Folly [Import]

Folly [Import]

Track Listings

1. Both Mirror & Armour

2. Sakura

3. Heschk's Gyri

4. Oxenfolly

5. Seed Sleeps Under Eden

6. Child Cat Is Crying Out Now

7. Foxglove Into Sparrow-Grass

8. Onze Lieve Vrouwen Gasthuis

9. Senior Prom In Indigo (For Ole Risom)

10. Takeda

11. We Cach Cama, Su Jaan Am

12. These Quills

Editorial Reviews
Product Description
Features Twelve Tracks and Ranges from Automated Baroque Electronia Miniatures to Japanese Folk Ballads. Four of It's Tracks Are Vocal, and Three of These Are Sung by Cotton Casion from Japan's Progressive Psychedelics Acid Mothers Temple.

Tracks:

Takin A Ride
Shiftless When Idle
Kids Don't Follow
Color Me Impressed
Within Your Reach
I Will Dare
Answering Machine
Unsatisfied
Here Comes A Regular
Kiss Me On The Bus
Bastards Of Young
Left Of The Dial
Alex Chilton
Skyway
Can't Hardly Wait
Achin' To Be
I'll Be You
Merry Go Round
Message To The Boys (New Recording)
Pool & Dive (New Recording)

Amazon.com

Chronicling The Replacements' gloriously tempestuous decade on a single disc ostensibly seems akin to reading Cliff's Notes for the New Testament: No sooner do you grow fond of the protagonist than they've nailed him up. And if that comparison sounds a tad sacrilegious, perhaps you underestimate the Mats' hallowed place in modern rock history--and the hearts of their ardent fans. Yet somehow even this condensed format focuses the songs of Paul Westerberg and playing of bandmates Bob and Tommy Stinson and drummer Chris Mars into a dramatic arc that can't be denied. The initial tracks of this 20-track collection display a band joyously besotted by nascent punk thrash, yet one not so different from the scores of similar bands tearing up local clubs in the '80s.

But by the time of Hootenanny's "Color Me Impressed" and "Within Your Reach," something magical was clearly happening within Westerberg's songwriting and the band at large, even if it was largely inspired by terminal boredom, perpetual discontent, no small amount of alcohol--and an indifference to success that was one of their greatest charms. Within two years they'd produce one of the decade's--and perhaps rock history's--most compelling albums with Let It Be and the indie movement's first grassroots anthem in "Unsatisfied." They followed it up with Tim, a collection where Westerberg seemed able to conjure similar generational marching orders ("Here Comes a Regular," "Bastards of Young," "Left of the Dial") with preternatural ease; enraptured rock critics probably thought harder about his music than he ever did. Though highlighted by such gems as "Alex Chilton," "Skyway" and such pop-smart swan songs as "I'll Be You" and "Merry Go Round," the Mats' third act dissolved into the expected, if equally star-crossed solo career for Westerberg and the tragic death of Bob Stinson, events which can't help but cast a melancholy shadow over the unexpectedly gritty new old stock recordings "Message to the Boys" and "Pool & Dive." --Jerry McCulley

Album Description

The ragged and glorious alt-rock of The Replacements made them one of the greatest and most iconic American bands of the 1980s, and inspired countless groups to come. Fronted by lead singer, pianist/guitarist, and principal songwriter Paul Westerberg, these heroes of post-punk/pre-grunge rock `n' roll fused garage band greatness with powerful pop beauty. Fueled by both thrashing energy and a lyrical and emotive sonic flow, The Replacements' kamikaze live shows and richly textured albums made them music legends.

Customer Reviews:

Love from Minneapolis.......2007-03-25

How can anyone who lives in the muck of a society that prizes commerce, populism, media savvy, and dumbed-down entertainment above all else be surprised how little popular success or money or fame the Replacements achieved in their career? But our same American culture of mass-produced cr*p-by-committee fertilized their existence, out of which sprang this wondrous musical art, an art that is nevertheless woefully underrepresented in this single CD.

Not to bleat too much, but how does Rhino justify the omission of Androgynous and Swingin' Party, which, in all of their weird, surreal, organic, raw, sloppy beauty, epitomized the immediacy that helped make Let It Be and Tim the greatest back-to-back albums by any artist in the 1980s? These songs only get better with repeated listening, unlike the Mats' pre-Let It Be punk efforts that sound like the kind of speed metal that gives skateboarding fanboys hard-ons but grows increasingly tiresome with age.

It is funny to me that as their music matured and became more melodic and interesting, many of these same fanboys accused the Mats of selling out. That instinct to keep bands stuck in perpetual adolescence always drags down great music, but thankfully, Westerberg and Co. resisted, although at the unfortunate loss of a bandmate.

Despite missing some vital tunes, I still give this album five stars for Rhino's good sense to include Answering Machine and Here Comes a Regular, and because it is still the Replacements, who even at their worst could puke out better music than the soulless, high-polish, overproduced dreck that wins Grammy awards. If there is any justice, the Mats will be fast-tracked into the RnR Hall, thus affording them the opportunity to give the middle finger to industry tastemakers who overlooked them in their prime.

