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Old 02-02-2007, 08:53 PM   #21
au psychédélique
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Pink Floyd
Soundtrack from the film More

David Gilmour-Guitar and Vocals
Roger Waters-Bass Guitar and Vocals
Nick Mason-Percussion
Rick Wright-Keyboards

This is the soundtrack to the 1969 film More, a movie about a German student, Stefan, who moves to Paris and meets a young hippie, Estelle. He sleeps with her and begins to experiment with drugs (Estelle is a heroin addict) and grows dependant on them. The movie ends with Stefan looking for an unfaithful Estelle in the streets of Ibiza, soon after dieing in a deserted alley from a heroin overdose.*

Because of the nature of this project, EMI gave Pink Floyd higher royalties and more artistic freedom on this album than on anything done previously.** The albums subject and style moves towards the type of music found on Pink Floyd’s later works.

For the most part, this album is a very focused and creative work. All songs are unique from each other, and that keeps you entertained. The lyrics and music both show how Pink Floyd has changed through their about 40-year career, and they foreshadow what was to come in later Floyd history.

Cirrus Minor, a slow and intriguing song, starts the album. A few solitary bird songs begin singing, and they continue to back up the song in various places. David Gilmour plays a very simple, yet captivating and almost ghostly, fingerpicking pattern at the beginning of this song. The style of singing follows the somewhat eerie feeling.

This song fades, and a very different The Nile Song begins. The lyrics, singing style, and instrumental work all contrast and compliment, the opening song.
The Crying Song is not quite as eerie as the first, and not quite as forceful and quick as the second is.

Up the Khyber: A very good psychedelic song. An excellent work by both Rick and Nick. The title is a reference to the hippie connection to the Kyber pass.**

Again, Green is the Color, is an intriguing combination of unique singing style and lyrics not used on the album yet. Also, Gilmour uses a unused strumming style.

My personal favourite on the album, Cymbaline, is next. These lyrics describe desperation, yet a sense of hope comes through in the music and the chorus.

Party Sequence: An interesting instrumental piece with a prominent drum part and a faint flute in the background.

Another instrumental, the Main Theme was written by all the band and they all contributed rather well. A captivating keyboard melody starts about halfway through and is the best part of this song. These piece leaves you begging for more (no pun intended ).

Ibiza Bar: “Please pick up your camera and use me again/And build me a time/When the characters rhyme/And the story line is kind” These lyrics are among Water’s best. They are almost from an actors point of view, or as if life was a stage production, yet real at the same time; a fascinating idea which sums up the story quite well. This song also uses the same style of guitar playing and singing found on the second song, which would have ended this album ver well, but, four instrumentals follow.

More Blues, Quicksilver, A Spanish Piece, and Dramatic Theme, though all good songs (except perhaps Quicksilver), don’t seem to be necessary or to belong on the album. But perhaps I am being picky; two songs (an instrumental called Hollywood, and another called Seabirds) are included in the movie but are not present on this album. (are they available as bootlegs, BrainDamage?)

BrainDamage EDIT: most likely. They're probably out there, I'd just have to look.
*Note that I have not seen this movie, only read summaries, and as I’m reviewing the album, not the movie, I’m only including this for the sake of some background information.
**This information came from this website.
WHY VISIT www.radiohead.com
[i like the idea of you listening to our recordings with your head resting gently in emptiness.]


Last edited by andersoncouncil : 02-09-2007 at 06:19 PM.
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Old 02-03-2007, 12:11 AM   #22
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Jeff Beck Group

"Today, with all the hard competition in the music business, it's almost impossible to come up with anything totally original. So we haven't. However, this disc was made with the accent on heavy music. So sit back and listen and try and decide if you can find a small place in your heads for it."

Jeff Beck’s liner notes from 1969’s Beck-Ola show some pretty accurate self-criticism. Beck-Ola is not as diverse his 1968 release Truth, and he doesn’t seem keen to break much new ground here. But sometimes, you don’t need to be Yes or Pink Floyd; putting out an album that rocks is more than enough.

The music is dirty. It’s really quite filthy. The band is wonderfully loose without being sloppy; the type you’d love to go see down at your nearest bar. Ron Wood’s fuzz bass and the thunderous drumming of Tony Newman serve as an almost heavy-metal rhythm section. Nicky Hopkins provides a little flair on the keys, and Rod Stewart’s scratchy vocals are a perfect fit. Then there’s the man himself, Jeff Beck. He may not be at his most technical on this album, but he certainly gives you an aural show. In particular, his use of the whammy bar is fast emerging as a great addition to his playing.


All Shook Up (4:53) – An Elvis cover isn’t a bad choice to kick off this “unoriginal” album, particularly a cover this heavy. Jeff shows off some great slide playing, which for a few years was having me wonder, “How is he doing that?” A fantastic opening track.

Spanish Boots (3:37) –
Kicking off with a little heavy riffing, this original tune a pretty straight-forward for the most part, but makes good use of dynamics at a few points. Besides the Beck solo, there’s a little fuzz bass solo by Ronnie Wood that wraps up the track,

The Girl From Mill Valley (3:49) – Um, what the hell? This is a lovely piano tune by Nicky Hopkins that simply doesn’t belong on this record. The band’s restraint on the tune is the opposite of the rest of the record, with Jeff being reduced to a few background chords. Great song, but it belongs somewhere else.

Jailhouse Rock (3:14) – Another fuzzy, foot-stomping reworking of an Elvis tune. I love the delay on Rod’s voice, as well as the frantic Nicky Hopkins solo (even if it is rather sloppy).

Plynth (Water Down the Drain) (3:09) – I didn’t like the beginning of this track much, so I skipped it when I first listened to this album. But then they hit the break: and what a break. Jeff’s tone is fantastic, and Tony Newman’s drums sound their finest. Despite the weak beginning, the breaks more than make up for it.

The Hangman’s Knee (4:49) –
My favorite lyrics out of the originals are here, on this slow blues rocker. Rod speaks to the hangman, “There ain’t no use in ya hurryin’ me / ain’t nothing gonna change things now.” Makes me sing along every time.

Rice Pudding (7:22) – This relatively long instrumental is pretty varied without losing the hard rock element. The fast intro riff is replaced by a swinging jam, before going back into high gear. After another swing jam, everything cuts out except the piano. Jeff comes in with some delayed slide. The band builds up dramatically, going back into the intro riff, and after a slight break goes out with guns blazing.

This has been one of my favorite albums for years. If you want an album that will just rock, give Beck-Ola a try.
(Slightly outdated) Electronic and classical compositions by m'self: Check 'em out
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Old 02-03-2007, 07:31 AM   #23
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Pink Floyd ~ Atom Heart Mother

Released in 1970, Atom Heart Mother featured the first Pink Floyd track to last in excess of 23 minutes. This was followed by Echoes in their next album Meddle. PF wanted an ordinary, plain image for the cover so Storm Thorgeson (Hypgnosis) took a picture of the first thing he saw. The band got the name for the album and song from a woman who was pregnant and had an atomically powered pacemaker...or an "Atom Heart Mother"

David Gilmour (Guitar, Bass, Vocals), Roger Waters (Guitar, Bass, Vocals), Richard Wright (Piano/Keyboards, Bass), Nick Mason (Percussion)

Track List:

1. (The) Atom Heart Mother (Suite) - (Waters, Gilmour, Mason, Wright, Geesin) 23:44

This is split into six parts:
a) Father's Shout
b) Breast Milky
c) Mother Fore
d) Funky Dung
e) Mind Your Throats Please
f) Remergence
An excellent song. Pink Floyd plays with a full orchestra and choir on this track to great effect. Amazing music throughout and a lovely chord progression in places bring this song to life. PF played this live as "The Amazing Pudding" and without the orchestra before the release, during their American tour. Personally I think both versions kick ass. This song is great however for those of you who dislike inatrumentals...em...well, don't get this. I belive there is a video somewhere of a band covering this, and I know there is another of PF themselves playing it in 1970 on YouTube.

2. If - (Waters) 4:30

Acoustic intro to the second half of this album. Personally I find this to be rather weak in comparison to other tracks on the album. "If" seems to be Roger's way of lamenting the loss of Syd. It deals with insanity and controlling of others ("Please don't put your wires in my brain"). This also appears to be a sad song about how Syd was treated by the band after he was removed from live performances (Will you still let me join in with the game").

3. Summer '68 - (Wright) 5:29

A very nice intro to this song, piano by Rick. For me this song ranks slightly below Fat Old Sun, but it's still a great song. This song could also be interpreted as an attempt to contact Syd. The brass band returns for little interludes between verses. I like this song a lot and would recommend it even though it's a bit soft.

4. Fat Old Sun - (Gilmour) 5:22

On the RoIo entitled "Meddled" (recorded by the BBC) there is a version of this song which is better but the studio version is great too. Gilmour plays a great solo at the end and his vocals are excellent. This song is the second best after the title song in my opinion.

5. Alan's Psychedelic Breakfast - (Waters) 13:00

This is split into three parts:
a) Rise and shine
b) Sunny Side Up
c) Morning Glory
This song is nice but very psychedelic, seriously. The sound effects used are those of a man waking up for breakfast. A nice acoustic piece is played during this song with a slide in the background. Personally I rank this above Roger's If, but others may disagree. I find it very relaxing, a nice way to end the album.

--The CD version I have came with some "Breakfast Tips".....lets just say the second one seems a bit weird and the first one is in German (probably for the best )

--"Storm Thorgeson was a key member of the British graphic art group Hipgnosis, and designed many of their most famous single and album covers. Perhaps his most famous designs are those for Pink Floyd. His design for Dark Side of the Moon has been called one of the greatest album covers of all time." (just a short note about Storm, taken from wikipedia)

I give this album a highly recommended 9.5/10...not for those who hate psychedelic music

Wikipedia Article --> used this to get a few facts
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Last edited by stonegolem13 : 02-11-2007 at 06:05 AM.
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Old 02-03-2007, 10:53 AM   #24
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Pink Floyd - Wish You Were Here

Wish You Were Here
Pink Floyd
September 15, 1975
Harvest, EMI (UK)/Columbia (US)

David Gilmour – Vocals, guitars, lap steel guitar, EMS Synthi AKS, additional bass guitar, additional keyboards, tape effects.
Roger Waters – Vocals, bass guitar, additional guitar, VCS3, tape effects.
Richard Wright – Keyboards, VCS3, background vocals
Nick Mason – Drums, percussion, tape effects

Roy Harper – Vocals on "Have a Cigar"
Dick Parry – Saxophone on "Shine on You Crazy Diamond"
Venetta Fields – Background vocals on "Shine on You Crazy Diamond"
Carlena Williams – Background vocals on "Shine on You Crazy Diamond"
Stephane Grapelli – Violin on "Wish You Were Here" (barely audible in the final mix)

Dark Side of the Moon was released in 1973 and was received by nearly all fans as a huge success. After a year of touring to promote Dark Side, the Floyd went on a British Winter tour in 1974, which featured three new songs, entitled Raving and Drooling, You Gotta Be Crazy, and Shine On You Crazy Diamond. The first two songs became what we now know as Sheep and Dogs, respectively, with the third being a first glimpse at what would unfold when Pink Floyd began to record Wish You Were Here. Shine On was over 20 minutes when played altogether, so the band decided to split it into two parts and put new material in between the two. Pressured by record companies to release a new album, Floyd did so, however, they reflected their thoughts about the record business, as well as the current state of the band in the lyrics contained on the album.

