Spectra [Import]

Spectra [Import]

Editorial Reviews
Product Description
Trance: Second Album from this Acclaimed Band. Darshan Embrace Flying Rhino's New Ethos, Pushing Back the Boundaries of Trace.

Tracks:

Opening Titles: James Bond Is Back/From Russia With Love/James Bond Theme
Tania Meets Klebb
Meeting In St. Sophia
The Golden Horn
Girl Trouble
Bond Meets Tania
007
Gypsy Camp
Death Of Grant
From Russia With Love
Spectre Island
Guitar Lament
Man Overboard/Smersh In Action
James Bond With Bongos
Stalking
Leila Dances
Death Of Kerin
007 Takes The Lektor

Amazon.com

After the surprise success of 1962's Dr. No, the producers of the budding James Bond series began to establish what would become its trademark elements, with its debonair anti-hero frolicking libidinously through increasingly amped-up foreign intrigue and exotic locales. Musically, this soundtrack represents perhaps their most crucial decision: hiring band leader/budding composer John Barry as scorer. Abandoning the first film's calypso kitsch for an orchestra powered cocktail of elegance and jazzy sophistication, Barry immediately gave the Bond saga a focused musical language that would become arguably its most consistent element over the decades and amidst a revolving series of lead actors and increasingly improbable cinematic predicaments. While anchored by a medley that includes Monty Norman's "James Bond Theme," this soundtrack also introduced another longstanding Bond tradition, the pop-ballad title track/single, here penned by Lionel Bart and sung with urgent conviction by British crooner Matt Munro. This digitally remastered new edition features new liner notes, as well as artwork and stills from the film. --Jerry McCulley

Customer Reviews:

Barry's first - incredible.......2007-01-19

Well, what can you say that hasn't already been exclamated? Barry's score for FRWL is, of course, brilliant. Very creative use of eastern/oriental influences that blends effectively with 1960's orchestral sensibilities. The score is extremely dynamic without being overbearing. Barry does a great job of establishing main themes without resorting to predictable embellishments. Personal favourites include the main 007 theme(obviously), "Tanya meets Klebb", and "Spectre Island and Smersh" (classic 1960's Bond suspense). All the bongo parts and rhythmic ostinatos work fantastically well! Listen to pieces like "Girl Trouble", there's some extremely well-crafted and sophisticated exotic motifs there, superimposed over driving syncopated rhythms. We also find a lot of vibraphone/string unisons (my favourite combo) and of course, great brass parts. And let's not forget the solid title theme, beautifully rendered by british vocalist Matt Munro in classic Sinatra style. Munro really set the standard for future title themes. The recording is great, just the right balance between ambience and that nice analog grit that you find on so many 60's orchestral recordings. Some of today's soundtrack composers would do well to take a few lessons from the old masters - you rarely hear music of this dynamic range anymore, which is a real shame considering todays technology and the potential for dynamic range, noise floor levels and soundstage fidelity. But that's the way it usually goes, isnt it? I'm usually more partial towards the Barry's 1970's work and some of the 80s Bond soundtracks like Bill Contis amazing work on FYEO, but when it comes to the true masters and genre milestones, look no further that John Barry and FRWL.

Chronological order.......2006-11-20

Barry's first Bond score is, of course, brilliant. If you want to listen to it in film order, as I do, here's how to re-order the CD:

15, 1, 11, 2, 14, 16, First 1:00 of 9, 5, 7, 12, 8, 6, 3, 4, 18, 17, Second 1:00 of 9, 13, 10.

If you can't split up track 9, put it at the second spot. Also, tracks 4 and 12 do not appear in the actual film, but the positions are where Barry intended these cues to go.

Fantastic Soundtrack!! Great Remaster!!.......2006-03-04

This is really a remarkable soundtrack and the remastered sound is phenomenal!! To me this is where the music for the James Bond movies really began to take shape. There are themes developed here that have continued throughout the series of films. Great stuff, highly recommend!

The best of the series.......2006-01-12

Inventive, tuneful and just pleasant to listen to musical backdrop to what many, including me, believe to be the best of the Bond film series before they got so carried away with gadgets and world domination themes. John Barry is on top of his game really developing what musically becomes the Bond legacy. And best of all, the album stands well on its own as a listening expereince. When the track "007" begins it's like meeting an old friend. You've heard it before, but it's good to hear again.
Heartily recommend!

Incomparable James Bond Soundtrack.......2005-01-21

FROM RUSSIA WITH LOVE is a no-nonsense Bond film in the tradition of the Ian Fleming novels. The FROM RUSSIA WITH LOVE soundtrack is an example of exceptional film scoring and a very satisfying album drawing on all the elements of the film's score to deliver an experience that musically runs the gamut of rhythm, romance, intrigue and flavorful vignettes of the film's locale that seems to go in tandem with Fleming's literary sense for these elements. John Barry began his "official" scoring duties in tandem with his screen credit on FROM RUSSIA WITH LOVE bringing a highly recognizable and definitive substantiating sound to the Bond series that distinguished it with his unique and inimitable musical style. That has been a hallmark, which brings a cohesive quality to the whole series even in Barry's absence. John Barry not only firmly incorporated his prowess as a film composer with this soundtrack but also demonstrated his ability to establish his own unique sound on compositions composed by others. "From Russia With Love" from track 1 and "Bond Meets Tania" from track 6, with a melody composed by Lionel Bart, inimitably have that "Barry Sound" stamped on them. Once again Barry also demonstrated his unique musical handling of "The James Bond Theme" on track 14 with "James Bond With Bongos" while his "007 Theme" heard on tracks 7 and 18 bring a staccato and drive to the force of this James Bond classic. The re-mastering is good eliminating much of the background tape hiss. This recording sounds very good.

Phil's Spectre III - A Third Wall of Soundalikes

Average customer rating:

Phil's Spectre III - A Third Wall of Soundalikes

Manufacturer: Ace Records UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B000QEKHU8
Release Date: 2007-07-17

Tracks:

Who Am I - JERRY GANEY
That's The Way - THE KIT KATS
Look Of Love - LESLEY GORE
Sweet, Sweet Love - BOBBY SHEEN
I Love Him - THE CASTANETS
My Girl - JOHNNY CASWELL
'Cause I Love Him - ALDER RAY
Gee, I'm Sorry Baby - THE SAPPHIRES
My One And Only, Jimmy Boy - THE GIRLFRIENDS
Is There Anything That I Can Do - THE ASHES
Big Man - BARBARA JACKSON
Yes Sir, That's My Baby - THE SATISFACTIONS
Usher Boy - MERRY CLAYTON
My Tears Will Go Away - THE RIGHTEOUS BROTHERS
Let the Good Times Roll - JUDY HENSKE
He Really Loves Me - DEBBIE ROLLINS
Goodbye Baby - MAUREEN GRAY
Young Boy Blues - DANIEL A. STONE
He's Mine - ALICE WONDER LAND
Down By The Ocean - GEORGE 'N' SONNY SANDS
In My Lonely Room - MARTHA & THE VANDELLAS
Close Your Eyes - BONNIE
When We Get Married - 1910 FRUITGUM COMPANY
The Way Of The Crowd - DAN FOLGER
It's The Little Things - SONNY AND CHER
Just A Fool - JERRY GANEY

Album Description

The third and final volume of Phil Spector soundalikes is the equal of the previous two in every way.