What, yet another Mats compilation album?.......2007-01-16

Yeah, Yeah, this has the Twin Tone recordings that All For Nothing did not have. Sure, that makes this a better compilation of hits (what hits?) album. However, where All For Nothing had a disc of rairities, this one hopes to entice Mats fans with two new recordings. Uhh, correct me if I'm wrong, but hasn't Paul released like four (at least) solo albums since leaving the Mats (one could argue that the last Mats album was a Paul solo album)? I guess, Paul's solo works are different when he attaches the Mats name to it? So, uhhh, why exactly should you buy this CD? Well, if you are a fan and already have all of their stuff, there is no reason to buy this CD. I mean, come on. Chris was so indifferent about this project that he did not even bother playing drums on the two new cuts and Bob is dead. What, did you really miss hearing Tommy's bass-playing that much? Listen to some GnR for crying out loud. LOL

A Great Best-of.......2007-01-11

I'm going to keep this short and sweet: The Replacements are a "glorious footnote" in the history of rock music, a band that didn't sell enough to make an impact when they were together (at least on the superficial charts of the Eighties), but I guarentee every indie band that followed had a record or two and practiced "Can't Hardly Wait" or "Kiss Me on The Bus" to learn their instruments.

So if you're wondering what all the fuss is about, pick up this disc. I owned Hootenanny for a while back in the day, but foolishly let it slip out of my hands. So when I saw this disc, I had to get it. You can't understand alternative rock without the Replacements, REM, Joy Division, and Mission of Burma.

Do yourself a favor and get this, you won't regret it.

One Historic CD.......2006-12-19

For a compilation, this CD is awesome. It follows the Replacements from their punk rock roots to their more polished sound (lyrics and music). One of the best aspects of the Replacements was their refusal to apologize for not being famous rock stars. Sure, the critics loved them, and LET IT BE is on many top spots of top rock and roll albums of all time (as well it should be). Still, they never found the ultra-glamorous rock star lifestyle that so many seek. And their music is better for it.

The best way to listen to this is on a long, autumn drive on backroads, with the windows down and the volume loud. If you still have one of those archaic tape recorders, record a compilation tape and throw in some greats from this album. It only gets better with age.

And to address my own review title, I wish this had been two CDs. Or three.

Great one disc Best of, Excellent with 2 new songs, but so short........2006-12-05

This ablum is the cream of the Replacements catalog, but its hard not to want all of their music on this. It does not hit their twintone years, which I am suprised has not been done yet (the did it for soul asylum). But, this covers their sire years well, and is greatly complimented by the best of Paul Westerberg CD. A good starter CD, but also check out the "all for nothing/nothing for all" greatest hits released years ago, 2 cds of music with the second disc being B sides and rare recordings. You'll want all the replacements Albums after you get this one anyway, their addicting.

Average customer rating:

I DON'T LIKE IT (It needs a negative review)
o.0
should appeal to ----
2007? Try 2307
Sophisticated Artistry in Electronica Pur

The Foley Room
Amon Tobin
Manufacturer: Ninja Tune
ProductGroup: Music
Binding: Audio CD

Drum & Bass | Dance & DJ | Styles | Music

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Pocket Symphony
Supermodified
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Out From Out Where

ASIN: B000N0QXHQ
Release Date: 2007-03-06

Tracks:

Bloodstone
Esther's
Keep Your Distance
The Killer's Vanilla
Kitchen Sink
Horsefish
Foley Room
Big Furry Head
Ever Falling
Always
Straight Psyche
At the End of the Day

Amazon.com

With Foley Room, Montreal's Amon Tobin throws his torch in with the blazing tradition of full-length works composed in the majority with found sounds. Having formerly made his name as a craftsman of vinyl samples into towering rhythmic dynamos like his fin-de-siècle LP, Supermodified, Tobin tries sampling the world for himself. With microphone in hand and his tape console slung over his shoulder, he captures the timbre of factories, a massive satellite dish, and local avant-garde improvisers with equal zest. One loping highlight comes early in "Big Furry Head," when during a token trip-hop lead-in--all reverb, squiggle, and over-compressed drumbeat--a tiger's hungry growls tears new life across the frequency spectrum, signaling the abyss-deep thump of Tobin's next new groove. Whether he's wandering through lush, meandering string workouts ("Bloodstone") or more aggressive avenues toward beauty ("Ever Falling"), Tobin's gait is ever informed by the beat. But where some contemporary found-sound sculptures like Matthew Herbert's Plat du Jour keep a more strident sampling ethos in the service of musical politics, Tobin's approach clearly reeks with a love of sound manipulation as its own reward: every process an adventure, each completed work a revelation. --Jason Kirk

Album Description

Electronic beatmaking legend Amon Tobin reinvents himself on Foley Room, an album meticulously created from field recordings and other found sounds. Still very much an Amon record, but with fresh new underlying sounds. Includes bonus DVD documenting the process.

Customer Reviews:

I DON'T LIKE IT (It needs a negative review).......2007-07-12

I don't like this album, it is extremely boring. I'm not holding it to comparison to anything prior by Amon Tobin. I don't like it because I found myself fast fowarding through parts in search for something more.

I wanted the grass to get greener and this was never the case. I also search for something in music that I might enjoy, or even a singular sound that I can sample and exploit.

