesto. ~ Nate Knaebel, All Music Guide |
| | Not Music $21.58 Though Not Music was released in 2010, it was recorded at the same time as 2008’s Chemical Chords, after touring in support of which Stereolab went on hiatus. Despite its semi-archival status, the album sounds fresh, and distinct from Chemical Chords. It shares the streamlined feel of that album, but many of these songs don’t fit that album’s distillation of lounge, Motown, and French pop elements -- and those that do, such as the brisk, brassy “Supah Jaianto” and “Everybody’s Weird Except Me,” sound like warped reflections of them. Instead, Not Music charts the more adventurous turns the band’s sessions took, providing the more experimental yang to Chemical Chords' bubbly pop yin. These songs take a more cerebral, yet still playful, approach that starts with song titles such as “Delugeoisie” and trickles down to clever arrangements. There are moments that evoke Stereolab's quintessential sounds; “Equivalences” rides a descending keyboard motif that the group’s fans will recognize immediately, while the dreamy waltz “Aelita” and “Lelekato Sugar”'s mix of fuzz bass, marimba, and Laetitia Sadier's sweetly whispered philosophical nothings evoke the Mars Audiac Quintet/Emperor Tomato Ketchup era. Even more intriguing are songs like “Laserblast,” which mixes Raymond Scott-esque percolating percussion with new wave angles and knotty chords, and “Pop Molecules (Molecular Pop 2),” a heavy grind that features a pungent sax solo the likes of which hasn’t been heard since Peter Gunn’s heyday. However, Not Music's most exciting moment has to be “Silver Sands" [Emperor Machine Mix], a ten-minute marathon that moves from swift motorik to disco to downtempo interludes, all the while making the most of Sadier's velvety alto. It’s almost unrecognizable from the Chemical Chords track and should scratch the itch of fans longing for a latter-day “Jenny Ondioline.” Atlas Sound's remix of “Neon Beanbag” follows suit, as Bradford Cox returns the favor of Sadier's Logos appearance with a breathy, droning rework of the track that drifts away just as hazily as it began. Not Music is all over the place in the best possible way, and fans who love Stereolab's gracefully intellectual side will especially appreciate it. Taken with Chemical Chords, it’s a testament to just how much ground the band could cover while remaining purely Stereolab. ~ Heather Phares, Rovi |
| | Synergy: Music for Wind Band $7.18 Synergy: Music for Wind Band in Naxos' Wind Band Classics series might've been called Music for Clarinet and Wind Band as four of its five pieces feature the clarinet as a solo instrument. This features the Columbus State University Wind Ensemble (Columbus, GA) under Robert W. Rumbelow. In a sense, the star of the show is arch-virtuoso clarinetist John Bruce Yeh, who is joined by daughter Molly Yeh in the percussion parts in Michael Burritt's Duo Concertante for clarinet and percussion (2006). Burritt is an internationally renowned percussion soloist who teaches at the Eastman School, and his Duo Concertante is a sparkling, jazzy single-movement work with a lot of interesting tonal color, strong musical ideas, and variety of approach. It is not well served by the rather flat, under-dynamic, distant, and barely two-dimensional sound of Naxos' recording. The mallet percussion parts should sparkle and the clarinet should have a silvery quality, and such qualities are only intermittently evident here. Nevertheless, the playing by both Yehs is outstanding, and among the works featured on Synergy: Music for Wind Band, this one is an immediate attention grabber.Lower key, at least at the start, is David Gillingham's Concertino for Four Percussion and Wind Ensemble (1997); the soloists here are drawn from the ranks of the Columbus State University Wind Ensemble. As with the Duo Concertante, the sound is a bit of a drawback, but this is a solid and well-drilled performance of Gillingham's highly cinematic composition. J.M. David, the youngest composer on the program, contributes his Fantasy Etudes, Book II, which is scored for a group of chamber-sized dimensions led with clarinet, here played by clarinetist Teresa Reilly who also happens to be Mrs. John Bruce Yeh -- do we detect a pattern here? David's etude consists of several semi-open form sequences that vary both drastically and only slightly with each pass; while the work as a whole only demands 9:40 of one's time, after about 6 minutes the listener might be saying, "Okay, I get it, I get it, Enough!" Bear in mind, though, that the passes themselves are not unattractive and are inspired by Stravinsky and Ligeti, though sound more like Varèse-meets-neo-classicism; also the sound quality -- with the smaller group -- suddenly comes alive. Scott MacAllister's Black Dog is a rhapsody inspired by several Led Zeppelin pieces, although much of the "Lassù" is so peaceful and serene in mood that the rock rhythms of its "Friska" might seem a bit incongruous once it arrives. In a sense, we never get there, either. Michael Daugherty's clarinet concerto Brooklyn Bridge (2004) starts off in Daugherty's best "Metropolis Symphony" mode and has some nice ideas along the way in its first and second movements, though those balls are never carried very far. By the third movement, Daugherty is getting mired in weak ideas, and the clarinet cadenza, which opens the fourth movement -- with its cut-and-paste sequences and iso |