A beguiling blend of fan favourites that we couldn't find room for on earlier volumes and tracks that we have spent years trying to license for this series, "Phil's Spectre III" features many selections that have never been legally reissued, appearing here from master tapes rather than from rare and worn 45s.

The CD also features several first time stereos, alternate and extended mixes and tracks that have hitherto stayed unissued since their recording dates, over 40 years ago.

The package features rare label shots and pix, and an authorative sleeve note from series co-compiler Mick Patrick.

A series finale that goes out with not so much a single gunshot as an almighty bang. Like Spector's own catalogue - it's "All Killer, No Filler"...

Album Description

The third and final volume of Phil Spector soundalikes is the equal of the previous two in every way. A beguiling blend of fan favourites that we couldn't find room for on earlier volumes and tracks that we have spent years trying to license for this series, Phil's Spectre III features many selections that have never been legally reissued, appearing here from master tapes rather than from rare and worn 45s. The CD also features several first time stereos, alternate and extended mixes and tracks that have hitherto stayed unissued since their recording dates, over 40 years ago. Ace 2007

Average customer rating:

The Sincerest Form Of Flattery
There is a better Beach Boys cover of Spector's work
Ace album of Phil Spector Wall of Soundalikes
Essential for fans of Spector and Sixties pop/rock

Phil's Spectre: A Wall of Soundalikes
Various Artists
Manufacturer: Ace Records UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000C3HHW
Release Date: 2003-10-06

Tracks:

When You Walk in the Room - Jackie DeShannon
Run, Run, Run - The Supremes
Just You - Sonny & Cher
Why Do Fools Fall in Love - The Beach Boys
Too Hurt to Cry, Too Much in Love to Say Goodbye - Darnells
On the Spanish Side - The Corsairs, Landy McNeil
Hang On - Wall of Sound
Tremblin' - Gene Pitney
Little Love (Will Go a Long Way) - Alder Ray
All Strung Out - April Stevens, Nino Tempo
When the Boy's Happy (The Girl's Happy Too) - The Four Pennies
(You're My) Soul and Inspiration - The Righteous Brothers
You're So Fine - Dorothy Berry
Missin' My Baby - Clydie King
It Breaks My Heart - Ray Raymond
Yes Sir, That's My Baby - Hale & The Hushabyes
Love Her - The Walker Brothers
And That Reminds Me - Dolls
Boys Town (Where My Broken Hearted Buddies Go) - Nino Tempo
My Baby Looks, But He Don't Touch - Carol Connors
He Will Break Your Heart - Kane & Abel
I Just Couldn't Say - Lorraine & the Delights
I Can't Make It Alone - P.J. Proby
Please Phil Spector - Mike Lendell & The Attack,

Album Description

Full Title - Phil's Spectre - A Wall Of Sound-a-likes. 2003 compilation highlights the enigmatic geniuses' influence during his formative years as well as on the singers, songwriters, musicians, arrangers, & producers he worked with. More than half of the 24 tracks here are making their (legal) CD debut. Artists include Jackie DeShannon, The Supremes, Sonny & Cher, The Beach Boys, The Darnells, & many more. Ace.

Album Details

24 Tracks that Document the Influence of Spector on 60's Popular Music. More Than Half of These Tracks Make their Legal CD Debut and Are the Original 45 Mono Mixes.

Customer Reviews:

The Sincerest Form Of Flattery.......2005-11-30

Phil Spector was a millionaire at the age of 23, after producing 15 hits in a row, including classics by the Ronettes and the Crystals. He had his own record label, Philles, and was the creator of his trademark Wall Of Sound, usually manufactured at the Gold Star Studios in Hollywood, with a crack team of musicians including the Wrecking Crew and a host of session singers. As an auteur producer, probably the first of the breed, he was the acknowledged master, and his success engendered a whole genre of other groups and performers from New York to Los Angeles, like the Chiffons and the Shangri-Las, whose producers tried to emulate the sound and the success of the young svengali.
This collection brilliantly demonstrates some of the most notable efforts, with "many tracks reissued legally for the first time", as it says on the back. Spector wasn't easy to work with and the number of former acolytes who left the fold and set up in competition to try to beat him at his own game is almost a genre in itself: Sonny and Cher, the Righteous Brothers, Nino Tempo and April Stevens, Carol Connors and the writers Jeff Barry and Ellie Greenwich are all included here.
Rival companies such as Motown weren't above experimenting with the Spector sound in the early days, and there are two examples, one by the Supremes and one featuring the great Gladys Horton, moonlighting from the Marvelettes. For some, emulating Spector was a form of homage and tribute, as with Brian Wilson, whose own style developed from studying Phil Spector. His girl group productions were often pastiche, while the Beach Boys' Spectorish version of Why Do Fools Fall In Love? was probably inspired by Ronnie (later Ronnie Spector) of the Ronettes' love of the Frankie Lymon original. The Walker Brothers also owed a debt to Spector for the sound on their British hits, of which the first, Love Her, chosen here, was arranged by one of Spector's right hand men, Jack Nitzsche.
The Chiffons appear in their extra Spector-like guise as the Four Pennies on the chart-storming, if non-PC, Barry/Greenwich song When The Boy's Happy (The Girl's Happy Too), and there is a wonderful Wall Of Sound transformation of the Falcon's You're So Fine by Dorothy Berry, the wife of Richard Berry, who went on to become one of Ray Charles' Raelettes. One of the groups included even call themselves The Wall Of Sound, whilst another proclaims itself A Spectra Production. Every track has earned its place on this fascinating glimpse at some of the impact Spector had on the music scene between 1963 and 1967

There is a better Beach Boys cover of Spector's work.......2005-05-04

A better selection from the Beach Boys would have been "I Can Hear Music", certainly the definitive Spector cover. It easily bests the original while keeping its spirit intact. It doesn't merely ape Spectre; it becomes its own work. There's no denying the Spector influence on the Beach Boys, particularly Brian, but "I Can Hear Music" is an example of how Brian and the group assimilated, then surpassed, Spectre's technique. "Why Do Fools Fall in Love" is a slight piece of filler from the group's early days that doesn't display the group's prowess in the studio at its best and is a pretty weak tribute to Spector as well (likewise the group's cover of "Then I Kissed Her", thankfully overlooked for this collection.)