This album failed to entertain me, or make me feel energized. Even with the hope of discovering some cool sounds it is a total let down.

o.0.......2007-07-08

I wonder if he played all those random instruments. The percussion sounds very natural, I would find it hard to believe they were all from a computer program, it would probably be easier to just record the drums and edit them afterwards. There's lots of stuff you miss listening to this the first few times around, lots of little details in the sound.
There's some symphony stuff going on as well, guitars too, chimes, synthesizers, vocals, pretty much everything... and none of it sounds familiar. Once all this settles in you have a very replayable CD.

When I first heard Amon Tobin I listened to Out From Out Where and then bought his others. They were all good, but this one stands out a little because the structures of the songs are pretty random, but they make sense somehow. I barely notice any repetition on Foley Room. If I listen to Permutation or Bricolage it is very noticable by comparison.

Electronic music is a genre with a lot of sub-genres and is expanding all the time. It's difficult because like computers themselves, electronic music is always getting updated and you have to keep up with the times. However some people are continually able to bring something fresh that has a new sound. This is one of those cds that actually gets better the 4th or 5th time around.

should appeal to ----.......2007-05-18

conceptual work combining manmade and natural found sounds with conventional music,if this project was just a experiment I hope that the artist was keeping notes,we need more !!

2007? Try 2307.......2007-05-09

Foley Room is an industrial breakbeat / drum-n-bass symphony. Amon Tobin not only improves but he vastly raises the bar every single time he releases an album. You know this is the man who made Out from Outwhere and Permutation right away but what you cannot prepare for is the epic nature in which he rings in 2007 with music that is 2307.

I have a deep love for the album format and 'Foley Room' further defines this affection. It allows for structure and limitations to encourage discipline and creativity. The music here is like the intensity of a beautifully emotional 500 lb. beast trapped within a metal cage where he barely fits and has only one small air hole. He is angry and dents the structure while trying to free himself. He becomes hopeless realizing this is impossible. He ponders his life, becomes bitter and angry again. Somehow, we feel like he got himself into this.

Take that for what you will, but the only album I can compare this to is 'Endtroducing...' and that is a stretch because this is much more intense and the songs are mostly shorter in length (my only gripe because these songs could be of brilliantly epic length to match the mood). But the darkness and emotion is evident and delves deeper into actual human psyche than I'd say nearly ALL of, at least, electronic music.

Amon Tobin has officially been ordained into the vanguard of music's elite.

Sophisticated Artistry in Electronica Pur.......2007-04-17

Having been a fan of the Art of Noise in the 80's, it is a very high bar that reaches my ears these days, and Amon Tobin has done it. His incidental style, combined with crafty rhythms and a high degree of acoustic precision create something between acid jazz and techno, a very listenable, wordless play on the human spirit.

Average customer rating:

A 'top shelf ' recording, with great production too!

Time Bomb
Deborah Coleman & Roxanne Potvin Sue Foley
Manufacturer: Ruf (Idn)
ProductGroup: Music
Binding: Audio CD

Contemporary Blues | Blues | Styles | Music

General | Blues | Styles | Music

Electric Blues Guitar | Blues | Styles | Music

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ASIN: B000MV8H2U
Release Date: 2007-04-24

Tracks:

Time Bomb
Hitting On Nothing
So Far
Talking Loud
Strong Enough To Hold You
Show Me
Motor City
Get Up!
Two Moons Gone
Don't Start the Car
In the Basement

Customer Reviews:

A 'top shelf ' recording, with great production too!.......2007-04-27

Sue Foley Deborah Coleman Roxanne Potvin `time bomb' Ruf Records

Sue Foley and Deborah Coleman come to this recording with deep credentials in the blues rock world, but Roxanne Potvin is not a name that I am very familiar with, but more about her later.

Often this recording is pleasing and at times very hot, especially on the NRBQ'ish rocking opening instrumental title track- Foley's `Time Bomb' which definitely races in true pedal to the metal fashion and just roars and soars! Foley's `So Far' is a rip roaring affair with a rockabilly tinge that is one of the finer compositions I heard from Foley in a while, and offers top notch blazing guitar rev-ups as Foley really wails on this track! But I could have done without her corny `Show Me' which really does not fit well with the rest of this CD. Coleman covers James Brown's `Talking Loud' in a Grateful Dead'ish `Shakedown Street' funky mode, complete with wah-wah effects, sassy background vocals, and is one of several fun tunes on this hip recording. The Coleman authored `Motor City' also utilizes soulful background vocals, and allows Deborah to do what she does best on her driving guitar, and the band also kicks in mightily especially the thumping bass of Jim Anton, and the strong B3 work of Mark Lickteig.
Potvin's `Get Up' is probably her best contribution here, but all due respect to Potvin, this CD could have easily been a Sue Foley meets Deborah Coleman recording, and does not need the third-wheel singer/songwriter/guitarist, as it would have been neat to have a couple of Coleman/Foley collaborations, especially instrumentally.
The albums closing track- Billy Davis' `In the Basement' made famous by Etta James is a riotous hoot, and allows all three ladies to sing a verse or two, and this tune is outstanding selection to round out this very neat recording.
`time Bomb' works very well at least half of the time, which by today's standards makes this CD a very nice recording to own. I would be remiss to leave out the fine production work of Kevin Bowe (best known for his work with Robben Ford, John Mayall, Etta James, Tommy Castro, Jonny Lang, and others,) and to the executive producers Thomas Ruf & Sue Foley, bravo!
Bob Putignano [...]

