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Review by BOB “A cultural pilgrim”

I feel that this is one of the best albums the Bee Gees ever did. Sure, it has a few weak spots, as all of their albums do, but overall it’s the album some of us always wished and knew they could do. The orchestration is toned down or non-existent as opposed to almost everything in the first phase of their career and the disco tendencies are almost completely gone as well. These are outstanding pop songs in the tradition of the Beatles–great harmonies, inventive arrangements. Nobody planned Maurice’s departure but if they had planned to close up shop altogether, this would serve as a very fitting finale and shows what these fellows were capable of doing when they wanted. Of course, this is only a subjective reflection of my tastes. Others may prefer the disco Bee Gees or the ballad Bee Gees. This just happens to include many songs in styles that I prefer personally. Read the rest of this entry »

Review by AntiochAndy “antiochandy”

One of three LP/CDs by the Beatles among my all-time top ten, along with “Rubber Soul” and “Revolver”. Though not my personal favorite, this recording is essential in any collection of pop/rock recordings. It has been, since its release, a standard by which others are measured. It also marks the high-water mark of the Beatles creativity as a band. After “Sgt. Pepper…” came a directionless time during which the “Magical Mystery Tour” and “Yellow Submarine” records were released, followed by the period the band’s breakdown, as chronicled in the “White Album”, “Let It Be” and “Abbey Road”. Though these latter efforts contained plenty of great music, it was clear that the Beatles were increasingly unable to function together as a unit. Individual tracks almost always spotlighted one of the band members while the others worked essentially as a backing group.

During a recent TV special, it wa said that, during the time the Beatles were in the studio making “Sgt. Pepper…”, there was a lot of doubt about what they would come out with and many fans were giving up on them. As someone who was around at the time, I certainly don’t remember much of that. Of course, the Beatles always had a few doubters and detractors, but most of us were looking forward to their next record. Stories of how much time and effort were going into it only fueled our anticipation. It was like the release of the fourth Harry Potter book when “Sgt. Pepper…” finally came out. Some stores opened early and huge numbers were sold the first day of it’s release. I bought a copy that day like many others. Nor was I disappointed. Since then, I have spent many hours listening to “Sgt. Pepper…” and I expect I’ll spend many more. Read the rest of this entry »

Review by Dusty White “author of The Easiest Way to Mee…

I saw this album at Borders last night and my hand reached out against my will and picked it up, clutching it with steely talons in an iron death grip that would not unclench until the album was officially bought and paid for (by me).

My other hand reluctantly reached for my wallet, and the rest is pretty much non-history. The album is… interesting. Not at all any style of music I would normally endure, but for sheer balls and downright fun ideas, I had to support my fellow artist9s), and I do not regret the purchase. In fact, I will listen to the entire CD at least a dozen times over the next month, even at the cost of mine own eardrums.

It’s not that the musicians are untalented (they ARE talented - that much I will say), but it is simply hard to imagine going rabid in a fan-boy way over this band. That said - if they ever play LA I will be banging my head… er… swaying gently?… holding up my lighter?… well I will be at the show. They are probably a hoot live, and that is what music is really all about - being there with the musicians having a great time. buy the album. your mom will thank you. Then go see them live.

DISCLAIMER: I am firmly entrenched in the Draco and the Malfoy’s fan base, so that may have influenced my review Read the rest of this entry »

Review by M J Heilbron Jr. “Dr. Mo”

My wife and I just saw this on Broadway last week. It was one of those wipe-the-tears-of laughter from my eyes experience.
The standard description for the show has been “Sesame Street meets South Park”, because the puppets, the setting and the music all are OBVIOUSLY Jim Henson-inspired, and because it is gleefully bawdy and offensive in an equal-opportunity kind of way.
While that is true, I found that the true similarity lies within the amount of truth and humanity all three have. Things are said, and ideas proposed, that would be inappropriate for “humans” to say. Seeing “puppets” talk about racism, porn, homosexuality, poverty and love enables you to look at it from a slightly different angle, and you’ll learn a little bit more about yourself without even trying.
That is, if you can stop from laughing so dang loud.
The cast album perfectly captures the show, including just enough of the dialogue to give you the gist of the entire production. The vocal talent is impressive, with most singers doing two (or more) parts.
Seeing it live, realizing they are acting and puppeteering at the same time, the talent rises from “impressive” to “awesome”.
The songs are flat-out irresistible. You’ll be humming along before the individual songs even end.
The titles alone induce giggling: “What Do You Do With a B.A. in English”, “It Sucks To Be Me”, “The Internet is for Porn”…

Now, let’s be perfectly clear. This is NOT for everyone. If you are easily offended, if you are homophobic, if you are uncomfortable talking about sex or race…this is NOT for you. This is not for kids.