Ace album of Phil Spector Wall of Soundalikes.......2003-12-30

This isn't the first CD to catalog pop songs that were influenced by Phil Spector's revolutionary "Wall of Sound" production technique, but it's certainly among the best. Unlike grey-market items such as the three-volume Japanese "Touch the Wall of Sound" (reissued as a triple-disc in the past few years), this is a sanctioned release, and the ear-popping quality of the masters (including true stereo for tracks 1-2, 9-10, and 12) tells the tale.

It's really no surprise to anyone familiar with Spector's landmark singles of the early-60s that his sound had far reaching influence. It was borrowed by many of his partners, assistants and former artists, such as arranger Jack Nitzsche, go-fer Sonny Bono, former Teddy Bear bandmate Marshall Lieb, and Righteous Brother Bill Medley. Nitzsche's production of "When You Walk in the Room" builds up layers of guitars, percussion and strings in support of Jackie DeShannon's impassioned vocal. It's truly amazing that this brilliant record had little commercial success and has been all but totally eclipsed in the public consciousness by the Searchers hit cover. At least DeShannon collected songwriter's royalties! Bono's 1965 recording with Cher of "Just You" is filled with Spectorian touches of glockenspiel, strings and the underlying Wall of Sound. Lieb's "A Little Love (Will Go a Long Way)" (co-penned by `60s stalwart Gary Zekley) sounds as much like a Darlene Love tune as anything Love actually recorded; but it's not - it's Alder Ray on lead, with Love guiding the backing vocals. Medley helmed the Righteous Brothers kickoff single for Verve (having split with Spector), Mann & Weil's "(You're My) Soul and Inspiration," and showed that the duo's sound was as much their own as Spector's.

Spector's sound had its impact at more of a distance, as well. Early efforts by the Supremes often sounded more like Brill Building girl-group productions than Motown's trademark soul sound. Other early Motown acts like The Darnells were also treated to the percussion and vocal layers of The Wall of Sound. More famously, Beach Boys mastermind Brian Wilson was a thorough Spector devotee. The group's take on Frankie Lymon's "Why Do Fools Fall in Love" marries the Beach Boys' multipart harmonies to the shifting backing of Spector's wall.

Mick Patrick's song-by-song liner notes are wonderfully informative, providing valuable background on both the better-known and obscure sides that helps place these tracks in context with Spector's own work. Vintage photos, picture sleeve and 7" label reproductions flesh out a superb booklet for a wonderfully curated disc.

Essential for fans of Spector and Sixties pop/rock.......2003-11-30

It's an odd title, and an odd concept - the kind that's usually the basis for bootleg or "collectors-only" albums. But this is all legal, and all magnificent. Although Phil Spector himself isn't involved in any of these tracks, many of his compadres (Jack Nitzsche, Nino Tempo, Sonny Bono, Carol Connors) are. In my opinion, anyone who seriously enjoys Spector's work, or Sixties pop/rock in general, should have this CD right next to their copy of Spector's "Back to Mono" box set. Which reminds me of the album's one flaw - some of the tracks included here in stereo would have been better off in mono, especially Nino & April's "All Strung Out." But that's a minor quibble with an otherwise near-perfect collection.

Marin Marais · Sainte-Colombe ~ The Greatest Masterworks / Spectre de la Rose

Average customer rating:

Wonderful music, middling performance
Far Below Average Compared To Savall
Nice Selection of Marais' Viola Da Gamba Music
Great baroque compositions but recording could be crisper

Marin Marais · Sainte-Colombe ~ The Greatest Masterworks / Spectre de la Rose
Marin Marais , Sainte-Colombe , David Miller , Spectre de la Rose , Elizabeth Liddle , Alison Crum , Susanna Pell , Timothy Roberts , and Marie Knight
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Release Date: 1994-01-28

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Le Retour
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Customer Reviews:

Wonderful music, middling performance.......2005-11-19

The previous author couldn't resist comparing this recording to other recordings by Jordi Savall, and I have to say that I couldn't agree with him/her more. Savall's interpretations, sound, and dynamic are far above that of this recording. I would look into his CD "Tous les Matins du Monde," which includes many of these works and has better quality and spirit. The French Baroque IS a complicated style and few understand it as well as Savall.

One historical note: The viola da gamba was NOT the "predecessor" of the violoncello any more than the recorder was the predecessor of the flute: both instruments developed concurrently, but the gamba fell out of fashion by the Classical period. What a shame!

Far Below Average Compared To Savall.......2005-10-23

French Baroque is not a very well known style in performance circles either by the performers themselves or audiences. In particular, viola performances are probably the least known or heard. The viola da gamba is the cello's predecessor and prominent in both English and French Early-Mid Baroque. The instrument has greater range and resonance with 7 strings. There are probably fewer than 300 professional players performing on this instrument today. There are probably 4-5 who are the best and the musicians here are not even close to the talent of the undisputed and unmatched French master violist, Jordi Savall: there is absolutely no comparison.

The pieces here are mostly too slow in their interpretations of the meter and the players are simply not proficient enough to play most of them in terms of technique and knowledge of the French Baroque style. The violas are groaning in slow agony or screeching most of the time which is completely at odds with the intentions of the composer. All of them are equally pathetic in their execution. Listen to a sample of Savall's performances such as on the soundtrack to 'All The Mornings of The World' and the music will simply explain itself for you to make your descisions in buying French Baroque. He also has the best performance of Lully's 'Les Concerts Royaux' that I have ever heard: this man is nothing less than a prodigy in his art of the viola and his direction of French Baroque. I have the utmost respect for this man as an artist: he is truly a living legend.

For French Baroque in general and especially for Marin Marais or other viola composers, there is no other performer/conductor than Jordi Savall worth listening to. Especially for viola, his closest contenders are still motionless on the ground while he is flying circles in the stratosphere: there is simply no comparison and his virtuosity is exponentially superior to every one else's. Find out for yourselves and you will soon be agreeing with what I say. Since they didn't mention him by name, it seems that the previous reviewers have not heard Savall and so I wouldn't give too much credence in their overgenerous ratings. Good luck in your search for great music!

Nice Selection of Marais' Viola Da Gamba Music.......2005-09-20

Naxos' mission is to make available to an international audience all significant Classical music compositions at budget price with lesser known but talented artists and high recording quality. This company policy allows the issue and maintenance in their catalog of CDs such as this one, which is a great collection of the music of Marin Marais composed for viola da gamba. Marais was the most popular and prolific of the 17th Century French composers for the Viola da Gamba, an antique predecessor to the cello or bass. Coupled with a harpsichord continuo,this hauntingly beautiful chamber music takes anyone back to a time before the industrial revolution when the rich wore elaborate wigs and clothing, and paid musicians to create music for their ornate parlors.While the performances may or may not be comparable to those on CDs costing about twice as much, for the overwhelming majority of listeners they are of outstanding quality.This and other Naxos discs are an affordable introduction to a style and period of music which offers a unique peacefulness and emotion in music. If this and other Naxos CDs are not good enough, just buy the full-price CDs and have fun comparing them. Take a walk on the baroque side.