Average customer rating:

The best mama rose in my book
Bernadette Shines!
GYPSY can't be beat
FANTASTIC!
Bernadette is great! But why not Betty Buckley? Or Bette Midler?

Gypsy (2003 Broadway Revival Cast)
Jule Styne
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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Gypsy

ASIN: B0000AKY5G
Release Date: 2003-08-19

Tracks:

Overture
May We Entertain You
Some People
Small World
Baby June And Her Newsboys
Mr. Goldstone
Little Lamb
You'll Never Get Away From Me
Dainty June And Her Farmboys
Broadway
If Momma Was Married
All I Need Is The Girl
Everything's Coming Up Roses
Entr'Acte
Madame Rose's Toreadorables
Together, Wherever We Go
You Gotta Get A Gimmick
Small World (Reprise)
Incidental Music
Gypsy Strip (Let Me Entertain You)
Rose's Turn
Curtain

Amazon.com

The casting of cute, petite Bernadette Peters as the formidable Mama Rose in the 2003 revival of Gypsy led to a few raised eyebrows: Was this egregious miscasting? After all, previous Roses have included Ethel Merman, Angela Lansbury, Tyne Daly, and (on TV) Bette Midler, all of them strong women who can belt with the best of them. Peters took a slightly different approach to the role, emphasizing the dramatic reading of her songs instead of blasting her way through sheer power--she acts the material as much as she sings it. Nowhere is this as convincing as on "Everything's Coming Up Roses" and especially "Rose's Turn," the latter as good a rendering of showbiz madness as you're ever likely to hear. Peters's acting skills are further emphasized by the generous helpings of dialogue that frame the musical numbers. The rest of the cast is superlative, and Marvin Laird conducts a spirited orchestra. Discussions as to which recording of Gypsy is the definitive one will never end, but this album certainly deserves to be included among the finalists. --Elisabeth Vincentelli

Customer Reviews:

The best mama rose in my book.......2007-02-23

when bernadette peters was casted as mama rose i admit ,i was a little put off. i attened the show to see a flop, to see history. but boy was i wrong. when i stepped into the theater i knew i was in for something...wonderful.bernadette peters was the best mama rose i have seen
she uses her sex appeal to motivated the character. every thing about her mama rose rings true to a stage mother. by the end of the show her mama rose ripps throught the most intriging version of rose's turn recorded on media. the supporting cast is jsut as good,varying from fair to good. every thing about this production makes it one to rememeber.buy the cast recording and imagine a wonderful night at theater...it is sure to please

Bernadette Shines!.......2006-07-25

An excellent recording of a classic American musical. The show is structered near perfectly, it has become a model for American book musicals.
While I think Angela Lansbury comes as close to perfection as Mama Rose, Bernadette Peters is right on her heels. From what I have seen of Merman on tape and the original cast album, I don't think she so much created the character of Rose as much as she created a variation of Ethel Merman. I don't mean for that to be negative, any Merman was pretty great.
Forget about Russel in the film, and forget about Tyne Daly's vocally off (flat), mannered, and irritating performance.
Bette Midler also has to be included in the better versions list.
But Peter's (like Lansbury) doesn't just sing the score, she acts it, she becomes the character. And her Rose's Turn is a powerhouse.
Tammy Blanchard shines as Louise, the rest of the cast is fine. With one glaring exception, Danny Budtke singing All I Need Is the Girl, lisps his way through it sounding like a girl is the last thing he needs, completely unbeleivable.
A small complaint for an admirable recording.

GYPSY can't be beat.......2005-09-28

First of all, regardless of who's playing Rose, this show is just about the perfect quintessential American musical comedy/tragedy. It doesn't have a false moment and the score is simply superb. Every song seamlessly fits in and every song is a winner on its own.

I saw Bernadette do this production and she was terrific. She imbued the character with the right amount of maternal terror as she pushes her kids through life in pursuit of her own failed ambitions.

Get this one. Get Bette Midler's. Get Ethel Merman's. Get at least one version of Gypsy and enjoy what the musical theatre is all about!

FANTASTIC!.......2005-08-04

This must be one of the best cd's I have EVER heard! A starry cocktail of failed dreams, regrets, pushy mum's and vampy burlesque entertainers. Not only the best revival of this musical but without a doubt the best version. For a start Bernadette Peters stuns as pushy stagemother Mama Rose making her character believable and her songs exceedingly enjoyable. Undoubtably her best songs being "Rose's Turn" and also "Everything's Coming Up Roses" are a pleasure to listen to, her vocals soaring and her true musical theatre pelt make her songs the most enjoyable, however, her lesser songs such as "Small World" and "You'll Never Get Away From Me" are not particularly desireable as I found the melodics slightly boring. Her vocals are still second to none. Tammy Blanchard exceeds all standards as Louise (soon to become Gypsy Rose Lee). Her first solo song "Little Lamb" touches the heart and atfirst she gives the impression of being meek and not a strong singer (intentionally) however, during her "Let Me Entertain You" number (in which we gradually hear her climb out of her hermit shell and become the famous burlesque entertainer and progress through theatre after theatre throughout the country) Blanchard amazes and we hear the full blast of her voice. Although the role of Louise is secondary to that of Mamma Rose, Blanchard's talents are a wow and are definitely worth the listen. Another great highlight of the cd is Kate Reinders' bubbly and energetic voice as Dainty June (in particular her duet with Blanchard- "If Momma Was Married"). Also, an immense amount of credit goes to the children of the piece- Heather Tepe is literally "a bundle of dynamite" and has the most angelic and youthful child voice I have ever heard whist the chorus of boys who back her provide punch and zest. John Dosset's Herbie (although only featured in practically one song) plays the character to perfection.
In conclusion, this cd is certainly NOT to be missed and is also a must have for EVERY musical theatre buff and even for those who are not.