1. Shine On You Crazy Diamond, Pts. 1-5
2. Welcome to the Machine
3. Have a Cigar
4. Wish You Were Here
5. Shine On You Crazy Diamond, Pts. 6-9

Shine On, Pts. 1-5
If Pink Floyd ever wrote a song that was close to perfection, this would be it. Everything about this song is flawless and beautiful. The music is fantastic, ranging from Wright's keyboard solos, to Gilmour's various guitar parts, to Dick Parry's sax outro solo. The song features a wine-glass intro, where wet fingers were run around the brim of wine glasses filled with varying amounts of water. This effect was later recreated at shows on David Gilmour's On an Island tour. On June 6, 1975, former Pink Floyd member Syd Barrett showed up at the studio where Floyd was recording, and it is rumored to be that he showed up during a session for Shine On You Crazy Diamond, which, coincidentally, clearly makes reference to Syd in it's lyrics.

Welcome to the Machine
Welcome to the Machine makes use of heavy synthesizers and tape effects. The song expresses the band's feelings towards the music industry, the "musical machine" if you will. The song features many synths as well as acoustic and twelve string guitars. My favorite part of the song is without a doubt David Gilmour's vocals.

Have a Cigar
Have a Cigar starts with some great guitar/bass interplay. This song has one of my favorite Pink Floyd bass parts. The lyrics and vocals play a huge part in this song, showing the band's obvious disgust with the record industry. The song was sung by Roy Harper, a friend of the band, who was working in the same studio at the time. Waters had trouble with the vocals, and Gilmour wouldn't sing them, so Harper tried. His vocals define this song in my opinion. Lyrics like "we call it ridin' the gravy train" which I interpret to be getting rich off of other people's success, and one of Pink Floyd's more well known lyrics, "the band is just fantastic, that is really what I think, oh by the way, which one's Pink?" showing someone in the record business supposedly thinking the band is "fantastic" however, he doesn't know the members' names. Gilmour provides what I believe to be one of his best solos in Pink Floyd at that time to end the song.

Wish You Were Here
We now come to the ever popular Wish You Were Here. This is one of Floyd's most famous songs, and with good reason. The lyrics and music are beautiful, and they compliment each other perfectly. As with Shine On, this song's lyrics strongly suggests that it is about former member Syd Barrett. Gilmour, like always, plays guitar parts that are perfect for the song, he has a short acoustic solo in the beginning of the song, as well as two solos later on, both accompanied by scat vocals.

Shine On, Pts. 6-9
As the wind from Wish You Were Here fades, a slow, pulsating bass becomes present. The rest of the band comes in, and not soon after, David Gilmour begins an awesome lap steel slide solo. Gilmour makes this thing scream, it is without a doubt my favorite slide work from him. After his solo winds down, the song then brings back the familiar melodies found in parts 1-5, and then the verses and choruses start. After about a minute of vocals, the band breaks the song down into a very loose jam. As the song is ending, all the instruments stop and a synth finishes the fade out, providing a very free feeling, like some huge obstacle was just overcome, and you don't have a care in the world. Perfect ending to a perfect album.

Final Thoughts:
An absolute must have for any Pink Floyd fan. Fantastic album.
How to achieve Frank Zappa's guitar tone:
Originally Posted by Thefallofman
Step 1: Buy a Gibson SG
Step 2: Insert Green Ringer, EQ, 3 dead squirrels and a microwave into said SG
Step 3: Plug in and freak the **** out.
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Old 02-03-2007, 07:41 PM   #25
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Alright lets cool it with the Pink Floyd and Led Zeppelin for a while.


EDIT: if you are already signed up for a Floyd or Zep album, by all means finish it. For your next one, however, let's try and get some more variety into this project.
How to achieve Frank Zappa's guitar tone:
Originally Posted by Thefallofman
Step 1: Buy a Gibson SG
Step 2: Insert Green Ringer, EQ, 3 dead squirrels and a microwave into said SG
Step 3: Plug in and freak the **** out.
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Old 02-05-2007, 02:25 AM   #26
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Pink Floyd - The Division Bell
Okay, I'd be crazy to list all of the credits on this album. I may come back later and do it though. Here are the guys that are actually band members, not guest musicians, and their credits:

David Gilmour - Guitars, Vocals, Bass, Keyboards and Programming
Richard Wright - Keyboards and Vocals
Nick Mason - Drums and Percussion

Now let's get started. The album is missing former bassist and lyricist Roger Waters, who was great at what he did. The band still have a great sound though, and I actually prefer it to some of their Waters stuff, although both are amazing. The album was released in 1994, although they'd probably been working on it for quite a long time. It features Bob Ezrin as the producer of the album, along with David Gilmour. Now lets discuss the music on the album, shall we?

1. Cluster One - 5:58
(Richard Wright/David Gilmour)
This song reminds me a lot of Shine On You Crazy Diamond (Wish You Were Here). It's just very slow, the guitar parts aren't blaringly fast, just brilliant. It's a great song, and entirely instrumental. A great start to any Pink Floyd record. Gilmour has an amazing tone, and the playing on the song is incredible. It takes about 30 seconds to fade in too, so just incase you decide to buy the album.

2. What Do You Want From Me - 4:21
(Richard Wright/David Gilmour/Polly Samson)
This song starts off very similarly to Have A Cigar (Wish You Were Here), only a rocking guitar solo is played in the intro by Gilmour, as well as filled inbetween lyric parts. The lyrics are basically asking a question to the listener, and female backing vocalists give a "What do you want from me?" as if standing in the rain yelling up to the sky to god, only singing. It's awesome. Of course, all of the leads are awesome. Polly Samson, who helped David Gilmour write the lyrics, is a woman he married and had three kids with whilte touring for "The Division Bell".

3. Poles Apart - 7:04
(David Gilmour/Polly Samson/Nick Laird-Clowes)
The Laird-Clowes guy is a friend of David Gilmours, who helped write the lyrics. The song is one of my favorites from the album, and to me helps justify buying the album. The song features an organ part that sounds awesome. The parts that are played by Gilmour on this song are awesome. The riff that he plays in the intro is just so hypnotizing on your ears. It's cool. The lyrics are weird, but they fit over the song so well that it really doesn't matter how weird they are. It's all great. The leads, like the rest of the album, are exquisite. I love them, and the tone that Gilmour has is just so complimentary of the album.

4. Marooned - 5:04
(David Gilmour/Richard Wright)
Connected with the end of Poles Apart, this one sounds a little bit like Shine On You Crazy Diamond as well. When I say this, I don't mean it sounds like a repeat. I mean it has the same kind of feeling behind it. It's awesome though. The slide like tone comes from a whammy pedal used by Gilmour, also known as a ptch-shifter. Don't let it decieve you! It's great though. The tones are all moulded together so well too. Just awesome, and something to hear. A recommendation to any Floyd fan, or any music fan in general for that matter.

5. A Great Day For Freedom - 4:17
(David Gilmour/Polly Samson)
This song is kind of weird. In the verse parts, the only instrument is a piano played by Wright, but in the chorus there is a blend of tones, keyboard, guitar, everything. The solo played by Gilmour is sheer brilliance. The licks he plays here are very fresh, and keep you wondering what is coming up next. A live version can be found on the CD version of Pink Floyd: PULSE.

6. Wearing the Inside Out - 6:49
(Richard Wright/Anthony Moore)
Lead vocals on this track are supplied by Richard Wright (keyboards). It starts off with an awesome Saxophone solo. Then the vocals come in, and a guitar lead isn't played very loud, but underneath the vocals. Then the Synth part to intro the chorus, and the Guitar/Saxophone thing going on after the first chorus part is just flat out awesome. Just an awesome, lay down and stare at the sky kind of song. I advise doing this when the sun is going down, and the sky is painted with colour. But anyway, the song is really nice. The vocal parts by the female backing vocalists are really nice too. Just awesome. It is a great song to go into Pink Floyds' song vault. The second guitar solo is stunning. Gilmour really demonstrates how awesome he is, without going blaringly fast either. The piano in this song is just flat out great too. The lyrics were co-written by Anthony Moore.

7. Take It Back - 6:12
(David Gilmour/Polly Samson/Nick Laird-Clowes/ Bob Ezrin)
This is one of my favourite songs on the album. It sounds slightly similar to Poles Apart, but that is only in the nature of the song, or the colour (the colour being the tone and feeling of the song, as I call it). But they are two completely different songs. Anyway, the lyrics are kind of weird. They're about Gilmour trying to push a girl to see how devoted she is to him. A very weird selection of lyrics, but the vocal approach is amazing. I applaud Davids' brilliance here, because he really outdid himself singing the song. The part of the song where it breaks down and hits the lead guitar line area is stunning. A very well written part. Gilmour has such awesome tone here too. I'd love to know what effects are used, because the guitar sounds awesome. Almost like a synthesizer, but I know from watching the live DVD P.U.L.S.E. that this is not the case. The song actually peaked at number four on the "US Mainstream Rock Charts" in 1994.

8. Coming Back to Life - 6:19
(David Gilmour)
Oh such a beautiful song. Kind of reminiscent of Shine On You Crazy Diamond, only with a lighter feel. The song has really great lyrics, about spiritual renewel. A very great song, only made better by the keyboard playing. At about 2:35, the percussion comes in. Very nice sounding (although it had to be boring to record for Mason). This is one of the best songs on the album. It really has the tone of a flower that begins to blossom over the course of the song, petal by petal opening, until at the end of the song fully blossomed. It's really cool.

9. Keep Talking - 6:11
(David Gilmour/Richard Wright/Polly Samson)
The words different come to mind when I think of this song. But it's still awesome. It starts off like something you'd hear in a forest or something, although slow. But the speaking line heard from 1:13 to 1:29 is kind of weird to hear. But it's only complimentary to the song. The vocals are kind of similar to "What Do You Want From Me", only Gilmour says a line, and then the vocals come in and ask a question to Gilmour. The speaking line comes back in at the end of the verse, and gives a great effect to an awesome song. The lead that is followed is absolutely genious. Gilmour is clearly at the top of his game, and the effects used here are so well thought out. The synth solo played is very nice. The backing vocalists play such a role in this song, too. They just make the song have this tone that you would otherwise be missing. Then of course, Gilmour surprises us with an awesome Talk Box solo. Pure genious. I apologize for ruining that for you guys though Anyway, this song just kind of fades out. 6:11 of greatness.

10. Lost For Words - 5:14
(David Gilmour/Polly Samson)
This song is somewhat similar in feel to Wish You Were Here. It starts with an effect, and then an acoustic 12-string guitar comes in to play the intro. Then another acoustic guitar comes in and plays a solo by Gilmour. The lyrics are among my favorite from the album, and this is most certainly my favorite song on the album. You can hear an announcer saying, "Ladies and Gentlemen! The winner by knockout is...!". It features my favorite lyric though,
"So I open the door to my enemies.
And I ask, 'could we wipe the slate clean'?
And they tell me to please go **** myself.
A little childish of me, but it's just funny to hear Pink Floyd using swear words in their music But, the song has amazing guitar leads, and should not be overlooked. It is amazing. And I really love the vocal aproach here too, listen to see what I mean.