| | Band $17.56 {$The Band}'s first album, {^Music from Big Pink}, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. {^The Band}, the group's second album, was a more deliberate and even more accomplished effort, partially becau |
| | UMBRELLA MUSIC GROUP: UMBRELLA MUSIC $5.63 UMBRELLA MUSIC GROUP: UMBRELLA MUSIC |
| | Campeones: A Band and Their Music $15.18 From a crammed gig at the tiny Red Garter in 1968 to filling Yankee Stadium with 45,000 people in 1975, Fania All-Stars exploded on the salsa scene of the early '70s, featuring an accumulation of salsa stars and excellent musicians never before seen on one stage. Unfortunately, the same group that thrilled audiences didn't respond quite as well in the recorded medium, and especially not on compilations. Since they were a loose and jam-heavy collective, changing lineups frequently, their best work was done live, on practically side-long cuts that featured solos for nearly everyone on-stage. The two-disc Fania compilation Campeones is the first to do their entire career justice, and even better, it dedicates over half of its running time to live material. It runs chronologically, beginning with a track from the Red Garter gig and three from the later Cheetah concert in 1971 (both gigs spawned their own two-volume LP releases), as well as a full half-hour of music from the immense Yankee Stadium show (which was also documented with a pair of LPs). The studio sides include excerpts from their excellent tribute to Tito Rodriguez, as well as scattered highlights from the '70s and '80s. Yet, despite the combined firepower of their credit listings, Fania All-Stars dates never seemed quite as dynamic and exciting as the context of the same musicians in their smaller, dedicated groups. The Fania records usually functioned best as places to hear great solo playing in a group context. ~ John Bush, Rovi |
| | A Band and Their Music $17.45 A Band and Their Music |
| | X (The Band) - The Unheard Music $16.96 X was one of the finest and most widely acclaimed American rock bands of the 1980s. Rising out of the Los Angeles punk rock scene, X merged punk, rockabilly, blues, and country flavors into a revved-up sound that at once celebrated and deconstructed American pop culture, and the group's lyrics -- written by singer Exene Cervenka and bassist/vocalist John Doe -- used beat-influenced poetry to examine life along the margins in one of America's most privileged cities. X became a major draw in their hometown, and their first two independently released albums, Los Angeles and Wild Gift, each managed the then-remarkable feat of selling over 50,000 copies each. However, as the group's popularity steadily grew and they began to expand the boundaries of the underground music community, the band found themselves faced with the question of how to bring their sound to the mass audience without compromising their music (or their principles) in the process. The Unheard Music is a documentary that combines live footage of the band and interviews with the four members (as well as their friends and families) with surreal music videos and montages of newsreel footage and vintage television commercials which help to illustrate X's uphill struggle against the music industry. The year The Unheard Music was released, guitarist and founding member Billy Zoom left the band, and X soldiered on with guitarist Tony Gilkyson before calling it a day in 1988. However, the group briefly reunited with Gilkyson in 1993, recording two albums (one studio, one live), and in 1998, Billy Zoom made his long-awaited return to X's lineup for a series of enthusiastically received live dates. ~ Mark Deming, All Movie Guide |
| | The Band $11.18 The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down." The album effectively mixed the kind of mournful songs that had dominated Music from Big Pink, here including "Whispering Pines" and "When You Awake" (both co-written by Richard Manuel), with rollicking uptempo numbers like "Rag Mama Rag" and "Up on Cripple Creek" (both sung by Levon Helm and released as singles, with "Up on Cripple Creek" making the Top 40). As had been true of the first album, it was the Band's sound that stood out the most, from Helm's (and occasionally Manuel's) propulsive drumming to Robertson's distinctive guitar fills and the endlessly inventive keyboard textures of Garth Hudson, all topped by the rough, expressive singing of Manuel, Helm, and Rick Danko that mixed leads with harmonies. The arrangements were simultaneously loose and assured, giving the songs a timeless appeal, while the lyrics continued to paint portraits of 19th century rural life (especially Southern life, as references to Tennessee and Virginia made clear), its sometimes less savory aspects treated with warmth and humor. ~ William Ruhlmann, Rovi Performers: Garth Hudson - Slide Trumpet, Accordion, Clavinet, Saxophone, Keyboards, Trumpet, Sax (Baritone), Sax (Tenor), Sax (Soprano), Piano, Organ; John Simon - Peck Horn, Tuba, Horn, Keyboards, Piano (Electric); Jaime "Robbie" Robertson - Guitar; Levon Helm - Mandolin, Drums, Guitar, Bass, Vocals; Richard Manuel - Harp, Harmonica, Drums, Piano, Vocals, Sax (Baritone), Keyboards; Rick Danko - Trombone, Violin, Vocals, Bass; Robbie Robertson - Vocals, Keyboards, Guit |