Bernadette is great! But why not Betty Buckley? Or Bette Midler?.......2005-07-20

I have every version of Gypsy, and actually my favorite is Betty Buckley (though she is not on a cast recording, I saw her at the Paper Mill Playhouse in New Jersey). Bette Midler isn't bad either. I saw Bernadette in this great revival and she was amazing! Thought that she was excellent and would have seen it again- had it not closed so soon. The cast recording is great- no complaints at all! One teeny thing is that Bernadette seems to struggle a little bit with Rose's Turn. That's sort of a problem because that's the big number where Rose realizes that she did it for herself. I love this musical! Tammy blanchard is very well trained for her role as gypsy/Louise, and the rest of the cast is amazing. here is a list of what soundtracks I prefer:
1) Bette Midler
2) Rosalind Russel (though she is dubbed, she's still great!)
3) Bernadette Peters
4) Ethel Merman
5)Angela Lansberry (though she is better in Mame!)
Whatever you do, do not pick up Tyne Daly's version of it! I've heard rumors that she was violently ill recording it, but anyway, she still can't sing! (Though I can't see why they didn't record it another day when she wasn't sick...hmmmm....)
Enjoy this great soundtrack!

Average customer rating:

Lost gem from the late 70s
If you like...
Finally is right!
Dynamite in a small package...
Legendary album

Night Out
Ellen Foley
Manufacturer: Wounded Bird Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009NSDLG
Release Date: 2005-06-21

Tracks:

We Belong to the Night
What's a Matter Baby
Stupid Girl
Night Out
Thunder and Rain
Sad Song
Young Lust
Hideaway
Don't Let Go

Customer Reviews:

Lost gem from the late 70s.......2007-05-14

As evidenced by her wonderful work as the designated female background singer on Meat Loaf's landmark "Bat Out of Hell," singer-actress Ellen Foley proved that she had a way with theatrical, melodramatic rock. This is late 70s chick-rock at its best. She delivers a great performance on the Graham Parker cover "Thunder and Rain." She has just the right touch on "Night Out," the title track. And on "We Belong to the Night," which got some airplay at the time of its release, she delivers the bombastic range appropriate for someone who formerly backed up Mr. Loaf.

So what that's overly dramatic and kitschy. Like all good rock and roll, it's fun, it's sexy, and you can sing along to it. Ms. Foley put out too few records and acted in too few roles.

If you like..........2006-07-24

If you like Steinman, get this CD.
If you like Meat Loaf, get this CD.
If you like highly produced Spector effect, get this CD.
If you like picking one song and playing over and over and over and over, get this CD.

Finally is right!.......2006-07-22

Ellen Foley's voice is like no other. This is a seminal album that no audiophile should be without. The purity of Foley's voice, the gut-level emotion, the Mick Ronson guitar, and the Specter wall-of-sound all give this album its extraordinary strength and depth. Don't miss it.

Dynamite in a small package..........2006-05-09

I'm just old enough to remember watching Ellen Foley singing on (mostly) European 'Countdown' type TV shows (before the advent of MTV). In 1976, she was just 25 years old, and I never could understand just where she hid a voice of such purity and power in such a tiny frame. She looked like she would blow away in a light breeze...

Most people nowadays remember her as the girl who sang the duet with Meat Loaf on the legendary album 'Bat out of Hell'. Most people also make the mistake of thinking that it was 'Paradise by the Dashboard Light' that launched Ellen into the spotlight...but I tend to think it was the other way around. Meat was lucky to have her, and it was a stroke of genius on the part of Todd Rundgren to pair Foley with Meat.

'Night Out' is a re-release of her first solo album and, along with 'Spirit of St Louis' ranks as two of my top ten most favorite albums. Ever.

So, if you're an 80's or 90's kid who grew up on Bubble-Gum pop, take a listen to 'Night Out', especially the first track 'We Belong to the Night', and find out what Rock is *really* supposed to sound like...

Legendary album.......2005-11-27

Produced by Ian Hunter and Mick Ronson, this 1979 album of classic rock has stood the test of time very well. The mix is just right, with awesome melodious compositions, brilliant production and Foley's vocal prowess. Although generally soaring and assertive, her voice also conveys mystery and vulnerability on this varied set of songs.

Blending classic rock and post-punk urgency, the album opens with the majestic We Belong To The Night, an atmospheric and soulful rock ballad. Highlights include What's A Matter Baby and Stupid Girl, an impressive fast-paced rock 'n roller with prominent sax and piano. The title track is a brooding ballad with plenty of tempo variation and dramatic vocals, whilst her interpretation of Graham Parker's Thunder And Rain is a great example of surging New Wave rock.