11. High Hopes - 8:32
(David Gilmour/Polly Samson)
Oooooh this is my second favorite song from the album. It starts with such a cool piano riff, and then moves down an octave or two, and they begind playing the rest of the song. Gilmours singing is great. The chorus is a kind of celtic-feel I guess. It's nice, whatever it is. And the bell going through. Just an absolute masterpiece. Apparently the 1994 "US Mainstream Rock Charts" agree, because it hit number one. It features a latin like acoustic guitar solo by Gilmour, that just sounds so awesome. And the synth that sweeps in with it, and the eventual drumming. Just awesome. I have actually listen to this song on a rainy day, but that's not what makes me say that you can picture it being rainy outside when hearing this song. But you can actually feel the mood lift during the chorus. It is just stunning, and absolutely brilliant.

I'm not going to pretend that I can capture all of the emotions felt in this album, nor the beauty or any of it while listening. It is possibly Pink Floyds' absolute best album. In my eyes, it is. It's great. So, this will conclude my review. Go out and listen, because it is amazing. Any price paid is a bargain to me for it. I hope that you enjoyed the review, and thank you for taking the time to read it.

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Old 02-08-2007, 03:44 AM   #27
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George Benson - Breezin - 1976
Now I know that this is a Jazz album, but I think that it will be a great addition to the thread because it is something different from the time. It's an amazing album, and I did recieve BrainDamages' approval on it. So, here it is. We'll start with the musicians, as always.

George Benson - Lead Guitars and Vocals
Ronnie Foster - Electric Piano and Mini-Moog
Phil Upchurch - Rhythm Guitar
Jorge Dalto - Clavinet and Acoustic Piano
Stanley Banks - Bass
Harvey Mason - Drums
Ralph MacDonald - Percussion

Okay, before we proceed any further, I apologize for the lack of Wikipedia articles. But, if you're really interested in any one person, you can find them on the internet fairly easily I'm sure. Now read on, and enjoy

George Benson was such an amazing singer and an incredible guitar player. Easily one of the best of all time. Although on this album there isn't a whole lot of singing, when there is it's an absolute treat. I don't know a whole lot about the history of Benson, but I will do my best to give you a review that is helpful to you. Please don't mind the length of it.

I'd like to, although uncommon with my previous reviews, discuss the sound of the album before continuing. But, this album is much different than any of the albums I've reviewed before, so I think it would be appropriate, because it's very unique. The only thing that I can really think of to describe the sound is Pink Floyd meets The Rolling Stones, or something like that. It's not really like that, but you get the kind of Psycodelic tone combined with jazz chords and scales and style, with the upbeat approach to music. It's great. I must also say, before we discuss songs, that the drumming on here and keyboard playing, as far as backing, because I may forget to say this later on, is simply incredible. All of the percussion really, is mindblowing with how Harvey Mason and Ralph MacDonald play for each song. But the keyboards and percussion really amplify the tone of each song so well. Now, we may begin.

1. Breezin - 5:40
(Bobby Womack)
Oh what a way to start a great album. I'm sure that you've heard this song, it is ever so popular. The guitar playing and the riff are very memorable. But, all of the instruments here are so well mixed and blended. You're hit with everything so well. One giant solo is what the song basically is. But the song itself, outside of the guitar playing, is positively brilliant. It sounds like spring or something. It's a truely remarkable. But a very relaxing yet upbeat song. It's played in D-major, and is very fun to jam along to, for the record. Anyway, if you don't like this song I must say I'm surprised because it is an absolutely fantastic song. Georgie plays so well on this song too. Amazing stuff.

2. This Masqeurade - 8:04
(Leon Russell)
This is such an awesome song. Benson does such an amazing job of singing the song too. Even if you're not a fan of Jazz, this song will grab you and keep you held. It's awesome. Also a hit on the radio, as far as I know. I know I'd heard it before hearing the album.Anyway, this is a really slow style Jazz song. Bensons' voice is so commanding, and it really grabs you and keeps you wanting more. The album actually says on it:
This Masqeurade"
I find that rather amusing. So the song must've been a real hit. Anyway, Bensons' lead playing on here is as amazing as his singing. He actually does that skat thing (or whatever it's called), where he sings the same notes that are being played. A very impressive song, and amazing song to go after "Breezin".

3. Six to Four - 5:11
(Phil Upchurch)
This song has such a cool intro to it, and the song itself is really nice too. A really nice, upbeat, and infectiously groovey song to hear. Even though it was released in 1976, it still holds it's brilliance. The keyboard solo is absolutely brilliant. It's approached a lot like a guitar solo, because of the built in tremolo system or whatever is in it, which allows him to bend to different notes like a guitar player would. And needless to say, it's awesome. Benson plays a great guitar solo after the keyboard solo that is phenomenal. Some amazing Jazz. Of course, the keyboard solo comes back in while the song fades out. It's all incredible.

4. Affirmation - 6:58
(Jose Feliciano)
A really slow starting song, and sounds like it will remain slow, much like Pink Floyds' Shine On You Crazy Diamon as far as the vibe in the intro. But that changes very quickly, and this song becomes as colorful as a rainbow. The instruments paint a kind of haze of sorts in your head, almost as if colors were to be spinning in your head. Anyway, the keyboard parts are all really complimentary of what Georgy plays here. His sense of lead playing is so awesome too. You know that you're hearing something special when you hear this song. This is actually something you could dance to, if you really desired to do so, as is the rest of the album. That's not really relevant, but I thought I'd share it with you anyway for incase you might be interested. It changes the groove slightly at about 3:50 into the song, into a completely different animal. And everything from then on is, as with everything before it, incredible. The keyboard solo that is fast approaching is simply incredible. Very very very well played. I can say with absolute honesty, as much as I love Georges' guitar playing, I enjoy hearing this equally as much. The drumming really compliments the song here, even though it's already upbeat, Harvey Mason does a fantastic job.

5. So This Is Love? - 7:04
(George Benson)
Such great Jazz. The keyboards underneath the guitar give a really kind of floating feeling. This is all really uplifting to me, because of the light tone that is presented to the listener. The drummings fits under this so well too. Everything is so well played, it's like a song from God or something. You can almost picture seeing and hearing birds whistling and flying around together while hearing it. Georges' lead here are absolutely fantastic, and if this were a high school exam, he'd pass with flying colours. Some of the licks played are just so awesome that I laugh when hearing them (I don't know if I'm weird for doing so, but they are that good). Everything flows so well. Anyone wanting to learn how to play Jazz should listen to this song, because it's Jazz playing 1-0-1. Everything really chagnes, like in the last song, about halfway through. You're greeted with a brilliant keyboard solo at about 5:14 in. I swear you'd fall asleep if you weren't careful while listening to this. Even with the tempo of the song, it has that effect on you. Probably a favorite of mine from the album. The whole thing is great though, so don't single out this one song if you do buy it.

6. Lady - 5:49
(Ronnie Foster)
This song starts with a keyboard, and builds from there. George comes in, and plays some of the finest leads ever recorded. They're not difficult or anything, but, like the rest of this album, they're very smooth, and very relaxing. This is my favorite song on the album. The leads are backed by a kind of lead by the keyboard. At one point, they do actually play the exact same notes, note for note for magnificent note. This one is also entirely instrumental (for incase you may have thought if unfamiliar, this is not the Styx song Lady, which is also quite brilliant). The keyboard backing creates an almost water like effect. To me, it sounds as though there are images being projected onto a slightly wavy body of water. I fI close my eyes while listening I can picture that. An amazing finish to an incredible album.

I hope that you enjoyed the review and appreciate you taking the time to read it. I hope that it helped you in some way, and wasn't a waste of time. Thanks again.

~ Page&HammettFan
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Old 02-08-2007, 03:01 PM   #28
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Sgt. Pepper's Lonely Hearts Club Band - The Beatles

"Sgt. Pepper's Lonely Hearts Club Band is the eighth album by The Beatles. It is often cited as the Beatles' magnum opus and the most influential album of all time by prominent critics and publications, including Rolling Stone (which put it atop their 500 "Greatest Albums" list in 2003). It was recorded by The Beatles over a 129-day period beginning on December 6, 1966. The album was released on June 1, 1967 in the United Kingdom and on June 2, 1967 in the United States. Upon release the album was an immediate critical and popular sensation. Innovative in every sense, from structure to recording techniques to the cover artwork, the artistic effect was felt immediately." - Wikipedia

I haven't listened to this album in ages for a paticularly good reason....I found out about the "Paul is dead" thingy...wow that spooked me Anyhoo on with the reviewing

John Lennon: Guitars, keyboards, piano, percussion, vocals.
Paul McCartney: Bass guitar, guitars, piano, keyboards, vocals.
George Harrison: Guitars, Fuzz, mouth organ, percussion, tambourine, sitar, piano, vocals.
Ringo Starr: Drums, percussion, mouth organ, bells, piano, vocals.
(I'd be crazy to list the rest)

1. Sgt. Pepper's Lonely Hearts Club Band – 2:02 (Mc Cartney)

I love this song, and to be honest first heard it at Live 8. Great electric, distorted guitar here followed by the opening verse and a quick interlude with a brass quartet. This is followed by the second verse, and the last verse which introduces "Billy Shears"...this then runs into the next song

2. With a Little Help from My Friends – 2:44 (Lennon, Mc Cartney)

"Ooo I get high with a little help from my friends", this song is great also. A very folk rock sound compared to the earlier SPLHCB. This song has a good rythm and lyrically is quite strong. I sang this for a school play once. This is one of the very few Beatles songs which is sung by Ringo Starr.

3. Lucy in the Sky with Diamonds – 3:28 (Lennon)

This is quite...well weird. Rather pscyhedellic, it has been associated with LSD quite a lot but was really inspired by a picture drawn by Lennon's son. I find the song quite good but not as good as other songs on the album.

4. Getting Better – 2:47 (Mc Cartney)

A nice rythm guitar in this song and good lyrics make this song an excellent addition to the album. The vocals are great and I find this song to be a very strong song. This is a folk rockish song with a strange sound played in the background from 1:35 til 1:57.

5. Fixing a Hole – 2:36 (Mc Cartney)

Personally I find this to be a very dull blues song. I think it's definately a low point for the album. Paul's vocals drone for this song. However to every cloud there is a silver lining. in this song it's the electric guitar, very nicely played.

6. She's Leaving Home – 3:35 (Mc Cartney)

Also a rather dull song IMO. It opens with an interesting harp bit. The vocals on the chorus drag on and on....it's quite annoying. Most of it is boring. The main vocals are OK though.

7. Being for the Benefit of Mr. Kite! – 2:37 (Lennon)

I like this song a lot. There is some nice mouth organ here. The vocals are strong and rythm is good. Lyrics are great too with some weird sound effects...this song is quite trippy. A nice slow blues song.

8. Within You Without You – 5:05 (Harrison)

This is a middle-eastern style of song. Vocals are by Lennon and give the song an interesting sound. The main tune is echoed by the vocals which helps give this effect. This song is quite trippy, and not too bad.

9. When I'm Sixty-Four – 2:37 (Mc Cartney)

A great song with good rythm. This is quite jazzy, with brass instruments playing in the background and jazz style drums. I like this song, it features nice piano. It goes on without a chorus or verse pattern distinguishable, compared with other songs.