Great baroque compositions but recording could be crisper.......1999-11-29

This CD is a siblime collection of pieces, when I get tired of squealing metal, industrial sounds, 3 chord punk... I turn to CDs such as this.

The music is splendid, and in fact heart filling. However, I think the recording is "muted" a bit. I think I should "feel" the deeper bass notes on some of the pieces, so I think it may be since NAXOS is more of a budget operation (ah the price is the give away eh).

So, if you are a super audio-phile or uber-classical snob you may find the quality in the recording lacking.

However, if you are beyond only liking Mozart's Eine Kleine Nacht Music and Bach's all too famous Toccata and Fugue in D Minor, this is a refreshing new step to older music. Hard core Barouque for the less fussy classical listener.

Phil's Spectre II: Another Wall of Soundalikes
Average customer rating:

The only sequel?

Another super fine clutch of Spector-inspired singles

Imitation is the best form of flattery

Phil's Spectre II: Another Wall of Soundalikes
Various Artists
Manufacturer: Ace Records UK
ProductGroup: Music
Binding: Audio CD

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Phil's Spectre: A Wall of Soundalikes

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The Complete Phil Spector Sessions

ASIN: B0009OBZ10
Release Date: 2005-07-04

Tracks:

Nite Owl - The Righteous Brothers
I Do - The Beach Boys
One Block from Heaven - Mary Wells
Ya Gotta Take a Chance - The Bonnets
Dum Dum Ditty - Goodies
Timmy Boy - Timmy & the Persianettes
Dreamin' of You - Noreen Corcoran
Climb Ev'ry Mountain - The Victorians
I'm Nobody's Baby Now - Reparata & the Delrons
No Room to Cry - Dobie Gray
Girl Never Knows - Connie Stevens
Habit of Lovin' You Baby - April Stevens, Nino Tempo
Bring It All Down - The Satisfactions
Bobby's Come a Long Long Way - Eight Feet
Be My Man - Suzy Wallis
Break Down and Cry - Kane & Abel
Gee What a Boy - Fantastic Vantastics
You Gave Me Somebody to Love - The Dreamlovers
(Baby) You Don't Have to Tell Me - Bobby Coleman
Thrill Is Gone - Clydie King
Your Baby Doesn't Love You Anymore - Ruby & the Romantics
Wonderful Baby - The Four Tops
Wishful Thinking - The Knickerbockers
Don't You Be Ashamed - Joe South

Product Description

Format: CD

Customer Reviews:

The only sequel?.......2005-12-28

The concept is fairly clear from the title of this, a sequel to the earlier Wall Of Soundalikes compilation put together by those benign record obsessives at Ace. Phil Spector was the creator of the trademark Wall Of Sound, and had a huge influence on his peers. Some tried to emulate his sound and success, often hiring the same studio (Gold Star in Hollywood) and engineer (Larry Levine or Stan Ross) that he used, and employing musicians who included members of his Wrecking Crew mafia; others adapted some of his techniques and many innovations to their own hallmark sounds. On this second collection several of the tracks also show how many singers tried to sound like Bill Medley and Bobby Hatfield, the Righteous Brothers, and did a pretty good job of it. Nite Owl, the Righteous Brothers track chosen here, predates their spell on the Philles label and shows that they were no strangers to Gold Star or to the Spector Wall Of Sound themselves. Particular highlights include I'm Nobody's Baby Now by Reperata and the Delrons (the single of which Reperata is most proud) and Ruby and the Romantics' Your Baby Doesn't Love You Anymore, in its reverberating UK single edit mix.
Some of Spector's sidemen are involved in these productions and songs, including Nino Tempo, Jeff Barry, Jerry Riopelle, Pete Andreoli, Vincent Poncia, Jack Nitzsche and Leon Russell. Surprisingly, though, there are no examples of the songwrting teams of Greenwich/Barry, Mann/Weil or Goffin and King. The collection includes some of the artists found on Phil's Spectre: the Righteous Brothers, Nino Tempo and April Stevens, the Beach Boys, Clydie King and Kane and Abel (an earlier version of the same song found on its predecessor), as well as a further couple of instances of Motown borrowing from the Spector box of tricks, this time involving Mary Wells and the Four Tops. Neither the Beach Boys or Mary Wells tracks were released at the time, though not for reasons concerning quality control. However, overall, it seems reasonable to suppose from this that their may never be a Phil's Spectre III, though Ace are welcome to prove me wrong. I wonder if they might transfer some of their energies to licensing and releasing some of the many Phil Spector productions, including whole albums, never made available on CD?
There are some tantalising moments. The producer of the Bonnets' track says they were named after their lead singer, Bonnie, without revealing whether this could be Bonnie O'Hara, who sang the Spector-linked Home Of The Brave by Bonnie and the Treasures. We know Jack Nitzsche's wife Gracia sang in the Satisfactions (so named because he played piano on the Stones' song) but not whether hers is the lead vocal. There seem to be no line-up details available for several of the groups included, which is unfortunate as some pieces of several puzzles might have been found in the process.
As one of the tracks is produced by Abner Spector it is worth pointing out that he and Lona Spector from Tuff Records etcetera, and who produced the Jaynetts' Sally Go Round The Roses, have no connection with Phil Spector. Their appearance on composer credits without a first name has fooled some collectors and critics.
All the tracks are monaural apart from those by the Righteous Brothers, the Beach Boys, Nino Tempo and April Stevens, the Four Tops and Joe South. Unlike a previous reviewer I can detect no stereophony in the Clydie King track, though, as with all the tracks, the sound is crystal clear; also, worryingly, some of the tracks seem to be a few seconds shorter than on previous, other label re-issues.
Recommended if you loved the first Phil's Spectre.

Another super fine clutch of Spector-inspired singles.......2005-09-04

Ace's second volume of singles inspired (but not actually produced) by Phil Spector continues to document the impact that the "tycoon of teen" had on popular music. Not only did Spector dominate the charts with miniature symphonies by The Ronettes, Crystals and others, but his innovative "Wall of Sound" production techniques became the backbone of a whole generation of music. Spector's genius was passed directly to collaborators like Nino Tempo, Jack Nitzsche, and Bill Medley of the Righteous Brothers, by transitivity through the studio (Gold Star) where he worked and the engineer (Larry Levine) who tended his sessions. Even more broadly, the impact of his hit records spawned a thousand imitators.