Another track that tilts more towards New Wave than classic rock is the uptempo Hideaway. The album closes with Don't Let Go, a tender ballad of hope and encouragement. The aforementioned tracks are particular favorites, but all the songs on Night Out are memorable, Sad Song in particular. The album displays all that was great in the rock of the late 1970s. Fans of Meat Loaf, Jim Steinman, Pat Benatar, Mink de Ville, Bruce Springsteen and even Alanis Morissette would appreciate this great album by Ellen Foley.

Average customer rating:

Man A-Blaze

Wanted More Dead Than Alive
Blaze Foley
Manufacturer: Deep South Productions
ProductGroup: Music
Binding: Audio CD

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ASIN: B000FOPRM2
Release Date: 2007-03-13

Tracks:

If I Could Only Fly
It's Just You
Down Here Where I Am
Life Of A Texas Man
Faded Love & Memories
Ooh Love
1, 2, 3 1, 2, 3, 4, 5
Alibis
Clay Pigeons
Black Granite

Album Details

Reads Like the Most Heartrending of Country Ballads.

Customer Reviews:

Man A-Blaze.......2007-06-02

I heard John Prine do "Clay Pigeons" on t.v. about a month ago and checked into Blaze. What a talent this guy was and what a story his life was. "Clay Pigeons" ranks up there with the best of 'em, Prine and Shaver included.

Average customer rating:

the singings good enuf but the guitar is what its all about
Intro
Am I Worthy Of Sue Foley's Beautiful Music?
Burning the Blues
sue foley rocks!

Love Comin' Down
Sue Foley
Manufacturer: Shanachie
ProductGroup: Music
Binding: Audio CD

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Back to the Blues
Change
Where the Action Is
New Used Car
Young Girl Blues

ASIN: B00004SQZT
Release Date: 2000-05-09

Tracks:

Two Trains
Empty Cup
Love Comin' Down
You're Barkin' Up The Wrong Tree
Same Thing
Let My Tears Fall Down
Let Me Drive
To Be Next To You
Mediterranean Breakfast
Am I Worthy
Oh Baby (We Got A Good Thing Goin')
How Strong

Amazon.com

For years, the main thing guitarist and vocalist Sue Foley has had going for her is potential, based on the strength of her debut, Young Girl Blues. While subsequent albums were good, they were marred by an inconsistency of tone. But at long last, Foley has lived up to the potential promised in her debut with Love Comin' Down. Judging from the laid-back rhythm of "Two Trains" and the slow and easy "Empty Cup," Foley's relaxed a lot, and that's just what was needed. This album is perfect summer listening; the title track sways and winds like a slow-moving river, with Joe Cabral's saxophone lending just the right touch. Foley's guitar and vocal skills have improved considerably. For the former, check out the instrumental "Mediterranean Breakfast." As for the latter, her vocal range is limited, but she uses it all, and her voice has acquired new expressiveness and depth. The original songs, which make up most of the album, are uniformly strong, but special mention must be made of Foley's version of "Same Thing," which is so smooth and sensual, it'll raise goosebumps. Foley has also mastered the art of mixing the bitter with the sweet, that quality so essential to good blues music. Love Comin' Down is a class act all around. --Genevieve Williams

Customer Reviews:

the singings good enuf but the guitar is what its all about.......2004-04-05

I saw Foley live when she was a shy 22-year-old, and my opinion hasn't changed: Her singing's ok, good enough to keep her out of the financial hell that blues sidemen suffer in, but her guitar playing is is tops. Foley had an in-depth understanding of the greats, and built her style on the best of foundations; T-bone Walker, Freddy King, etc. I must insist that she would probably wail beyond her best so far if she had an equal vocalist to push her.

Intro.......2003-03-08

This CD is GREAT. I had not heard of Sue Foley, until approx. 4 years ago when Jonny Lang came to the Orpheum in Van., she was the back up. Yes, go girl.!!! My friend Donna and I absolutely loved Sue, and needless to say the next opportunity I went out looking for her CD's. I have turned on many other people to her discs as well. Without a doubt would love to see her perform live again.

Am I Worthy Of Sue Foley's Beautiful Music?.......2001-12-04

Originally from Canada, Sue put together a demo, which she sent to Antone's (a blues bar and record label in Austin, Texas. Upon hearing said demo Antone's knew they had a true blue sweetheart on their hands. Sue moved to Austin to pursue her record deal and career. A move that pleases this Austin music scene socialite!

Sue's slower side on this CD is simply powerful and tear jerking. Tracks like "Emtpy Cup" and "Am I Worthy" show how Sue can move your soul to tears and slay your sorrow with her vocals. These songs are highly emotional and powerful.

For a more upbeat pace tracks like "You're Barking Up The Wrong Tree", and "Let Me Drive" Sue takes a stand in each song, showing her impish (red head) side, and her guitar moves you to dancing!

Sue is a rarity somewhat, she is the entire package. She plays her own instrument, sings and is female too. Her voice is a sweet, moving, determined with a splash of echo. WOW! A red headed fiery blues beauty striving to be an equal in a genre dominated mostly by blues men as legends. Does Sue have what it takes? Well my rating should tell you that I've got nothing but love comin' down for Sue Foley!