10. Lovely Rita – 2:42 (Mc Cartney)

Great intro to this song and the lyrics and vocals are great too. This song is much more upbeat than others on the album. It is very nice (at least until you learn of it's supposed significance in the "Paul is dead" thing)

11. Good Morning Good Morning – 2:41 (Lennon)

Not a bad song ut the chorus is very interesting. The main vocals and lyrics are stunning, really excellent. The brass section makes an appearance in this song to give the main rythm. I always find myself singing along to John in this song. A lovely little solo is played on this song. "Nothing to say but it's OK"

12. Sgt. Pepper's Lonely Hearts Club Band (Reprise) – 1:18 (Mc Cartney)

The guitar is very different from on the other song of similar title but this also is great. The vocals are slightly faster but it's basically the same song. This seems to conclude the album nicely, and is a great song, you have to hear it to understand.

13. A Day in the Life – 5:33 (Lennon, Mc Cartney)

This is a nice acoustic song with some nice piano. The lyrics are good (if you know about the Paul is dead thing the line "He blew his mind out in a car" will have some significance). This is a strange way to end the album, especially after the reprise seems to close it very well. This ends with a strange collection of phrases played over and over, I reckon some of them are backmasked but I couldn't be bothered to find out

For those who know nothing about the "Paul is dead" conspiracy this site was interesting...www.turnmeondeadman.net

I got quite a few facts and the introduction from:
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Old 02-08-2007, 06:03 PM   #29
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Aladdin Sane

David Bowie


David Bowie – guitar, harmonica, keyboards, saxophone, vocals
Mick Ronson – guitar, piano, vocals
Trevor Bolder – bass
Mick "Woody" Woodmansey – drums
Mike Garson – piano
Ken Fordham – flute, saxophone
Linda Lewis – backing vocals
Juanita "Honey" Franklin – backing vocals
G.A. MacCormack – backing vocals

Aladdin Sane is Bowie’s 1973 album, the follow-up to his famous “The Rise and Fall of Ziggy Stardust and the Spiders from Mars.” Bowie has sometimes considered himself an “actor” and Aladdin Sane was at this time his newest character. However, “Aladdin Sane” very much resembled the Ziggy Stardust character. The Spiders were still his backing band, and Bowie has described Aladdin Sane as, “Ziggy goes to America.”

The music at once sexy and sexual, no doubt influenced by Bowie’s recent fame after the success of “Ziggy”. The sound is something of a throwback – early rock, doo-wop, and lounge jazz, but Bowie makes it his own. The jazzy piano work of Mike Garson is stunning, but many of the songs also have a Stones-y feeling to them. It might almost be considered some kind of parody; placing the music of the supposedly clean-cut fifties against somewhat darker lyrics, all with a bit of a hard-rock edge.


1. Watch that Man (4:30) – Rock piano and dirty guitar help this opener get going. The female backing vocals and saxophone help lead into a big chorus, one of the most enjoyable I’ve ever heard.

2. Aladdin Sane (5:08) – This track is more laid-back, and really lets Mike Garson do his thing. The chorus has a little more of a rock groove, but the verse are dominated by beautiful, sweeping piano arpeggios. The piano solo is a lot more “outside” than most rock songs I’ve heard.

3. Drive-in Saturday (4:36) – A doo-wop number about a future where people have forgotten how to have sex, and have to learn by watching old porn films. It’s still upbeat, with a catchy chorus, and I personally think it would be a fun song at a school dance.

4. Panic in Detroit (4:28) – One of the first riffs I learned on guitar. This is a rock song about rioting, but the beat features more congas than normal rock drumming.

5. Cracked Actor (3:01) – Quite a dirty song… the line, “Forget that I’m fifty cause you just got paid,” sums up the lyrical content. I was shocked as a small boy when I put on this song; I thought all the music from the 70s and before was nice and clean! This is perhaps the most straightforward rock song of the album, with a harmonica blending into the distorted guitar.

6. Time (5:15) – I got this album after hearing this song. The intro is a bit like a play or musical, with the dramatic piano in the background and Bowie’s lyrics singing of a Time who owns us. It bursts into a full sound as the band crashes in, with the guitar work seeming to be almost orchestral at times. Overall, it’s sad in a beautiful way, with Bowie singing, “All I have to give is guilt for dreaming.”

7. The Prettiest Star (3:31) – I love the guitar intro to this song. It is about a girl that the narrator used to love. It’s a little more swinging than the other songs, but there’s still some rockabilly guitar to spice things up. By now the album really seems to be influenced by Bowie’s new fame; one can picture an old star, left with only memories of fame, getting prostitutes and watching the city from a hotel room.

8. Let’s Spend the Night Together (3:10) – A break-neck version of the Stones classic. It doesn’t have the groove of the original by any stretch, but it’s still a good cover and fits perfectly with the album. It’s a fun song, and Bowie keeps it fun.

9. The Jean Genie (4:07) – The most well known track on the album. It plods along, a bit bluesy, with some harmonica and a plodding rhythm. The lyrics are supposedly based on Iggy Pop, or someone similar to Iggy. Quite catchy, even if it isn’t my favorite track.

10. Lady Grinning Soul (3:54) – A slow, soft number to close the album. A lovely acoustic solo by Mick Ronson balances nicely with the piano. It has been described as a “James Bond” song, and it would certainly fit such a movie.

If you’re looking for something a little more sophisticated than normal rock, with catchy choruses, I urge you to have a listen to this album.
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Last edited by psychodelia : 02-09-2007 at 01:46 AM.
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Old 02-09-2007, 01:44 AM   #30
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Jethro Tull


Ian Anderson, flute, lead vocals
Clive Bunker, drums, percussion
Glen Cornick, bass guitar
Martin Barre, guitars
John Evan, piano and organ

Benefit is one of the more overlooked albums from Jethro Tull’s early releases. Sandwiched between Stand Up and the hit Aqualung, it is often viewed as inferior to both albums. Benefit isn’t a very “progressive” record, but that is what draws me to it: the influences are there, but they are subtle. This is more of a rock record, for better or worse, and I consider it to be for the better.

This is the first time keyboardist John Evan is in with the band, though he used to play with Ian Anderson. He helps to fill out the sound, along with Martin Barre’s guitars. I love the guitar parts on this album, even if I don’t like the tone. Martin creates interesting harmonies with the guitar parts that fit into the song, rather than being the focus.


1. With You There to Help Me (6:19) – The album begins with some backwards flute, with harmonized vocals resembling a chant. It begins slowly, with a triplet feel, but picks up speed and brings in the distorted guitar as the song gets going. It’s a song about friends picking you up when you’re down, and I’m fond of it.

2. Nothing to Say (5:14) – A hard rock song, with Anderson turning on the sarcasm against people he considers to be deceitful (probably people in power). It can be ponderous at times, but the harmony guitars help out the song.

3. Alive and Well and Living In (2:48) – An awesome track all-around. Starts out in a soft rock mode, but Martin brings in the distortion at times when the song needs an edge. The piano work during the verses is good, and I love the beat on the hi-hat. It’s a song about a housewife who is stealing moments away from everyone; the lyrics from Anderson are very evocative, to me.

4. Son (2:51) – Anderson sings about his troubles with his dad in this hard rock song. One wonders what his dad did to him: Ian is about 23 at this time, and yet he still feels the need to write a song about this?

5. For Michael Collins, Jeffrey and Me (3:51) –
A beautiful song about being left behind while others go on for the big moment. Michael Collins was the member of Apollo 11 who had to stay on the ship, as Neil Armstrong and Buzz Aldrin set foot on the moon, and Jeffrey was a school friend of Anderson’s. It’s a little bit sad, with a melancholy acoustic verse, but it builds into a grand chorus that is one of my favorites.

6. To Cry You a Song (6:15) – Ian made a bit of a naïve goof here with the lyrics. “Flying so high, trying to remember / How many cigarettes did I bring along?” was only supposed to refer to flying in a plane, but to any normal listener it would be interpreted as a drug reference, even though Ian Anderson was pretty drug-free. The song is another rocker with distorted guitar and effects on the vocals.

7. A Time for Everything? (2:44) – The lyrics here deal with the shortness of life, and are possibly a caution to make the most of it. The riffing is a little Celtic, and Martin gets some feedback out of the guitars on the song.

8. Inside (3:49) – My favorite song on the record. It’s a soft rock tune, with a nice flute melody, and some very nice basslines from Glen Cornick. It’s a song about enjoying the little things in life, and the lyrics have always rung true to me. Sometimes we need to remember what’s really important to us. Ian has a knack for writing about little things in life that speaks to me.

9. Play In Time (3:49) – A flute riff opens the track, with two guitars harmonizing it. The organ helps this song be the hardest one on the record, and the chorus has some creepy backwards piano. Martin goes into an effects-drenched solo that seems to have been messed with quite a bit in the studio.

10. Sossity; You’re a Woman (4:42) – “Sossity” is actually meant to be society. The lady is “dressed in white, but [her] shoes aren’t clean.” The track is dominated by acoustics, with some organ, flute and tambourines. It’s my least favorite track on the record.

These are the songs on the original album. Versions can be picked up with the bonus tracks Singing All Day, Witch’s Promise, Just Trying to Be, and the UK mix of Teacher. If you do pick up Benefit, I recommend getting one wit the bonus tracks, as they are fantastic songs.
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Old 02-10-2007, 12:10 AM   #31
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"Pet Sounds"

The Beach Boys

Released 1966
Produced by: Brian Wilson

One of the Classic Albums of the 20th century, Pet Sounds, is a landmark album that changed everything, including the very way we record music. It emotionally changed all who heard it, including the Beatles and George Martin, who recorded Sgt. Peppers with Pet Sounds in mind. It ranked second in Rolling Stone Magazines "Top 500 Album of All-Time", third in VH1's list, and First in the German Magazine Spex's 100 greatest.

Before recording, Brian Wilson contacted young lyricist Tony Asher, whom Brian had met in Hollywood not long before. Before Pet Sounds Tony wrote Jingles for advertisements. He co-wrote the lyrics on all he tracks except for "Im Waiting for the Day", "I Know there's an Answer"(Originally titled "Hang on to your Ego", and written by Asher and Wilson), "Sloop John B" ( A cover), and the two instrumentals, "Let's go away for Awhile", and the bond-themed "Pet Sounds". One interesting fact is the actual Beach Boys band only contributed vocals, for the most part, the instruments played by some of the strongest session musicians in the L.A. area.


1. Wouldn't It Be Nice- 2:33 (Wilson, Asher, Love)
Opened by a bouncy Typani (?, check me on that) line, and then followed up by some Lyrics about an adolescent romance, not quite out of high-school, waiting for the day the couple can sleep together, and say goodnight. Some cool acordian parts in the song, as well as some ethereal guitars in the intro. Nearly didnt make it on the album at first, but then, oddly enough became the opener.