Volume two repeats a few of the artists found on volume one, including The Righteous Brothers, Nino Tempo and The Beach Boys. The latter's unreleased-at-the-time "I Do" is a wonderful synthesis of Spector's shifting-wall of rhythm with Brian Wilson's falsetto-driven vocals. Also providing connection to volume one is a pre-"Motown Sound" side from the legendary Detroit label, featuring Mary Wells in a setting that would have done The Crystals proud.

More intriguing are the obscure singles from virtual unknowns who were treated to full Spector-styled orchestrations and arrangements. The Bonettes were a pick-up foursome of L.A. session singers whose Goldstar session (with Wrecking Crew drummer Hal Blaine beating the skins) is as much an ode to The Ronettes as their group name. Goldstar's sound - particularly its echo chamber - was so unique that even a whitebread pop singer like Noreen Corcoran could seem Spectorian. Dobie Gray, best known for his hit singles "The 'In' Crowd" and "Drift Away," received the Goldstar/Wrecking Crew treatment for the rare "No Room to Cry."

Spector's collaborators could also sprinkle the magic dust without benefit of the studio or specific musicians, as was the case for the Jeff Barry-penned "I'm Nobody's Baby Now." The production's deep percussion and string arrangement are the perfect backing for Reparata & The Delrons, pitting Spector-like sophistication against Shangri-La's styled drama. Another Spector collaborator, Wrecking Crew pianist Leon Russell, provided a Righteous Brothers styled arrangement for The Knickerbockers' "Wishful Thinking."

Artists who'd later cut their own figures also had their hands in early Spectorian works. The pre-Bread David Gates produced a Connie Stevens side written by the pre-Grass Roots/Turtles Barri & Sloan, and the legendary Al Kooper produced several Spector-styled folk-rock and girlfroup sides, including Eight Feet's percussive "Bobby's Come a Long Way."

While many producers were content simply to borrow Spector's production techniques, others lifted his song ideas. Timmy & The Persianettes' "Timmy Boy" and The Victorians' "Climb Every Mountain" were among the more obscure in a surprisingly deep genre of songs to copy the formula of Bob B. Soxx & The Blue Jeans' "Zip A-Dee Doo-Dah." Less copied is Ike & Tina's "River Deep - Mountain High," but that's exactly what Joe South did with his swamp-styled "Don't You Be Ashamed."

Perhaps the most impressive of all is Kane & Abel's "Break Down and Cry," produced in 3 hours in a Chicago studio with high-school string players and pick-up background singers. Magically, the studio engineer duplicated Spector's wall of musicians by having the small combo overdub their own recording a few times. The result sounds amazingly like a Spector recording of The Righteous Brothers - and a good one at that!

There's much more here, and each production has a story to tell in both its origins, and its relation to and reflection of Phil Spector. Sound quality is generally excellent throughout. Song notes and interviews are top-notch, as are the label and photo reproductions. A must have for any fan of Spector's work. [©2005 redtunictroll at hotmail dot com]

Imitation is the best form of flattery.......2005-09-03

This CD is just as enjoyable as the first collection. There are a few tracks I didn't care much for (mainly by the male vocalists), but the ladies sound superb. And the booklet is also fun. Hearing Connie Stevens (when will her singles ever make it to CD...come on Warner Bros. wake up!), The Bonettes, and Clydie King alone are worth the price. The re-mastering is wonderful, as ACE UK do a superb job each time. Let's band together and get more Clydie available. She has a beautiful sound. If you like the Connie tune, "A Girl Never Knows"...check out her 45, "Little Miss Understood"/"There Goes Your Guy" (if you can find it), it's an even better Spector soundalike set!!! Grab this one up!

Destruction of Syntax: The Beat Assassinated

Average customer rating:

A taste of the underground
VALIS part 1

Destruction of Syntax: The Beat Assassinated
Automaton , DXT , Jungle Brothers , Spectre , Corporal Blossom , DJ Spooky , and Torture
Manufacturer: Valis
ProductGroup: Music
Binding: Audio CD

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EVERYTHING MUST GO
SUBMERGE
Liquid Sky Music Presents: This is Home Entertainment

ASIN: B000003ZMU
Release Date: 1995-06-06

Tracks:

Ex Machina - Automaton
Bullit In The Head - DXT
Quark Soup - WE
Peace Akhi - JB's AF
Backstab (Night Of The Long Knives) - Spectre
Senseless Humor (Elimination) - Corporal Blossom
Twisted Tables - DXT
Night Stalkers/Mayday - Spectre
Conveyor - Corporal Blossom
Journey (Paraspace Mix) - DJ Spooky
Prime Order - Corporal Blossom
Play To Win - From The Jungle Approach Torture
Nasty Data Burst (Why Ask Why?) - DJ Spooky

Customer Reviews:

A taste of the underground.......2002-08-22

There are many different titles and subtitles for this disk, yet none of them point to the fact that this compilation was put together by Dj Spooky (aka Paul D. Miller). For those who do not know, Dj Spooky is probably the most well-read Dj/producer in history.

This collection of "illbient" is for a more intellectual and experimental breed than adherents to mere hip-hop/trip-hop circles.

Nonetheless, the beats found herein have a bass-boomin' groove that anyone with subwoofers can appreciate.

The last track is a bit of madness from spooky himself that will definately twist your brain with its chaotic structure and sample from...yes, that's right...Mr. Rogers!

VALIS part 1.......1998-09-16

This CD (usually called VALIS 1) is one of the slamminist Illbient collections you can buy. Also check out the Land of Baboon CDs, the Crooklyn Dub Consortium CDs, and Wordsound 23 Comp.

Average customer rating:

A piece of metal history
RESPONSE TO GERGELLOR BELOW
Silly, stupid heavy metal album
'' HEAVINESS AND HARMONY '' ! !
plain, generic mainstream b.s.

Spectre Within
Fates Warning
Manufacturer: Metal Blade
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Night on Bröcken
Awaken the Guardian
No Exit
Parallels
Perfect Symmetry

ASIN: B00006IT5B
Release Date: 2002-09-24

Tracks:

Traveler In Time
Orphan Gypsy
Without A Trace
Pirates Of The Underground
The Apparition
Kyrie Eleison
Epitaph
Radio Underground (Live Underground)
The Apparition (Rehearsal 1985)
Kyrie Eleison ('Dickie' Demo 1985)
Epitaph ('Dickie' Demo 1985)

Album Description

Digitally remastered reissue of the 1985 album from the top selling progressive metal band of all time with 4 bonus tracks added 'Radio Underground' (Live), 'The Apparition' (Rehearsal 1985), 'Kyrie Eleison' ('Dickie' Demo 1985) & 'Epitaph' ('Dickie' Demo 1985). Metal Blade.