Burning the Blues.......2001-11-01

Sue Foley's CD is confident and deserves praise. A guitar strum opens on "Two Trains" before it breaks out into a full blues rocker. "Empty Cup" is a slow song with lumbering rhythms and beautiful harmony vocals by Lucinda Williams. Buy the CD for the title track, a hot burning blues rocker. Colin Linden, whose "Raised by Wolves" CD is equally hot, blisters the guitar on "Love Comin' Down" as Sue sings, "My heart is like a sunset." "You're Barking Up the Wrong Tree" is an uptempo old-style piano blues, "Stop talking lah-dee-dah to me." Foley milks the juice out of her electric guitar on "Same Thing." "Let My Tears Fall Down" is a slow tune with vocals that bring to mind the best of Bessie Smith. The vocals are fuzz-distorted and the electric guitar is up full throttle on "Let Me Drive." "To Be Next to You" lets Sue wail as a soulful crooner. "Mediterranean Breakfast" is a stunning instrumental with Spanish guitar and flamenco-flavored percussion melding with Foley's wailing electric guitar. Don't miss this one! The next track has Sue's slow soul searching vocal, "Do I let you inside me? Am I worthy of love?" "Oh Baby (We Got A Good Thing Going)" is a great boogie-woogie blues. The CD ends with "How Strong," a slow tune with acoustic guitar and Foley's passionate vocal. This music is mature, confident blues from one of the best. Enjoy!

sue foley rocks!.......2001-10-12

Sue Foley, blueswoman from Canada via Austin, is something special. Her voice is not a powerhouse growl like Big Momma Thornton, but very delicate and beautiful, even when she tries to belt it out. The first thing I noticed when I first heard her on the "Every Road I Take" compilation was that I'd never heard a chick play guitar like that. She's definitely no SRV, but well versed in many styles and uses what skill she has to the fullest extent. Her fretwork is impressive enough, but coupled with an outstanding ear for catchy tunes and you are looking at one of the most talented musicians to never break through to the mainstream. That's definitely a shame, but a real treat for those who know;).
"Love Comin' Down" is without question her most complete album yet, though there is a special place in my heart for "Without A Warning." On this one Sue's originals take center stage, though differentiating them from the covers without checking the booklet is a tough job, which is quite a credit. Her own songs tend to lean toward the sad and lonely, which is exactly what makes a great blues artist.
I consider myself a budding expert on the blues and I believe anyone would enjoy this album, blues afficionados or casual music listeners alike. Consider yourself one of a lucky few to get your hands on any of her discs, but this one is a great starting point. Bottom line, for those of you who can tell good stuff from bad, you owe it to yourself to at least give Sue Foley a listen. You won't regret it.

Average customer rating:

my favorite Sue Foley album
Au contraire Genevieve, this is Prime Sue!

Back to the Blues
Sue Foley
Manufacturer: Texas Music Group
ProductGroup: Music
Binding: Audio CD

Chicago Blues | Blues | Styles | Music

Contemporary Blues | Blues | Styles | Music

General | Blues | Styles | Music

Electric Blues Guitar | Blues | Styles | Music

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Similar Items:

Love Comin' Down
Change
New Used Car
Where the Action Is
Without a Warning

ASIN: B0000508QP
Release Date: 2000-11-07

Tracks:

Lightnin' Boogie
Come On
Positively 4th Street
If You Think I've Lost You
I Feel So Good
Tanya
Me & My Chauffeur Blues
Come Play With Me
Can't Afford To Do It
Make Me A Pallet On Your Floor
Guitar Rumba
The Leading Brand
Gone Blind

Amazon.com

Listening to this CD, which consists of outtakes from older recording sessions, back to back with Love Comin' Down, released the same year, highlights exactly how far Sue Foley has come over the course of her career. Back to the Blues consists of material recorded during sessions for Young Girl Blues (released in 1992) and Without a Warning (released in 1993). Since then, Foley's changed labels and grown much more confident. While this collection includes good stuff, and contains the same potential as the two albums, neither Foley's guitar work nor her singing is nearly as polished as it would one day become. Even so, there are some high points here, such as her cover of Bob Dylan's "Positively 4th Street," the original "Come Play with Me," which is practically a country tune, and "Gone Blind," which closes the album on a traditional blues note. --Genevieve Williams

Customer Reviews:

my favorite Sue Foley album.......2006-02-07

I know it doesn't make much sense that my favorite Sue Foley CD should be a collection of outtakes from her 1st two albums, but
it sure is. Her cover of Dylan's "Positively 4th Street" is magnificent.

Au contraire Genevieve, this is Prime Sue!.......2000-12-09

As a fan of Foley's since 1990, I am often puzzled by people who say they prefer her sometimes too slick work since leaving Antone's. This cd of hidden gems is dynamite stuff. For vocals check out the deep blues of "Gone Blind" with guest Kim Wilson and the rocking "Come On." As for instrumentals, Sue always amazes and her taste is first rate in covering a pair by Earl Hooker. Backed by her great road band at the time, Sue is in top form. Long-time fans will find this one a must, and initiates will receive a fitting introduction to a superb young talent. Oh, and she is simply a knockout on stage-- so catch her when she is near your town.