2. You Still Believe in Me- 2:36 (Wilson, Asher)
Perhaps the second part of the story started in "Wouldn't it be Nice"? Maybe the time to sleep together has come, and still mistakes were made? And he, who made the mistakes is in disbelief that the she will "Still believe in Me". Some outstanding vocals in this choir boy-type song, and a bicycle bell! To get the unique Piano sound in the intro Some one had to get inside the piano, an pluck the string as the key was pressed. A classically-trained musician once said that this song, "Compositionally embodies the unique manner in which Brian writes music. In a sense, Brian created a new way of using the scale. His progressions are always going up, then pausing before they go up again, like they're going towards God. As you'll clearly on this song, Brian doesn't come down in the middle of a progression."

3. That's Not Me- 2:31 (Wilson, Asher)
A real showcase of Mike Love's voice, dreams of the old Beach Boys tickle this track. A big fat bass line is also a great addition of this track, it also features some nice vocal tracks in the backround, emerging like a shadow from the tomb every once in awhile. Some odd key changes also are in this track.

4. Don't Talk (Put your Head on my Shoulder)- 2:58 (Wilson, Asher)
Brian Wilson always said he thought he nailed the emotion in his voice perfectly in this track, he did. Brian said, "I felt deeply about that line [..."Listen to my Heart... Beat" and then a beautiful string arrangement.]. One of the sweetest songs I ever sang. I have to say I'm a bit proud of it. The innocence of youth in my voice, of being young and chillike, I think that's wht people liked".

5. I'm Waiting for the Day- 3:06 (Wilson, Love)
Dynamic, from the powerful introduction, to a beautiful English Horn line echoing the Vocals. The Backing vocals that made the Beach Boys famous, are shown here dazzlingly. Once again Brian's want for a more sharp and complex album is shown here, with his tempo changes and warm strings that only appear at the end of the track.

6. Let's go Away for Awhile- 2:24 (Wilson)
A wonderful instrumental thats like elevator music, and as Brian said, "The most satisfying piece of muic i've ever made...". The track wih the most musicians on, including, twelve violins, a piano, four saxes, an oboe, vibes, a steel guitar using a coke bottle as a slide, a drummer (who shines on this track), and two basses. A friend of Brian's once expressed her love for the track, and asked how he came up with it, Brian replied, "Here's a goo way to describe it. 'Try to hum it.' " :lol: have fun with that.

7. Sloop John B- 2:59 (Traditional; Inspired by Kingston Trio's version, with an arrangement by Brian Wilson)
Alot of great albums have had a great cover, even though this one was not intended for Pet Sounds, but had strong executive pressure to be added, seeing as it was the hit single at the time. Think of it as the Beach Boy's "Strawberry Fields", or, less drastic perhaps, they're "Paint It, Black" or "Maggie's Farm", cause after this song something incredible came (and not neccesarily one album or song, perhaps a new chapter for the band), and something a little different, but still keeping a firm grasp on the bands overall sound. Anyways, this is a catchy song with a good vocal from Mike Love, and a great 12-string guitar overdub added for the album. A kind of cool subject of a guy who just wants to get off the silly ship and go home, away from unjudicious sheriff and captains, who "threw away all my grits...".

8. God Only Knows- 2:54 (Wilson, Asher)
The most beautiful song in the English language? It very well might be, just listen to the string arrangement, and you'll, as Bono put it, "Believe in Angels". Brian Wilson who of course is a God-fearing man loved that quip. Carl Wilson, in one of his only lead vocal duties ever, delivers one the most beautiful vocal performances ever, and Brian and Bruce on the backing deliver some great stuff too. the clip-clop percussion and sleigh bells are also great late additions to the track, not to mention the countless other instruments on the track. Surprisingly it only reached #39 in the US (but has become immensely long after), but was a top 5 in the UK, and helped enable the Beach boys be "The most popular vocal group in the UK". Three minutes of perfection.

9. I Know There's an Answer- 3:18 (Wilson, Sachen, Love)
The Melodic bliss of "I Know there's an Answer" is what makes this one of my favorite tracks on the Album. Originally named "Hang on to your Ego", and different lyrics, but were re-written by Tony Sachen, in a bit of a challenge by Brian Wilson. Perhaps also, the progression of a story throughout the album. Is it about the fascination of the mysterious ways of women, or, is it a subtle way of Tony asking for a raise (Tony was the Road Manager).

10. Here Today- 3:07 (Wilson, Asher)
Another masterpiece in the arrangement-sense of Brian Wilson. More tempo changes, more instrumental bridges, and more great vocals. But perhaps the most amazing thing about the song, is the conversation that goes on during the bridge, about cameras. An overlooked track that has some musical flair all to its own.

11. I Just Wasn't Made for These Times- 3:21 (Wilson, Asher)
Sung by Brian, and perhaps, about Brian. It is about a guy who feels advanced and will leave all human kind behind him, "All my friends thought I was crazy to do Pet Sounds...", something Brian once said when talking about the track. Also perhaps the first time the Theremin appears on a Rock track, it was experimented on other tracks, but din't fit in. Shortly after it's success on this track it was used on "Goo Vibrations"...

12. Pet Sounds- 2:37 (Wilson)
The title track and originally written with James Bond in mind (Originally named "Run, James, Run), and the best guitar track on the album, and a stronger instrumntal than "Let's go away for Awhile". The percussion give it a very latin-feel, the baritone horns discreetley appear throught out the song, like a submarine emerging from the depths. It also gave the album title a double meaning, this track and Brian's Pup's (Bannana and louie) can be hear CODA on "Caroline, No".

13. Caroline, No- 3:34 (Wilson, Asher)
Brian's favorite, and obviously his delusional fathers fvorite, Murry Wilson, a Pop single traditionalist, spe up the tape to make Brian sound younger, and took out the Train interlude and the Puppies barking in the CODA. Brian released this later as a solo single, it hit #32 and was the only single by Brian's solo Capitol career.

"No one is educate musically untill they've heard Pet Sounds... I is a total, classic record that is unbeatable in many ways."
-Sir Paul McCartney

"Without Pet Sounds, Sgt. Pepper wouldn't of happened... Pepper was an attempt to equal Pet Sounds."
-Sir George Martin, Producer, The Beatles

special thanks:
to the liner notes of Pet Sounds (40th Anniversary) for the Musical Personel

Ill probably catch some grammatical errors, and edit pretty soon...
It's been a while UG...
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Old 02-10-2007, 12:12 AM   #32
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didnt fit before...
Band members
Brian Wilson – Organ, Piano, Arranger, Keyboards, Vocals, Vocals (bckgr), Producer
Mike Love – Vocals, Vocals (bckgr)
Carl Wilson – Guitar, Vocals
Dennis Wilson – Drums, Vocals
Al Jardine – Vocals
Bruce Johnston – Vocals, Keyboard

Session musicians
Glen Campbell – Guitar (12 String)
Paul Horn – Sax (Tenor)
Frank Capp – Percussion, Glockenspiel, Bells, Tympani [Timpani], Vibraphone
Plas Johnson – Percussion, Saxophone, Sax (Tenor)
Barney Kessel – Guitar, Mandolin
Don Randi – Piano
Jerry Cole – Guitar, Guitar (Electric)
Frank Marocco – Accordion
Lyle Ritz – Ukulele, String Bass
Julius Wechter – Tympani [Timpani], Vibraphone, Latin Percussion
Mike Deasy Sr. – Guitar
Terry Melcher – Tambourine, Vocals
Jerry Williams – Percussion
Billy Strange – Guitar, Guitar (Electric), Guitar (12 String)
Jim Gordon – Percussion, Drums
Hal Blaine – Bongos, Drums, Tympani [Timpani]
Chuck Berghofer – String Bass
Bruce Botnick – Engineer
Chuck Britz – Engineer
Roy Caton – Trumpet
Gary Coleman – Bongos, Tympani [Timpani]
Al DeLory – Organ, Piano, Tack Piano
Dennis Diken
Carl Fortina – Accordion
Ron Furmanek
Bill Green – Flute, Percussion, Saxophone, Sax (Tenor)
Jim Horn – Flute, Saxophone, Sax (Baritone), Sax (Tenor)
Jules Jacob – Flute
Carol Kaye – Bass, Bass (Electric)
Larry Knechtel – Organ
Larry Levine – Engineer
Nick Martinis – Drums
Ron McMaster – Remixing
Mike Melvoin – Harpsichord
Jay Migliori – Clarinet, Flute, Clarinet (Bass), Saxophone, Sax (Baritone)
Tommy Morgan – Harmonica
Jack Nimitz – Sax (Baritone)
Bill Pitman – Guitar
Ray Pohlman – Guitar, Mandolin, Bass (Electric)
Alan Robinson – French Horn
Ernie Tack – Trombone (Bass)
Paul Tanner – Electrotheremin
Tommy Tedesco – Guitar (Acoustic)
Brad Benedict – Photo Research
Arnold Belnick – Violin
James Getzoff – Violin
William Kurasch – Violin
Jerome Reisler – Violin
Tibor Zelig – Violin
Ralph Schaeffer – Violin
Sid Sharp – Violin
Harry Hyams – Viola
Norman Botnick – Viola
Joseph DiFiore – Viola
Darrel Terwilliger – Viola
Jesse Erlich – Cello
Joseph Saxon – Cello
Justin DiTullio – Cello
Gail Martin – Trombone
Tommy Steele – Art Direction
Leonard Hartman – Clarinet, Clarinet (Bass), Horn (English)
Sam Gay – Art Supervisor
George Jerman – Photography
Darren Wong – Art Supervisor
Lisa Reddick – Producer
Jim Elliott – Producer
Bobby Klein – Sax (Tenor)
Ralph Balantin – Engineer
Michael Etchart – Executive Producer
Tammy Kizer – Producer
Al Casey – Guitar
Richard Evans – Design
Steve Douglas – Clarinet, Flute, Saxophone, Sax (Tenor)
It's been a while UG...
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Old 02-10-2007, 12:48 AM   #33
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Supertramp - Crime Of The Century

Supertramp were not doing to well during the early 1970s. Their first two albums, both very long-winded prog-rock compositions, were suffering from a lack of sales and the band had also lost its financial support from millionaire Stanley August. They bounced back in 1974 with their third album, Crime Of The Century, which marked a radical departure from its predecessors in its tighter, more melodic, pop-oriented songs. It hit the top 40 and was certified Gold, and paved the way for the band’s 18-million selling masterpiece, Breakfast in America.

Released September, 1974
A&M Records
Produced by Ken Scott and Supertramp
Recorded at Trident, Ramport Studios and Scorpio Sound, London

Roger Hodgson - Vocals, guitars, keyboards
Rick Davies - Vocals, keyboards, harmonicas
Bob Benberg - Drums, percussion
John Helliwell - Saxophones, clarinets, backing vocals
Dougie Thomson - Bass

All songs written by Davies/Hodgson

1. School (5:32)
One of the band’s defining songs, School begins with the long, lonely, drawn-out strains of a harmonica. The guitar slowly fades in as Hodgson sings the first verse. Everything fades out again, as subtle guitar licks are played over the sounds of children playing in a schoolyard. The song fades in again with the full band coming in, over a pulsing single-note bass line and a very tight beat on the part of Bob Benberg. The song quiets down once again, except for some very high guitar licks being played over a steady, repeating keyboard riff in the background. The tension builds once again, and the band returns full force with an explosive piano solo on the part of Davies. The bridge increases the tension even further, and the dam bursts just in time for the climactic final verse. The lyrics reflect on how schoolteachers are always expecting students to conform to certain norms and never question their authority, until the final verse where Hodgson mentions that you and only you can decide who you are.