Customer Reviews:

A piece of metal history.......2005-12-10

This is a good album and in my opinion an album that was ahead of it's time. Some of the people reviewing this album negatively were probably not even born when this album came out. It is unfair to compare Korn with Fates Warning- there is decade of differance between the two. Fates were pioneers of metal (like tons of the 80s'bands that get zero credit). Metal was a new world in the 80s'- bands like Fates Warning laid the groundwork for bands like Korn etc. Have a little respect for your elders and listen to this stuff with a sense of perspective. Compare Spectre Within to other titles that were around at the time (1985) and I believe you will see that Fates Warning were breaking new ground.

RESPONSE TO GERGELLOR BELOW.......2005-08-17

Your review might be the single most lame-brained pathetic excuse for a review I have ever read. My grandma is more metal than you because even she knows that "The Spectre Within" wasn't even remotely cliche for 1985. And for you to make the absurd comment that "Awaken the Guardian" is much more progressive than "Spectre..." just proves that you've never heard either album, as FATES WARNING didn't become TRULY progressive until the dawn of the 90's. "The Spectre Within" is UNDENIABLY one of the GREATEST metal LP's of the 80's and the BEST LP of 1985. It IS a product of its time(the mid-80's) but illustrates an up and coming band with amazing potential. John Arch's vocals are amongst the best metal vocals of all-time and the guitar work on "Spectre Within" is legendary(check out track 3 "Without A Trace"!!!!). So basically I think YOU Mr. Gergellor are a PATHETIC EXCUSE FOR A METALHEAD. You probably listen only to lame crap like Limp Bizkit, etc. In some ways I'm GLAD you HATE "The Spectre Within" so much because I WOULDN'T WANT TO LIKE THE SAME ALBUM AS YOU. YOU DON"T DESERVE TO LISTEN TO CLASSIC ALBUMS LIKE "THE SPECTRE WITHIN"!!!

Silly, stupid heavy metal album.......2005-07-28

This album is so weak, so cliched, so perfunctory, that it plagues the iamge of metal. Arch's screaming voice is ridiculous, the songs have no identity at all. FATES WARNING first work to be taken seriously was AWAKEN THE GUARDIAN. Their first two albums are useless pieces of copies of hundreds of much better heavy metal albums. And, even with AWAKEN THE GUARDIAN, it was their change of cocnept (going more progressive) that really made them to be around until today.

'' HEAVINESS AND HARMONY '' ! !.......2005-01-13

AFTER HAVING THIS RELEASE FOR SO MANY YEARS, I DECIDED TO GIVE IT THE CREDIT IT RICHLY DESERVES..WHILE BACK IN THE 80'S ,AS WELL AS NOW-THERE WERE JUST SO MANY BANDS OUT THERE.SOME WERE GREAT,SOME WERE GOOD,SOME WERE OK,AND SOME WERE JUST SIMPLY TERRIBLE.MANY AWESOME BANDS GOT LOST IN THE SHUFFLE,AND FADED INTO OBSCURITY.OR THEY TENDED TO GET VERY COMMERCIAL
LIKE'' QUEENSRYCHE '' AND SORRY TO SAY '' FATES WARNING '' AS WELL.THE FIRST FEW RELEASES WITH JOHN ARCH ON VOCALS WERE AN AWESOME DISPLAY OF WHAT METAL WAS ALL ABOUT!!THE SHEER HEAVINESS OF THE MUSIC !!AND THESE GUYS PLAYED IT HEAVY,AND MIXED COOL MELODIES IN THEIR MUSIC AS WELL.. JOHN ARCH AT TIMES SOUNDS A LOT LIKE BRUCE DICKINSON OF '' IRON MAIDEN ''.. THE LATER RELEASES WITH RAY ALDER WERE GOOD BUT AFTER '' PERFECT SYMMETRY '' THEY JUST LOST THEIR TOUCH IN MY OPINION..MANY BANDS OF TODAY , NO DOUBT HAVE SIMILAR SOUNDING RIFFS VERY SIMILAR TO '' FATES WARNING '' OF THE 80'S.SO IF YOU WANT A FRESH STYLE OF METAL,THAT IS LONG GONE THAN GET THIS CD.AND ALSO CHECK OUT ANOTHER CLASSIC OF THEIRS CALLED '' AWAKEN THE GUARDIAN'' ..TRUST ME ,YOU WILL NOT BE DISAPPOINTED AT ALL!!!

plain, generic mainstream b.s........2004-12-25

wow I never thought I'de be saying this but this music is just a disgrace to the real metal gods like Slipknot, Crazy Town, Sevendust, Sum 41, and Sir Mix-a-lot. When I first heard the 1st song on this album I was completely disgusted and appauled by how horrible the song was too many cheesy solos, the lyrics probably all about death, satan, hell like every mainstream metal band. There's no talent here just a bunch of money hungry guys who wish they could impress real metal bands with their brittle acts. It all just doesn't fit well and plus these guys are extremely overrated probably more mainstream than Necrophagist or Katatonia I don't recommend this indefinetely to anyone at all check out better more talented bands for example The Black Eyed Pease, limp bizkit and public enemy

Average customer rating:

good, though some room for improvement
Poor Interpretations of French Baroque Viola Pieces
Great Baroque Music
Nice music, not a great recording...
For all moods

Marais: Viol Music for the Sun King

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

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Similar Items:

Marin Marais · Sainte-Colombe ~ The Greatest Masterworks / Spectre de la Rose
Tous Les Matins du Monde/Dix Ans Apres
Marin Marais: Pièces de Viole du Second Livre, 1701
Schenck: The Nymphs of the Rhine, Vol. 1 (Sonatas for Two Violas da Gamba) / Les Voix Humaines
Schenk: The Nymphs of the Rhine, Vol. 2

ASIN: B000001440
Release Date: 1996-01-23

Tracks:

Un Peu Grave - Legerment - Un Peu Gai
Sarabande
Tres Vivement - Gravement
Gigue
Prelude
Fantasie
Allemande
Rondeau
Plainte
Charivary
Les Voix Humaines (Pieces De Violes, 2de Livre 1701)
Prelude
Caprice
Passacaille
Tombeau De M. Meliton (Pieces De Violes 1re livre 1686)
Couplets De Folies (Pieces De Violes 2de Livre 1701)

Customer Reviews:

good, though some room for improvement.......2006-05-28

This cd is generally very very nice. I think this is only my 2nd cd with Marais music on it so I was interested to see if it was as good as the Marais stuff on Jordi Savall's Tous les Matins du Monde. I would say that I liked it about as much as that cd, except for the Couplets de Folies. On that track I thought the viol was too low in the mix. It wasn't "front and centre" like it is in Savall's version. Of the rest of the pieces on the disc the D major suite (tracks 5-10) is definitely my favourite; it's mostly slow & simltaneously happy & sad somehow. I think the other two suites are almost as good.