It IS one of the most riotously funny Broadway experiences I’ve ever had. And the CD captures it perfectly.

By the way, if you haven’t seen puppet sex, you haven’t lived…

(”It’s OK to Be Loud As Hell (When You’re Making Love)”. Read the rest of this entry »

Review by Colin T. Gagnon “just a guy”

Before we start here, let’s get one thing straight: I do not listen to this type of music. I usually need to be in a very special mood to listen to this sort of dark, dreamy jazz, and my atypical reaction to this album is what makes me feel qualified to review it.

The slow to mid-tempo jazz on this CD represent some of the best film music I’ve ever heard, matched perfectly to the visual tale of Laura Palmer’s tragic descent into hell. It stands alone just as well.

The album opens with the almost disturbing, after-midnight Theme from Twin Peaks: Fire Walk With Me and kicks right into the shady The Pine Float. The tracks don’t segue, but they flow together so well that unless you’re listening closely, you won’t notice the breaks between pieces. There are a few lyric songs here, too, the abstract The Black Dog Runs At Night, and the plaintive Sycamore Trees. Of special note, however, are Questions In A World Of Blue with vocals by longtime Lynch/Badalamenti corroborator Julee Cruise and A Real Indication with raw, beat-poetry vocals delivered by Badalamenti himself. The Pink Room takes us into the hell of Laura Palmer’s last days, and Best Friends lifts us back out. Moving Through Time is an incredible, surreal, almost minimalist piece. The famous Twin Peaks theme (falling) makes an appearance too as part of a montage.

All in all, a very tight CD. It has low points just as well as its high points (I’m not so fond of Sycamore Trees or Don’t Do Anything (I Wouldn’t Do), but I might be alone in that), but the good far outweighs the bad. This CD is a must for any fan of Twin Peaks or Angelo Badalamenti, and for anyone who’s simply looking to expand their music collection with something worth listening to. Read the rest of this entry »

Biography @ www.vh1.com

The Gipsy Kings are largely responsible for bringing the joyful sounds of progressive pop-oriented flamenco, called Sevillana in Spain, to the world. The band started out in

Arles, a village in southern France during the ’70s when brothers Nicolas and Andre Reyes, the sons of renowned flamenco artist Jose Reyes, teamed up with their cousins Jacques, Maurice and Tonino Baliardo, whose father is Manitas de Plata. They originally called themselves Los Reyes and started out as a gypsy band traveling about playing weddings, festivals, and in the streets. Because they lived so much like gypsies, the band adopted the name the Gipsy Kings. Later, they were hired to add color to posh parties in St. Tropez. Popularity did not come to Los Reyes right away and their first two albums attracted little notice. At this point the Gipsies played traditional, albeit passionate flamenco music punctuated by Tonino’s precise guitar playing and Nicolas’ exceptional voice. Though they had devoted fans, they still had yet to gain wider recognition until 1986 when they hooked up with visionary producer Claude Martinez who could see that the Kings had the makings of a world-class band. Read the rest of this entry »

Review by Go Bulldogs

This is one of the most cherished cd’s I own. I usually put it on and listen to the last three songs before listening to the rest of the album. The rest of the soundtrack is terrific especially the instrumental theme track, “Blue Velvet” and the Twin Peaks-like music in “Lumberton, U.S.A.”, the small town where Blue Velvet takes place in. I would have loved it if Bobby Vinton’s original version of “Blue Velvet” were included which was the inspiration for the film and was the song in the opening sequence and Main Titles, but instead we get Isabella Rosselini’s version when she sings at a nightclub. I liked Rosselini’s version too but it was somehow cut short to only a minute long. The soundtrack is entirely instrumental until track #12. The strength of the cd really comes in full force at the end when Roy Orbison’s “In Dreams” takes you back to the scene of the unforgettable lip-synching by Dean Stockwell. It’s a classic Lynch moment. Following this is Ketty Lester’s “Love Letters”, an absolutely gorgeous slow song played when Jeffrey Beaumont finds the man with the missing ear killed in the apartment of madman Frank Booth. The soundtrack ends with Julee Cruise’s “Mysteries Of Love,” an ethereal dream-like love song played at the end of the film in the unforgettable scene when Dorothy Vallens becomes reunited with her long lost son. Read the rest of this entry »