2. Bloody Well Right (4:31)
Another concert staple, Bloody Well Right is a slightly more upbeat-sounding song music-wise. Unlike most Supertramp songs, the keyboard takes a back seat to the guitar, with the former being relegated only to the chorus and the very jazzy-sounding intro solo. The band comes in on a slow 4/4 beat, with Hodgson playing some nice wah-guitar licks over the keyboard and bass before breaking into a power-chord driven verse. In a similar fashion to School, the lyrics deal with how school is more about social status and wealth than the desire to actually learn. The band breaks off for the chorus, which has Davies singing the defining line “Right, you’re bloody well right, you’ve got a bloody right to say” over the keyboards. The band returns for another verse (and chorus,) and the song fades out on a mellow saxophone solo, with handclaps added on every beat for good measure.

3. Hide In Your Shell (6:48)
The song begins with a light keyboard riff, but quickly evolves into a mid-tempo rocker with a fading in-and-out synth line à la Won’t Get Fooled Again. The song ebbs and flows, but like many a good song, returns for a very satisfying final verse after a fairly extended lull. As the title states, we begin to see some foreboding signs of unrest in the character defined in the first two songs, with the lyrics seemingly attempting to offer comfort and shelter to a person becoming increasingly frustrated with the ways of mass society.

4. Asylum (6:43)
Starting off with a very nice, melodic piano intro, Asylum gives the first impression that everything is going to be all right. The lyrics tell another story, however, with Davies asserting that he is not insane, that “It’s just a game I play for fun.” As the chorus comes in, Davies switches to singing in the third person, seemingly describing the character from an outsider’s point of view as a nice, ordinary man. The song comes to an extremely foreboding close, with string sections, drum fills, random screams symbolizing the character’s decent into insanity, and Hodgson’s trademark wah guitar playing low-end, minor key licks before fading out to the same piano melody that begun the song.

5. Dreamer (3:31)
A radical departure from Asylum, Dreamer is an upbeat, up-tempo piece that begins with a very poppy keyboard riff. Dougie provides a solid bassline for the song, but stops quickly as the song goes into a typical Supertramp breakdown, with Hodgson singing over the continual keyboard line. The bass eventually spearheads the build-up to the song’s climax, which features an explosive and very unique beat that perfectly compliments the ascending bass and ringing keyboards, fading out to the notes of a xylophone. As the song title implies, the lyrics revolve around the concept of a young boy dreaming of a better life but unable to drag himself out of the one he is living. Perhaps it is a throwback to the childhood days of the character profiled throughout the album. The song has a slightly chaotic feel to it, which most probably results from the fact that the demo of the song, recorded in Hodgson’s living room, consisted of him banging on many random objects within reach that happened to produce a sound.

6. Rudy (7:19)
This is a very diverse song, beginning with a classical-souding piano line. The first few minutes ebb and flow freely, with Hodgson’s guitar trading licks with the piano as Davies sings about a man who is alone, fat, stupid, and without love. The song breaks down about half way, until the piano comes in on a very ominous, low key riff as the rest of the band builds up around it. Rapidly ascending bursts of string sections accentuate the sense of urgency, as Davies and Hodgson trade vocals with some explosive bursts of wah guitar in between the lines. The lyrics go on to assert the fact that there is still a chance for the character to get his life back on track. However, as the song ends on a slightly orchestral note, Davies comments that “he’ll soon be back on his train [to nowhere]...”

7. If Everyone Was Listening (4:04)
This song is structured similarly to most of the other songs on the album, a fairly slow tempo with a piano-driven intro and verse, and a full-band chorus. In the song, the character voices his frustrations with the fact that nobody bothers to help him solve his problems, and how these people are responsible for his ever-increasing loss of reason. Eventually he breaks down, and the final line of the song is him pleading “Oh no, please no, don’t let the curtain fall.”

8. Crime Of The Century (5:36)
Beginning with the line “Now they’re planning the crime of the century / Well what will it be?” This song seems to paint the picture that the characters profiled throughout the album are plotting to bring about the downfall of society. No further information is given, though, as the majority of the song is devoted to the long, slow, sax-and-string fueled instrumental climax that culminates with the same lonely harmonica used to usher in the intro to School.
Originally Posted by Maet
The fact is, it's the internet. If there's a better reason for the internet besides porn, arguing and piracy, I haven't found it.

Originally Posted by psychodelia
Hey Led Zeppelin is my third favorite guitar player, after Pink Floyd and Jethro Tull.

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Old 02-10-2007, 03:08 PM   #34
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Selling England By the Pound


Steve Hackett:
Electric Guitar, Nylon Guitar.
Peter Gabriel: Vocals, Flute, Percussion, Oboe.
Tony Banks: Keyboards, 12-String Guitar.
Phil Collins: Drums, Percussion, Vocal, Lead Vocals on More Fool Me.
Mike Rutherford: Bass, 12-String Guitar, Electric Sitar.

Selling England By the Pound is the fifth studio album by Genesis, released in 1973. This is not an album from the hit-making machine fronted by Phil Collins, but from the years when Genesis was a progressive rock band. The album is not appreciated by all; it is too long and intricate to be an obvious mainstream hit, but it also is not aggressive enough to be attractive to teens who despise such “pomp rock”. Despite these difficulties, it has still gone Gold in the US (although it took until the 1990s) and hit #3 in the UK when it was released.

The album is not strictly a concept album, like The Lamb Lies Down on Broadway. To me, Genesis’ strength was not the concept album, but the extended song that told a story. There are several on here, all of high quality. There is also some connection to the tracks, as many are rather “British”. The lyrics look back fondly towards a more ancient England (much like some Jethro Tull work), and there are many British references, even in the title of the album. Most references probably go over my head as an American, but there’s still much for non-Brits to enjoy.

The music is very much inspired by classical and English folk. Rather than long jams and improvisations, the music is very much structured, with long songs being carried by various written sections. There are odd time signatures and key changes, but the focus of the songs are generally more melodic than on the technical aspects (although there isn’t a lack of technical playing).

This is one of those rare albums I’ve found where a band seems to have hit all its peaks at once. The composition, playing, and lyrics are all the best I’ve heard from Genesis. Lead guitarist Steve Hackett has finally gotten his technique to catch up with his ideas, using a number of techniques that would be popularized by shred guitarists. Peter Gabriel has his best lyrics from Genesis here, which are evocative and often witty.


1. Dancing with the Moonlit Knight (8:04) – “Can you tell me where my country lies,” sings Gabriel as he opens the album. The song begins softly, with delicate guitar work and flutes. The lyrics contain many puns and references to English things. As the band hits the chorus, they build up and open the sound, with Tony Banks using the Mellotron well to fill up the sound. From the chorus, the band goes right into a galloping solo section. Hackett shows his prowess on guitar, using the advanced techniques of tapping and sweep picking years before they would be popularized by shredders. (Yes, you did read correctly: this is well before Eddie Van Halen supposedly “invented” tapping.) He also is developing the effects-laden sound that he continues to have today. The solo section heads back into an altered version of the verse, with Gabriel bringing the puns right back. “There’s a fat old lady outside the saloon. / Laying out the credit cards she plays fortune. / The deck is uneven right from the start / And all of their hands are playing apart.” Another chorus, and the band goes into synthesizer and guitar solos, before softening the music and going out with delicate arpeggios and strings.

2. I Know What I Like (In Your Wardrobe) (4:08) – This is a lighter pop song, which actually charted in England. The song begins with some interesting guitar sounds from Hackett that resemble a lawn mower. The lyrics deal with a young man who mows lawns for a living. He isn’t interested in making much of himself, and is happy the way he is, despite people telling him to improve himself. It’s a bit like some of Phil Collin’s better pop material, so perhaps there was some influence from it.

3. Firth of Fifth (9:38) – Banks begins the track with perhaps some of his best-known piano playing. The opening melodies on the piano are beautiful, and no doubt classically inspired. The band comes in, and Gabriel sings some of my favorite lyrics, including, “And so with gods and men / the sheep remain inside their pen / though many times they’ve seen the way we leave”. The dynamics shift several times, with softer acoustic parts contrasting with thumping organ-dominated bits. The band eventually grows soft, with Peter Gabriel playing a flute solo over a piano background. Banks goes into a piano solo that builds up to a restatement of the intro theme; this time on synthesizer. Hackett follows up with what many consider to be one of his finest solos. It is very melodic, and makes excellent use of the changes by following them to great effect, creating a sometimes haunting atmosphere that eventually settles to a happier theme. Gabriel sings a final verse, and the song fades out as Banks plays his intro theme a final time.

4. More Fool Me (3:12) – Phil Collins provides the lead vocals on this poppier tune. He describes a girl who doesn’t treat him well, yet he still stays with her and hopes things will work out for the best. The track has Hackett and Mike Rutherford providing most of the music on acoustic guitars.

5. The Battle of Epping Forest (11:48) – This is an epic song about two gangs fighting, inspired by a news story. The track fades in with a marching theme, with lots of snare and flute. The band kicks into a fast groove that reminds me of Yes, with Gabriel singing about the antics of thugs like “Willy Wright” and “Little John” battling in the forest. The band slows down grandly for the chorus, followed by a soft, tense verse. Gabriel changes his voice often to reflect the characters, with the tempo changing often. I suspect that many of the lyrics allude to battles in English history, but I’m not knowledgeable enough to know for certain. One of the highlights for me is a slower interlude about a dirty Revered. “It all began when I went on a tour / hoping to buy some furniture / I followed a sign – it said “Beautiful Chest” / It led to a lady who showed me her best.” By the end of the song, none of the gang members are left alive. Some of my favorite Genesis story-telling.

6. After the Ordeal (4:16) – The only instrumental on the album, After the Ordeal opens with lovely piano and acoustic playing. The song sometimes turns to a darker sound, with tambourine accenting it. The drums eventually crash in, bringing a moment of excitement, but the band settles back into a soft groove, backing a melodic solo by Hackett. A harmony guitar comes in, balanced by some nice flute playing by Gabriel, and the song fades out.

7. The Cinema Show (11:03) – This tale of a modern Romeo and Juliet begins with some soft, chiming arpeggios from the guitars, as Gabriel sings the verses. The band comes in, and the theme becomes happier and brighter, with some excellent playing by Hackett that doesn’t get in the way of the lyrics. The verses end, and are replaced by the classic prog Genesis sound; layers of clean, harmonized guitars, with soft flute and oboe played over them. Vocals and drums prepare the song to build right back up to another verse. The verse is followed by a driving instrumental section, propelled by Collins’ energetic drumming. The synth solos are backed well by Banks with some very nice Mellotron work. The changes in backgrounds help keep the solos from getting old or stale, and propel the music along. The band drops out, save for an acoustic guitar, which segues perfectly into the last track…

8. Aisle of Plenty (1:35) – This is a soft repeat of the theme from “Dancing With the Moonlit Knight”, helping to connect the album and give it a sense of ending. The short song has its share of puns, especially regarding English grocery stores (this was one pun I actually understood, since I shopped at the store when I visited England). Gabriel sings overdubbed lyrics that are rumored to be taken from his shopping list, and the song fades out.