Poor Interpretations of French Baroque Viola Pieces.......2005-10-23

Great Baroque Music.......2005-09-29

This is another outstanding Naxos recording of hauntingly beautiful viola da gamba music from the era of great French kings and queens. Although the artists and recordings may not be the finest available, they are certainly fine enough for all but the most critical enthusiasts.If you really like these, search out the more expensive versions and double your pleasure!

Nice music, not a great recording..........2003-08-13

As always, Marais' music is in a league of its own, and it is performed here with finesse and in a style appropriate to the music, but what disappointed me about this CD was the quality of the recording. It sounds like it was recorded in a room that was a little too small, and the result is a bogged down and at times irritatingly boxy recording.

For all moods.......2003-01-30

I'm not an expert on classical music, and my review will not be a technical one - all I know is if you enjoy baroque and/or the deep, affecting tones of the viol, you will really enjoy this. This is a CD which is alternately pensive and stirring. Great stuff if you want to think about nothing or everything.

Average customer rating:

Oh my gawd....
Bo Knows Opera
ANOTHER WONDERFUL BARITONE
Bo Skovhus at his best
Light years beyond Hampson

Bo Skovhus Sings Opera Arias
Erich Wolfgang Korngold , Ambroise Thomas , Charles Gounod , Jules Massenet , Giuseppe Verdi , Benjamin Britten , Richard Wagner , Pyotr Il'yich Tchaikovsky , English National Opera Orchestra , James Conlon , and Bo Skovhus
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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Bo Skovhus - Schwanengesang & Schubert's Last Songs
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The Very Best of Thomas Hampson
HOMAGE: The Age of the Diva
Lehar - Merry Widow / Kenny, Skovhus, Kirchschlager, Turay, Kunzel, San Francisco Opera

ASIN: B00000AG7L
Release Date: 1998-09-15

Tracks:

Die tote Stadt: 'Da Ihr befehlet, Konigin...Mein Schnen, mein Wahnen'
Hamlet: 'Spectre infernal!'
Hamlet: 'C'est en croyant revoir...O vin, dissipe la tristesse!'
Hamlet: 'J'ai pu frapper le miserable...Etre ou ne pas etre'
Hamlet: 'La fatigue alourdit mes pas...Comme une pale fleur'
Faust: 'Avant de quitter ces lieux'
Werther: 'Pourquoi me reveiller, o souffle du printemps?'
Don Carlos: 'C'est moi Carlos...Oui, Carlos! Oui, c'est mon jour supreme...Carlos, ecoute'
Billy Budd: Look! Through The Port... And Farewell To Ye, Old Rights O' Man!'
Tannhauser: 'Blick' ich umher in diesem edlen Kreise'
Tannhauser: 'Wie Todesahnung Dammrung deckt die Lande...O du, mein holder Abendstern'
Eugene Onegin: 'Vy mne pisali'
Eugene Onegin: 'Uzel ta samaja Tat'jana'
Pique Dame: 'Vy tak pecal'ny, dorogaja...Ja vas ljublju'

Customer Reviews:

Oh my gawd...........2004-06-24

What a wondrous singer...I absolutely agree with all the other reviews here but add:

1) he sounds as though he's singing in his First Language, whether it be French, English, German or Russian.

2) he lets his soul come out (simce Mme Callas this remains a rare event).

3) Sidebar: the San Francisco Merry Widow, whilst a delight and a wonder, is NOT fair to this man's voice.

A magnificent recital album. Every prominent opera singer out there should be jealous.

Bo Knows Opera.......2002-08-28

In the forward to this cd, John Bell Young, makes the argument that the darker, mellow baritone is an often underated part of the opera repetoire. I don't fully agree with him - there are fantastic, exciting lead roles for these men: Hamlet, Nabucco, Rigoletto, and The Barber of Seville - all glittering showcases of virtuoso. And even the supporting roles they often play, are thrilling - Scarpia can easily steal the show away from Tosca and her hero with his magnicent, albeit short, scenes; and Escamillo often wins not only the affection of Carmen, but that of an entire opera house... Still, all said and done, this is an interesting introduction to a man who is every bit as dashing, musical, and talented as any tenor to grace the stage.
Bo Skovhus showcases such extreme range in vocal talents and emotion. His tone is beautiful. His breath control and phrasing are astounding. Diction is clear and defined - especially the German arias. This is an extremely talented man.
The Korngold aria is mesmerizing in it's romantic beauty. But my favorite selections on this album are the pieces from "Hamlet"; this is french lyricism at its most marvelous, glorious, heart-sweeping grandeur. I can not imagine a better man to play this most famous anti-hero.
I cannot recommend this cd highly enough. While some Italian arias would have been a nice addition, I won't hold it against my recommendation. Skovhus's interpretation of the tenor's aria from "Werther" makes up for this.
Next time you are out purchasing yet another famous tenor's album, to hear the one hundreth version of "Celeste Aida", buy this cd instead. Give this baritone a chance, and soon you'll be humming songs a minor third lower.

ANOTHER WONDERFUL BARITONE.......2002-08-23

I first heard Bo Skovhus on a Laser Disc recording of the War Requem. I was very impressed. However until this opera recital I had not heard him again. This is truly an impressive recording. I place him up there with my other favorite baritones! He's still young so, hopefully, he has many more good years left in him!

Bo Skovhus at his best.......2002-05-17

Bo Skovhus' lovers undoubtedly awaited this comprehensive choice of arias, which almost concludes his (still young) operaic work. Well known alongside less known operas constitutes a perfect choice. From Verdi through Thomas, from Korngold to Britten and the Russian arias, mastering the variety of languages, and dealing with every single role in a very sensitive way. This unique choice and the qualities of his full, beautiful and warm voice makes one regret, that the entire opera was not recorded with him in the relevant roles, like Thomas's Hamlet for example, or Britten's Billy Budd. It leaves a taste of wanting to hear more of this young and talented Baritone, whose repertoire is much larger than could be presented in one - indeed excellent - CD.

Light years beyond Hampson.......2001-12-09

I just can't heap enough praise on Skovhus. I saw him for the first time at the Houston Grand Opera in a production of Billy Budd and was sold. This CD demonstrates very well what an immensely expressive and flexible voice Skovhus possesses. He has incredible core to his voice which allows him to attack bravado sections with zeal, but also has the musical expressivity to pull back and caress piano lines with ease and artistry while still maintaining his core sound. Hampson, who is notorious for becoming breathy and pop-like in pianissimo passages, can't touch Skovhus with a 10, 100, or 1000 foot pole.

Skovhus is undoubtedly one of the most talented lyric baritones of our time. He ranks right up there in terms of vocal talent with Brynn Terfel, and far beyond Terfel in terms of total artistry. In fact, I wouldn't be going to far to claim that Skovhus is one of the best baritones EVER (my apologies to James Maddalena). Trust me when I say that you would do yourself a disservice to NOT buy this CD.