Average customer rating:

AUSTIN GEM
.
very very good
Lost Art Records
Absolutely the Saddest/Best Album Ever

Live at the Austin Outhouse
Blaze Foley
Manufacturer: Lost Art
ProductGroup: Music
Binding: Audio CD

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Wanted More Dead Than Alive
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West Texas Waltzes & Dust-Blown Tractor Tunes

ASIN: B00004NAEF
Release Date: 1999-12-01

Tracks:

Oh Darlin'
Clay Pigeons
If I Could Only Fly
Small Town Hero
New Slow Boat to China
Our Little Town
Officer Norris
Christian Lady Talkin' On a bus
Picture Cards Can't Picture You
Election Day
Faded Loves and Memories
Oooh Love

Album Description

The only available recording from this legendary Austin, Texas singer/songwriter. Contains "If I Could Only Fly," a song recorded by Willie Nelson and Merle Haggard.

Customer Reviews:

AUSTIN GEM.......2007-05-31

BLAZE FOLEY WAS A NAME BOUNDED AROUND BY FELLOW TEXAS SONGWRITERS,PARTICULARLY TOWNES AND REX BELL--THIS CD RECORDED LIVE AT A SMALL BAR IN AUSTIN,IS AN EXPERIENCE--YOU EITHER LOVE IT,OR WELL--ITS YOUR LOSS.
THE SIMPLE PERFORMANCE OF SUCH DIVERSE SONGS AS "IF I COULD ONLY FLY","CLAY PIGEONS","ELECTION DAY" ARE PURE JOY.
A DVD DOCUMENTARY ON BLAZE IS AWAITING RELEASE.
IF YOU ENJOY TOWNES,JOHN PRINE,OR JUST GOOD SIT BACK,POP A TOP MUSIC, THIS ONE IS FOR YOU.

........2007-02-16

If you are looking at this review then DO NOT PASS THIS ALBUM UP! This guy is one of the greatest of all time. You can hear some of his music on mySpace if you want to check him out. His songs will make you laugh and cry. Why are all the great ones dead?

very very good.......2005-11-09

not the master that townes van zandt was, but if i was looking to award silver i can't think of many better. on par with the best of guy clark, steve earle, etc. second that nod for this and the companion cd and also, check out the studio/country album blaze recorded shortly before this live recording the masters were destroyed but a copy of a copy of a board recording was recently found, lovingly restored and finally released 10.05.

Lost Art Records.......2004-10-03

Both this album and his newly release album Oval Room are available from Lost Art Records...www.LostArtRecords.com...

Absolutely the Saddest/Best Album Ever.......2003-02-22

This is my first Amazon.com review and will probably be my last because music for me is something very personal. With that said, this is the best album I own out of hundreds and I would have done anything to have been there for this amazing live performance.

Average customer rating:

Awesome
Best Sousa recording out there
Mid-Line Sousa Quality

Sousa, Vol. 4

Manufacturer: Altissimo Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Sousa 3
Sousa Original II / United States Marine Band
Sousa Original / United States Marine Band
Fennell Conducts Sousa
Sousa: Marches; Band of HR Royal Marines; Lt. Col. G.A.C. Hoskins

ASIN: B00005TQ7F
Release Date: 2001-10-16

Tracks:

Century Of Progress
Atlantic City Pageant
Free Lance
Glory of The Yankee Navy
March Of The Mitten Men
Minnesota March
Northern Pines
Our Flirtations
Pride Of The Wolverines
Solid Men To The Front
White Rose
Bullets And Bayonets
In The Land Of The Golden Fleece
Pathfinder Of Panama
Liberty Loan
Peaches And Cream
National Fencibles

Album Description

Sousa 4 is the fourth in a series of Altissimo! releases from The US Marine Band featuring the music of John Philip Sousa. The selections on this album, with the exception of "National Fencibles", were recorded live in 1999 and 2000 while the band was on tour. The historic "National Fencibles" recording was completed in 1890 using the acoustic cylinders invented by Thomas Edison.

Customer Reviews:

Awesome.......2007-03-31

I originally purchased this CD for the track "White Rose March" because I absolutely love that song, but couldn't find it anywhere else. However, when I received the CD and began listening to it, I discovered a bunch of new Sousa songs that are awesome! I recommend this for any Sousa fan, but not if you're just getting into his music, because it doesn't have this most famous tunes (or greatest hits, if you will)--it contains more of the underplayed ones (like White Rose!) But definitely a good buy!

Best Sousa recording out there.......2005-09-10

This CD is not mid-range quality but the best buy out there. The performances are excellent and the recording quality very good; the band playing to a very appreciative audience.

I've many CDs of Sousa, including the other 3 Sousa Originals and some top-class performances by the Eastman Wind Ensemble (directed by Frederick Fennell)on Mercury and the Royal Marines Band (conducted by GAC Hoskins)on the EMI label but Sousa 4 is my favorite. If looking to start a collection again I wouldn't buy the Sousa Original box set, preferring to get Sousa 4, the Fennell and Hoskins recordings for a comprehensive range of interpretations(the other 3 Originals are very good by any standard but I think the Fennell and Hoskins better).

There's so many Sousa albums out there, many of them poor, that you can be picky, and Sousa 4 is the one to pick first.

Mid-Line Sousa Quality.......2004-03-04

One of the slightly better Altissimo! titles on Sousa. Here we have a series of live recordings taken from Marine band tours. The sound quality is a bit off at times, but overall they sound good. For a change Altissimo! has provided a few liner notes, something they were too cheap to do before. The length of the CD is close to an hour, a bit better than the 45 min. quickies these guys usually put out. Still over-priced for what you git, but probably the best in the Sousa series from Altissimo! I think I would still go with the Naxos series on Sousa.

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