This is without a doubt one of my favorite albums, and it’s one which combines some fantastic work in almost all the areas that make an album great. If you would like an album with witty lyrics, great composition and playing to match, I urge you to consider this album.
(Slightly outdated) Electronic and classical compositions by m'self: Check 'em out
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Old 02-11-2007, 05:59 AM   #35
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Bob Dylan - Blood On The Tracks

This was Bob's 15th album, released in 1975. Bob's work was largely disregarded before this but Blood on the Tracks was well greeted by the public. Many subsequent albums have been labelled "The best since Blood on the Tracks"

Bob Dylan – Guitar, Harmonica, Keyboards, Vocals
Bill Peterson – Bass
Eric Weissberg – Banjo, Guitar
Tony Brown – Bass
Charlie Brown – Guitar
Bill Berg – Drums
Buddy Cage – Guitar (Steel)
Barry Kornfeld – Guitar
Richard Crooks – Drums
Paul Griffin – Organ, Keyboards
Gregg Inhofer – Keyboards
Tom McFaul – Keyboards
Chris Weber – Guitar, Guitar (12 String)
Kevin Odegard – Guitar
Phil Ramone – Engineer
Pete Hamill – Liner Notes
Ron Coro – Art Direction

1. Tangled Up in Blue – 5:40

This is a great song. Classic Dylan lyrics with nice acoustic. I always find myself singing along to Dylan, his lyrics are exceptional. The acoustic guitar here is a constant chord pattern and the song finishes with a trademark harmonica piece by Bob.

2. Simple Twist of Fate – 4:18

Again another great song which I find myself singing along to. Lyrics are great and again a nice repeating chord pattern. An interlude with BD's harmonica (if you like Pink Floyd, Bob Dylan's harmonica is almost equal to David Gilmour's guitar).

3. You're a Big Girl Now – 4:36

This has much more going on than the previous two. Again acoustic guitar, and possibly a 12 string, finger pick intro. You can hear piano in this song. As always Dylan's lyrics are great and bring any song to life.

4. Idiot Wind – 7:45

I love this song. From the opening line to the end you can't get enough. Organ in the background with acoustic guitar chords. Dylan's vocals are very good in this song and they compliment his lyrics. Idiot Wind combines all of Dylan's greatest aspects and makes a true masterpiece. This finishes with a harmonica piece.

5. You're Gonna Make Me Lonesome When You Go – 2:58

This starts with a Harmonica piece. Dylan's lyrics and vocals are flawless here. Acoustic guitar chords again. One thing which is great about Dylan is that most of his songs consist of a few chords, very simple and effective.

6. Meet Me in the Morning – 4:19

This has a nice riff in the bakground for the intro and chords come in with the vocals. Lyrics are great (honestly I've said that too much now, but it's true). Dylan's vocals are good here, and the vocal pattern is memorable. This ends with a brief guitar part.

7. Lily, Rosemary and the Jack of Hearts – 8:50

This for me is the highlight of the album. Great upbeat rythm and lyrics make this song a great success. I could sit and listen to this for hours, unfortunately it only lasts 8:50 . The start includes a harmonica piece and like most Dylan pieces the main song is just a few chords. It fades out with another harmonica piece.

8. If You See Her, Say Hello – 4:46

Again just a few chords make this song. The lyrics and vocals are good. this is a much slower song but you can still sing along comfortably. The chorus is great lyrically and vocally. Unlike most Dylan songs this includes no harmonica.

9. Shelter from the Storm – 4:59

A few chords make up this song yet again. The vocals and lyrics are classic Dylan. The whole song has quite a high tempo. As always I find myself singing along, Dylan is just such a great lyricist. The rythm in this song is very catchy, and ends with harmonica.

10. Buckets of Rain – 3:29

This is the final song on the album. It's very nice, nice lyrics and vocals. Acoustic guitar finger picking is played throughout. The song is quite monotonous though, the lyrics are all quite similar.

Anyone who likes Dylan will probably allready have this album...if not they should get it.
--All songwriting credits Dylan

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Old 02-11-2007, 10:11 PM   #36
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Bob Seger - Live Bullet (1976)
This is my review to Bob Segers' "Live Bullet" album. I hope that you enjoy the review, and feel free to PM me with thoughts on it. Read on, and enjoy

As always, I will start off with the musician credits, included with links to read about them on Wikipedia, for in case you are wondering about a musician, or would like to read about their career a bit more.

Bob Seger - Lead Vocals, Guitar, and Piano
Drew Abbott - Lead Guitar, Backing Vocals
Alto Reed - Tenor, Alto and Baritone Saxophones, Percussion and Backing Vocals
Robyn Robbins - Organ, Clavinet, Melotrone, and Piano on "Katmandu"
Chris Campbell - Bass Guitar and Background Vocals
Charlie Allen Martin - Drums, Background Vocals, Answer Vocals on "Heavy Music", and Harmony Vocals on "Jody Girl" and "Get Out of Denver"

Ok, I know that there aren't Wikipedia articles on a few of those guys. I apologize for that, but if you're really interested, I'm sure that it would be incredibly easy to find articles on them by using Google.

I even included the link, to make up for the lack of Wikipedia articles.

I'll kick this off with a key, so that everything makes sense:

# Title Track - Time of Song
(Writing Credits)

Okay, now, we can begin. Read on, and enjoy.

1. Nutbush City Limits - 4:37
(Tina Turner)

Starting off really loud, with a really basic blues riff, this starts the album off really well. I'm not too fond of the vocal style, but it's still great. When you start a live album, you obviously need to start it with something rocking (if it's a rock and roll album), and this song definitely accomplishes that. You can't really make out what the guy announcing them on is saying, which kinda sucks, because you don't feel as much like you're there, but all the same it rocks.

2. Travelin' Man - 4:53
(Bob Seger)

"Thank you very much. A couple of songs we'd like to do for you from the new album tonight" (or something like that). This song is great. The playing on it is great. It's really light, and the organ part is great. The at about 1:33 the drums play a lick that kicks the rest of the band in and sounds awesome. The guitar lick that's played here is awesome, even though it isn't particularly difficult. Bob and the Silver Bullet band are so awesome here, and absolutely rock. The sax is so well played. And segued straight into "Beautiful Loser", it's just a cool medley, straight out.

3. Beautiful Loser - 4:00
(Bob Seger)

The sweeping keyboard part that is played here sounds so great. And the chorus rocks. I've always enjoyed this song. The drumming sounds pretty amazing. It's not anything technically difficult, but like any good drummer, he played very well for the song. The vocals and organ parts here are really what make the song though. And the part where it breaks down sounds so great. The whole song is absolutely perfect. It's a favorite of mine, and it really deserves a listen by anyone who's a fan of Classic Rock, and music in general.

4. Jody Girl - 4:28
(Bob Seger)

This is a really slow, Blues/Country kind of song. The keyboard part sounds so nice. The guitar part is really nice sounding. It really demonstrates how dynamically incredbile this band was as a whole. And it comes in at the best time, right after "Beautiful Loser". This is really easy listening, and the chords played sound so awesome. The drumming isn't excessive, which is really good because it could potentially ruin it if it were. It's great.

5. I've Been Working
(Van Morrison)

As Bob says in the intro, this is a really funky song, and absolutely awesome. The sax playing is great, although there isn't much. A great song to absolutely rock out to after "Jody Girl", and it further demonstrates how dynamically great they were. Playing those three songs like that at a concert, to me, would be absolutely killer. The drumming is cool, and Charlie Martin does a great job at it.

6. Turn the Page - 5:05
(Bob Seger)

Probably the biggest hit from the album, it starts off with that oh so memorable sax riff. It's great. The bass line played sounds really nice. The vocals and lyrics here, describing life on the road, really make sense and sound great. The keyboard riffs and sax riffs that are played all the way through the song sound so nice too. There's nothin extensive done, they just fill in a couple of places in the song, and help give the full on effect that the song has. Amazing stuff. And the song builds up to a point, with drums and all, then just flat out crashes back down. Then, it rebuilds itself, only much faster this time. Now the whole ban are playing together again, but they're not playing so loud that it's overpowering to the song. They do a great job of staying back. And then, the climax to the song, which is just your intro riff again. And a quick word of advice before moving on;
Guitar players: do not try to recreate that sax riff. It's possible to play the riff, but you can never achieve the effect that the sax had. Metallica did a version, if you'd like to hear how impossible it is to recreate on the guitar, and in my opinion, it sucks. So, please don't try to recreate the song without a sax.

7. U.M.C. (Upper Middle Class) - 3:17
(Bob Seger)

Now, after that incredibly slow ballad, it's time to pick up pace and rock some more. The guitar sounds so great. The slide is amazing, and I'm not sure of who played it, but it sounds great. The drumming sounds great. This song has such a great organ solo in it. The sax playing gives the song body where there is sax playing, and the vocals/lyrics sound absolutely awesome. It may be a short song, but it is a great one.

8. Bo Diddley - 5:40
(Ellas McDaniel)

The organ playing, drumming, bass line, and guitar, all absolutely gallop and create such a cool, funky sound. It's great. Absolutely rocking song. The sax solo (that's right, solo) is so great. Alto Reed is such an awesome Sax player, and this song is the perfect vehicle for him to play such Rock and Roll. The song breaks down, and the drumming sounds great. The bass, keyboards, and guitar that come in rock out so hard too. The organ playing sounds so great. This is a stunning performance, and one of my favorite tracks. The power of the music played here is so funky, and really a great fusion of the blues and funk.

9. Ramblin' Gamblin' Man - 3:01
(Bob Seger)

Blues rock the way it should be played. Nothing complex, just a great song. The guitar solo is awesome. The only thing that I don't like about it is how short it is. That kind of blows, but otherwise, it's awesome. But, there is a second guitar solo, so that first one being so short is made up for, and this one is equally as great. The vocals/lyrics aren't anything special, but it's still a great song.

10. Heavy Music - 8:14
(Bob Seger)

Will complete later on. Unable to right now.
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Old 02-16-2007, 06:10 PM   #37
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Horslips - The Book of Invasions

The Book of Invasions: A Celtic Symphony is an album by the Irish celtic rock band Horslips. It was a concept album based on an adaptation of Irish legends built into a complex story. Released in 1976, it is usually considered their best work.

"In the old Ireland there were three principal categories of song, called geantrai, goltrai and suantrai - the joyous strain, the lamenting strain and the sleep strain. When Lug was proving himself expert in every art before the Tuatha hierarchy his musical contribution was an immaculate performance of the three strains. Later, after the Second Battle of Moytura, Lug and The Dagda (The Good God) pursue the Formorians who have stolen The Mighty One's harp. When the instrument is located the Dadga bids it come to him. As it flies to his hands it kills those enemies standing in its path. Then The Dagda plays the three strains and when the opposing host are sleeping, from the magic of the suantrai, he departs safely, taking the harp with him."
I'd tell you the line up but I don't know it and I'm too lazy to find it on their site

1. Daybreak - 3:19 (Devlin, O'Conner, Carr, Lockhart, Fean)

This song is very basic but very nice. A simple riff repeated throughout, sometimes on the guitar sometimes on piano/keyboard and sometimes with the brass band. A nice way to open the album.