| | Super Group $26.39 Just how long can someone in rock & roll go on being naïve? Naoko Yamano has been the guitarist, lead vocalist, and principle songwriter with Shonen Knife since 1981, and more than 25 years after recording the band's debut album, she's still writing the same kind of songs she did when she was 21, reveling in the joys of food, feeding animals at the park, playing music, and various goofy sci-fi scenarios. Shonen Knife sound like they've learned more than a few tricks over the years on 2009's Super Group -- Yamano's guitar work is much more confident and technically precise than it was back in the day, and the rhythm section of Ritsuko Taneda on bass and Etsuko Nakanishi on drums (who respectively joined the group in 2006 and 2005) is simple but right on the money. Put the three together and Shonen Knife sound like a sweetly enthusiastic pop-punk combo, not unlike the Ramones as interpreted by a bunch of hipper-than-average Girl Scouts, which is just what the world has come to expect of this band. But it seems curious that Yamano doesn't sing with much more expertise than she does after fronting a band for so long, and while only a fool would expect her to suddenly write lyrics like Leonard Cohen, the style that seemed charmingly childlike in the early '80s appears curiously willful and a bit stunted as Yamano's fiftieth birthday looms on the horizon. On the surface, Super Group sounds just as good (though not notably better) than the albums that won Shonen Knife a cult following back in the '80s. But the energy and goofball charm that were so much a part of what made them memorable aren't what they used to be, and what once was heartfelt now plays like the work of a writer following a format instead of a gal sharing her candy-colored dreams to the world. ~ Mark Deming, Rovi Performers: Roman Yumeno - Guitar |
| | Music Music Music/Slip That Disc! $14.98 LTM's reissue of Music Music Music trumps the earlier Vinyl Japan reissue a bit by including not only the "Rosemary" and "You'll Never, Never Know" singles but the entirety of Slip That Disc!, the band's second release after a tentative debut single. With a sharp new cover as well, the resultant disc is pretty close to definitive, capturing the brisk, peppy style of the band in lovely and low-key fashion as it ranges from jazz-tinged ballads to ska-beat stompers (albeit politely). Iconic singer/saxophonist Kathryn Way, who had appeared with the band in its earliest live versions, had yet to rejoin the group by the time of these recordings aside from the aforementioned singles but Ian Runacres's gently energetic singing was more than appropriate for the pop kick that the band excelled at. Andy Diagram's trumpet was clearly the other key element, ranging from the playful to the sweetly sleazy, adding to the arrangements while never dominating them. The resultant mix is so immediately appealing as to raise a smile -- there's something just sweetly captivating enough throughout the disc, even on the moodier numbers like "Yop's Choice" (Richard "Dick" Harrison's crisp but never overbearing percussion being the key to the track) and "Vendetta," which switches between full band fun and mournful trumpet and bass breaks. Most of the songs barely cross the two and a half minute mark, a form of discipline that actually allows the band to explore a variety of styles (living up to the album title as a result) while still aiming for a series of memorable efforts that stand well individually. At times things get oddly quirky -- "Roof Is Leaking" has a chorus that breaks into the nursery rhyme "It's Raining, It's Pouring!" -- but never annoyingly so. The Slip That Disc! tracks are rougher but enjoyable, with the winner being a strikingly rearranged cover of the Beatles' "We Can Work It Out." ~ Ned Raggett, Rovi |
| | Third Ear Band's Music for Macbeth $15.18 Their score for Roman Polanski's Macbeth film required the group to work in a somewhat more constricted format. So instead of lengthy hypnotic drones, this album's split into 16 separate pieces, some of them quite short. It's consequently not as reflective of their highest ambitions as the Third Ear Band album, and loses a bit when placed out of context from the Shakespeare classic. It still works reasonably effectively on its own, conjuring appopriately ominous Elizabethean moods, with the surprise addition of (uncredited) female vocals on one track. ~ Richie Unterberger, Rovi Performers: Paul Minns - Recorder, Oboe; Colin Sweeney - Percussion; Denim Bridges - Guitar; Glenn Sweeney - Drums; Paul Buckmaster - Cello, Guitar (Bass); Simon House - VCS 3 Synthesizer, Violin |
| | Six Trios (The Group For Contemporary Music) $4.99 Six Trios (The Group For Contemporary Music) |
| | DAYTIME MUSIC GROUP: ANOINTED TESTIMONIA $8.67 DAYTIME MUSIC GROUP: ANOINTED TESTIMONIA |
| | Unheard Music $15.96 Blu-Ray pressing. X: The Unheard Music takes long, detailed, and often funny look at the LA music scene of the late '70s and '80s and focuses on the group that critics had singled out as the leader of the underground pack. The Unheard Music is a documentary that combines live footage of the band and interviews with the four members (as well as their friends and families) with surreal music videos and montages of newsreel footage and vintage television commercials which help to illustrate X's uphill struggle against the music industry. Their story rings true even today. Bonus interviews and more. |
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