Average customer rating:

As usual, there's always a downside.

impressive

perhaps the furthest out of Kronos' recordings

Short stories greater than life

very inconsistent

Short Stories
Steven Mackey , Sofiya Gubaydulina , Pandit Pran Nath , Hank Dutt , David Harrington , Joan Jeanrenaud , John Sherba , I.F. Stone , Terry Riley , Krishna Bhatt , John Constant , and Kronos Quartet
Manufacturer: Â© 1993 Elektra Entertainment
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music
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Gubaidulina, Sofia | ( G ) | Featured Composers, A-Z | Classical | Styles | Music
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Howl U.S.A.

Released: 1985-1995

White Man Sleeps

Rosa: The Death of a Composer

Night Prayers

ASIN: B000005J1X
Release Date: 1993-03-09

Tracks:

Digital
Spoonful
Spectre
Cat O' Nine Tails (Tex Avery Directs the Marquis de Sade)
Quartet Euphometric
Physical Property
Soliloquy from How It Happens (The Voice of I. F. Stone)
Quartet No. 2
Aba kee tayk hamaree (It is my turn, Oh Lord)

Customer Reviews:

As usual, there's always a downside........2005-12-07

If you like adventurous music then this is an excellent pick, 75 minutes of interesting sound effects and rhythms. But, as is often the case, there are no liner notes which, especially when listening to composers with whom one is unfamiliar, cheapens the offering. Borrow it from a library or buy it second hand. Maybe Kronos will eventually get the message.

impressive.......2003-12-10

but it also impresses me how new music could possibly survive without fabulous recording and explosive effects.

perhaps the furthest out of Kronos' recordings.......2001-04-26

SHORT STORIES is an outstanding collection of new music. "Digital" by Elliot Sharp is all percussion, presumably produced with violin, viola and cello. "Spoonful," the great Willie Dixon song, is arranged for strings much like "Purple Haze" before it. "Spectre," by John Oswald, probably best known for his electronic manipulations of the Grateful Dead, is a piece that starts out inaudibly, and then all of a sudden gathers into what sounds like a UFO taking off! Cowell's "Quartet Euphometric" is a short, lovely piece, the most conventional on the album.

And that leaves the 5 longer pieces, each one masterful in its own right, and adding to an amazing overall effect: 1) John Zorn's "Cat O' Nine Tails," in which he applies his quick change methodology to the string quartet to hilarious effect, 2) Steven Mackey's "Physical Property" for electric guitar and quartet, with stunning rhythms and textures, 3) Scott Johnson's "Soliloquy" featuring a tape of I.F. Stone, the radical journalist, who questions the persistence of barbarism and tribalism, and asks, "...is it necessary to repeat after 2,000 years all the things you people learned in Sunday school?! How -- how absent-minded -- how forgetful!", 4) Sofia Gubaidulina's "Quartet No. 2", which is sinuous and splendid -- Kronos have done their part to put her before the public -- and 5) Pandit Pran Nath's "Aba Kee Tayk Hamaree," with the voice of the North Indian master, and his disciple Terry Riley on tamboura, a reverent way to close, and the first chance for myself and many others, I'm sure, to hear him.

Of the Kronos releases I've heard, SHORT STORIES is the furthest out, with the least reference to the early 20th century, and the greatest risk-taking vis a vis the classical music establishment. It works! Fantastic!

Short stories greater than life.......2001-01-24

This is one absolutely brilliant collection of compositions, from the beginning to the end of this CD, offering 75 minutes of music. It starts with a vivid and pulsating Digital, continues with Willie Dixon's Spoonful, transformed here into some sort of avant-garde blues (!?) performed with an intensity of Jimi Hendrix. Cat O' Nine Tails, appropriately subtitled as "Tex Avery Directs the Marquis de Sade", is a graphic performance, and with its humor, witty references and brief genre zip-zapping throughout the piece it's characteristic for John Zorn. Steven Mackey plays electric guitar with the Kronos Quartet in his own energetic and exiting piece, Physical Property.

Scott Johnson's 13 minutes long Soliloquy makes me think that I have an advantage in not being a native English speaker because the sense of music of the foreign language always remains (at least to me it does). The inherent music in one's own mother tongue with all its melody, rhythm and texture usually goes unnoticed. By using the short edited parts, or "loops", of I.F. Stone's lecture I feel Kronos does exactly that: brings out the music of the English language and accentuates it with their own instrumental backing. It's a functional and artistically justified method, I feel, justified by the beauty of the composition and the text itself.

One of the highlights of the CD is certainly Sofia Gubaidulina's Quartet No. 2. It brings a sense of eeriness and menace, maintaining the suspense, not unlike some of impressive and disturbing compositions of Krzysztof Penderecki. It would certainly quality as "musica non grata" to the totalitarian Soviet regime of the former USSR, Gubaidulina's country of birth.

John Oswald's Spectre is an experience for itself. It is, simply, one of the most amazing, intense and breathtaking compositions I have ever heard. Like Cat O'Nine Tails, Physical Property and Soliloquy, it was written for Kronos Quartet. It was meticulously recorded in numerous but seamless layers of overdubs and in that sense it was really written for a huge string orchestra of, say, thousand string instruments all of which played by Kronos. It starts with sounds of the quartet's tuning-in out of which one single note is sustained. It sounds fragile and shallow at first but soon after subtly gains strength and depth. As its timbre becomes richer and richer, one gradually becomes aware of numerous other tones that co-exist with the first one, thousands of them, almost the same, but not quite. They start to interact, bumping into each other. And then... the pitch gets slightly higher, the sound constantly gains power in a mighty spiral, a tornado of sound that sucks you in and throws you out. Like a soul leaving the body, as in some Castaneda's novel. This is how I imagine shooting heroine must be like, as sometimes depicted in movies, where a little bit of blood is let into the syringe and then the mixture injected back. Musical Eros & Thanatos... One could say Spectre might be a musical metaphor for life itself, from birth to death with a promise of infinity or immortality.

It's the music like this, fresh and adventurous, that brings all deserved praise to the Kronos Quartet. Short stories? No. More like synopses for epic novels, greater than life.

very inconsistent.......2000-12-10

Like other Kronos releases, the music on one track will be fantastic, and on the next will be awful. I love Elliott Sharp's "Digital" (how he did that with a string quartet is beyond me), Henry Cowell's "Quartet Euphometric" and Stephen Mackey's "Physical Property." The Johnson, though, is tedious, and the Zorn piece is fantastically irritating and goes nowhere, and the Pandit Pran Nath is extremely boring. Oh well. Buy it if you can get it cheap.

Music Review:

Music Review

music review