2. March into Trouble - 0:51 (Uncredited)

A medievil sound to this tune (hope you know what I mean) acoustic fingerpicking. A chord progression is played in the background, with organ as well. Close to the end a flute comes in.

3. Trouble (With a Cpital T) - 3:24 (Devlin, Carr, Fean, Lockhart, O'Connor)

I have no idea what instrument is used to make the sound at the start but I think it's on a keyboard...it's used a lot in this CD. This is a great song with some nice electric guitar providing background chords. Lyrics are good and the vocals compliment the song.

4. Power and the Glory - 3:57 (Devlin, O'Conner, Carr, Lockhart, Fean)

this song opens with eerie sounding organ, then the bass and electric guitar come in. The song is very good and lyrics and vocals are strong here. During the chorus there is a nice riff played..overall a great song.

5. Rocks Remain - 2:49 (Uncredited)

This is similar sounding to "Brain Damage" on Dark Side of the Moon, distorted guitar playing a short picky bit. Voclas and lyrics are good here.

6. Dusk - 0:38 (Uncredited)

An organ plays, then the guitar echoes the organ...a great effect. There is then some sort of violin played, this repeats for the short duration of the song and blends into...

7. Sword of Light - 4:57 (Devlin, O'Conner, Carr, Lockhart, Fean)

A nice upbeat song...a quick pace played on the cybals. The strange instrument is here again. The vocals and lyircs are great here. I like this song a lot, during the chorus violin is played along with the other instruments.

8. Dark - 2:01 (Uncredited)

Like daybreak this song is comprised mainly of a simple riff played by a brass band, then echoed by a distorted guitar. This is then followed by violin and repeated until the end.

9. Warm Sweet Breath of Love - 3:27 (Devlin)

I believe this is an ocordian intro, it is then joined by piano, rythm guitar and percussion. Lyrics and vocals are good on this song. The song as a whole is very nice and rather exotic sounding.

10. Fantasia (My Lagan Love) - 3:18 (Uncredited)

This is a much slower song and begins with that strange instrument which plays the main riff whcih is then taken up by the guitar. This is accompanied by drums and bass guitar. It is a very nice song...and completely instrumental.

11. King of Morning, Queen of Day - 4:13 (Uncredited)

A very quiet and slow song (At least until the chorus comes in. Nice lyrics and vocals accompanied by a strong rythm make this song great.

12. Sideways to the Sun - 4:48 (Devlin, O'Conner, Carr, Lockhart, Fean)

Begins with a riff played by guitar and violin. The drums then come in and the vocals are not far behind. These are good with some excellent lyrics, there are no weak songs on the whole album really.

13. Drive the Cold Winter Away - 0:51 (Devlin, O'Conner, Carr, Lockhart, Fean)

This song is nice. A repeated tune is played on guitar and ocordian. The song blends into...

14. Ride to Hell - 3:54

This song is a great way to end the album. The vocals and lyrics are very good. At around 35 seconds the song picks up speed. The chorus is great. Constantly a guitar rythm is played, and organ is present. This song is very nice.
--Another song I would recommend by this band is "Dearg Doom"....excellent in all ways

I give this album 9/10...a nice addition to any CR fan's collection (and something different)...Do yourself a favour, broaden your horizons and buy this album

Wikipedia <---not very useful
Horslips Officail Site
Co-founder of the UG Pink Floyd Fan club PM me or nick dixon
Winner of the CR Best Avatar Award
Originally Posted by bodyheatseeker
ohhh burrrrn!
That's how we roll in the CR forum.
Irritate us, and we'll sic our 14 year old on you!
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Old 02-16-2007, 06:17 PM   #38
Knirps for moisture
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Join Date: Aug 2004

Also, just thought I'd let everyone know, I signed myself up for Yes - Fragile. I know I still have Dark Side to do, and I said to sign up for one at a time...but...I don't care
How to achieve Frank Zappa's guitar tone:
Originally Posted by Thefallofman
Step 1: Buy a Gibson SG
Step 2: Insert Green Ringer, EQ, 3 dead squirrels and a microwave into said SG
Step 3: Plug in and freak the **** out.
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Old 02-19-2007, 02:22 PM   #39
What's the Rush?
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Location: The Valley Of Steel (Member of the Official Band/Artist Obsessor club. PM me_and_my_esp or DownDark)
Pink Floyd ~ Meddle

Released in 1971 this was the second album to feature a song by PF over 20 mins long after Atom Heart Mother. Meddle is much more cohesive than Atom Heart Mother and is considered largely as their first great album without Syd Barrett.

David Gilmour (Guitar, Bass, Vocals, Harmonica)
Roger Waters (Guitar, Bass, Vocals)
Richard Wright (Piano/Keyboards, Vocals, Synthesizer)
Nick Mason (Percussion, Volcas)
...and of course Seamus (Vocals)

1. One of These Days - (Waters, Wright, Mason, Gilmour) 5:57

This song is great, double tracked bass keeps the rythm of the song whilst Dave plays a slide solo. According to wikipedia the slide solo at the start sounds like the intro to Doctor Who...I've never considered this but now that you mention it, it does seem similar. This is the only song throughout Pink Floyd's 40 years of history to feature vocals by drummer Nick Mason. This is the phrase "One of these days I'm gonna cut you into little pieces". I have a version of this on ATFOS* which has the phrase repeated over the background of a speech by Jimmy Young...the band disliked him

BrainDamage EDIT: Gilmour played one of the basses in this song. And I believe there is one more unreleased song that has Mason on vocals, called the X-Mas Song, which was a "Christmas song performed at a BBC-show in December 1975. The song was performed by Nick Mason."

2. A Pillow of Winds - (Gilmour, Waters) 5:07

This is a nice acoustic song lyrics are strange but good and vocals are excellent. It is one of the few PF songs to be quiet and about love. This also has some slide guitar in it. The song blends into the next via wind effects.

3. Fearless - (Gilmour, Waters) 6:05

Ahh, Fearless. This song includes the Liverpool anthem "You'll Never Walk Alone" sang by a choir used to end the song. This is also an acoustic song with nice vocals and lyrics. I think there is string instruments present on this song, but most of it is simple percussion and accoustic guitar. This song is very nice and deserves a good listening to.

BrainDamage EDIT: I don't know about strings, but there are a ton of guitar overdubs here.

4. San Tropez - (Waters) 3:40

This is a jazzy song with a very upbeat tempo, it includes great lyrics by Roger and vocals by Roger too. This features all instruments with a hawaian sounding guitar solo in the middle and a piano bit at the end the song then fades into...

5. Seamus - (Mason, Gilmour, Waters, Wright) 2:13

This was later named Mademoiselle Nobs and played during the Live at Pompeii video. It is a very nice blues song with Seamus (Dave's dog) groaning in the background. The rythm and sound in general is classical blues. Some people consider this to be the Floyd's worst song but BrainDamage, TheHeartbreaker and I disagree (and I'm sure other's do too )

BrainDamage EDIT: Damn straight The name was changed because the dog used was named Nobs, and also, the version on Pompeii is different from the one on Meddle. There are no lyrics, and according to wiki (I haven't watched the video in a while) they changed the key.

from wiki:
A female Russian Wolfhound named Nobs, which belonged to Madonna Bouglione (the daughter of circus director Joseph Bouglione), was brought to the studio and Wright gently coaxed her to provide howling accompaniment as Seamus did in the album version.

6. Echoes - (Mason, Gilmour, Waters, Wright) 23:31

Wow. This is the only word...no never mind that doesn't even do it justice. Echoes is the song that launched Gilmour among the greats of guitar playing. Live this song is transformed into something miraculous, in the stdio it is also one of the best songs ever. This song is all about water and the sea (Overhead the albatross hangs motionaless upon the air, and deep beneath the rolling waves in labyrinths of coral caves") and the lyrics and vocals are perfect. The intro is great, starting with a single note played on a revolving speaker effect. This is then joined by the other instruments. A short false start and then we enter the lyrics. This lasts for the first two verses and the enters another long instrumental part. This is a great instrumental with a nice quiter interlude in the middle, or so you think unitl David comes in with his distorted guitar and plays a few notes. This then fades into silence until the most improvisational thing on the album comes in. For the next bit David plugs his guitar into the wahwah pedal** backwards to produce a screming sound. Then the music begins again quiet at first and soon blazing into a glorious return into the final verse. After this ends the music slows and becomes similar to the intro, only backwards. This song then fades out.

BrainDamage EDIT: the screaming "seagull" sounds, as they are often refered to as, are infact made from a wah pedal. Gilmour reversed the cables (accidentally, I believe) to create those sounds. If anyone has a wah pedal, try it out, you can play with the tone knobs while rocking the wah to get some interesting sounds. They can also be heard on the song Is There Anybody Out There?
I give this album a highly recommended 9.5/10...Meddle is a must have for any Floyd fan

*A Treeful Of Secrets - 18 disc collection of PF rareities
**I'm not sure if it was a wahwah pedal

Wikipedia Article

*Edited by BrainDamage. I corrected some formatting stuff and other errors, as well as added my commentary*
Co-founder of the UG Pink Floyd Fan club PM me or nick dixon
Winner of the CR Best Avatar Award
Originally Posted by bodyheatseeker
ohhh burrrrn!
That's how we roll in the CR forum.
Irritate us, and we'll sic our 14 year old on you!
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Old 02-21-2007, 11:01 PM   #40
is classic rock.
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Join Date: Jul 2006
Location: The Great White North (Burnaby BC, Canada)

Personnel: Mick Fleetwood - Drums
Lindsay Buckingham - Guitars and Vocals
Stevie Nicks - Vocals
John McVie - Bass
Christine McVie - Keys and Vocals

Overview: Rumours is a very seminal album for Fleetwood Mac. At the time many thing were happening in the members' personal lives and the title of the record has been described as "we were all writing about each other." To this day Fleetwood Mac's Rumours still shocks and awes listeners like it did in the 70's.

Track Listing:

Second Hand News - This track is quite catchy and it sets off the rest of the record as a new direction. 4/5

Dreams - Its quite somber and truthful. Personally I don't really like it. 2.5/5

Never Going Back Again - Lindsay Buckingham's weakest contribution to the record. Its catchy and really radio friendly though. The best has yet to come. 3/5

Don't Stop - Their big hit. Don't Stop is probably the strongest song on the album. Its one of my favourite songs of all time. Its very uplifting. 5/5

Go Your Way - My FAVOURITE Fleetwood Mac song ever. Its so rock n roll and still accessible for the average listener. 5/5

Songbird - The last two songs were hard to follow up to. Songbird doesn that, but it's a bit dull to listen too after the last few songs. Its still great however. 3.5/5

The Chain - It sets the tone for the more musical second half of Rumours. Nice bass solo too! 4/5

You Make Loving Fun - Which member is this about? Hmmm... You Make Loving Fun makes me want to have fun. 4/5

I Dont Want to Know - AWFUL in my eyes. Its just boring Stevie Nicks stuff again. 1/5

Oh Daddy - Where was Christine McVie going with this song? I don't know but its a nice tune to groove too. 3/5

Gold Dust Woman - A great closer to a great record. Strong and powerful - just how I like it. 4.5/5

Overall: Great start to get into the 'Mac. I'd suggest getting this one and then getting one of their blues records from the 60's under Peter Green. Have fun guys.


Originally Posted by Kartman
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