Montag, März 22, 2010 / Eingestellt von peter / Kommentare (0)


Traffic – Far from Home 1994. Just like their classic release from 1970, "John Barleycorn Must Die," Traffic's 1994 reunion album, "Far From Home," was initially meant to be a Steve Winwood solo album, but it ultimately morphed into a Traffic album. Singer & multi-instrumentalist Winwood was working on the album, aided by his old friend & Traffic bandmate, drummer Jim Capaldi, but the duo decided that the new music they had created sounded SO much like Traffic, that they may as well release it under the Traffic name. They did, and Traffic were back with their first new studio album in 20 years. Although the group was now a duo---flautist/sax man Chris Wood had passed away in the 80's, and original guitarist Dave Mason did not take part, nor did any other former Traffic member---"Far From Home" turns out to be a glorious return for this classic British band. Although "Far From Home" does have a 90's polish to it, Winwood & Capaldi successfully recapture the musical spirit of Traffic that made the band so special during their initial run in the late 60's and early 70's. Their unique mix of rock, jazz and folk (seasoned with a dash of art rock) is back, along with Winwood's soulful voice and inspired keyboard, organ and guitar playing, as well as Capaldi's superb, solid drumming. Winwood also successfully summons the spirit of Chris Wood by playing the occasional bit of flute and saxophone, which is the essential icing on the cake. And every song on "Far From Home" is a winner, including the brilliant rocker "Here Comes A Man" (which was released as a single, and, goshdarnit, should've been a big hit), the outstanding, hypnotic rock of the title song (including an ace guitar solo from Winwood at the end), the spiritual "Holy Ground" (featuring some lovely pipe playing from special guest Davy Spillane), the totally funky "Some Kind Of Woman," the fun, horn-section pop of "Every Night, Every Day," and the excellent instrumental finale, "Mozambique," with Winwood & Capaldi kickin' out the jams just like they used to do in the old days.I don't mind telling you that, listening to "Far From Home" now, I get a little bit misty-eyed.
With the sad, recent passing of Jim Capaldi, "Far From Home" is now, officially, Traffic's final album. Having recently been inducted into the Rock 'N' Roll Hall Of Fame (and deservedly so), Winwood & Capaldi were gearing up to reform Traffic once more with a tour, and, quite possibly, a new album. But sadly, with Capaldi's death, it was not to be. Still, I'm eternally grateful for all of the wonderful music that Traffic have given us, including this marvelous reunion album, "Far From Home." Their respective solo albums are indeed great, but I still say that Traffic was easily the very best thing Steve Winwood and Jim Capaldi ever did in their long, impressive musical careers. Their musical chemistry together, along with Chris Wood, Dave Mason and other band members over the years like percussionist Rebop Kwaku Baah, was simply sensational. With "Far From Home," Winwood & Capaldi bring back the good ol' magic of Traffic one last time, and your Traffic collection just ain't complete without this album, so buy it. Milestone ******(6)

1. Riding High (5:34)
2. Here Comes a Man (5:09)
3. Far From Home (8:36)
4. Nowhere Is Their Freedom (7:00)
5. Holy Ground (7:51)
6. Some Kinda Woman (5:29)
7. Every Night, Every Day (5:32) 


8. This Train Won't Stop (5:26)
9. State Of Grace (7:18)
10. Mozambique (4:24) 



- Jim Capaldi / drums, percussion, vocals
- Mick Dolan / rhythm guitar
- Davy Spillane / Uilleann pipes
- Steve Winwood / guitar, keyboards, percussion, vocals







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Dienstag, März 16, 2010 / Eingestellt von peter / Kommentare (1)

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Samstag, März 13, 2010 / Eingestellt von peter / Kommentare (0)

ELO – Eldorado. Nun endlich hat sich der Master himself Jeff Lynne um das Remastering der alten Meisterwerke vom Electric Light Orchestra bemüht. Und was bei dieser CD dabei herauskam, ist schon mehr als beindruckend! Da ja jeder ELO- Fan diese Platte schon in-und auswendig kennt, brauche ich sie ja nicht zu beschreiben. Dieses Meisterwerk des Classic Rock spricht für sich selbst und kann getrost in die Reihe anderer genialer Concept-Alben wie Moody Blues/Day's Of Future Passed" oder Alan Parson's Project/Tales Of Mystery And Imagination" gestellt werden und ist in dieser Reihe sogar noch eine Ausnahme. Es ist das Remastering was diese CD jetzt noch genialer, einfach fast wie neu erscheinen läßt! Klarer Sound und kein dumpfes Klangbild mehr. Man hört alles heraus was damals vor 27 Jahren im Studio eingespielt wurde. Das Streichorchester ist im Klang viel breiter und klarer, somit hört man auch viele kleine und größere Nuancen heraus. Es scheint fast, eine neu eingespielte Platte liegt da im CD-Player, so groß ist der Unterschied zur üblichen CD die ich bisher hatte. Der Überhammer sind die Bonustracks. Vor allem ein sehr, sehr schönes Eldorado Instrumental Medley" wartet auf den schon begeisterten ELO-Fan!


Alle Songs spielen sich hier in einer Phantasiewelt ab und tatsächlich entführen die Lieder in eine Traumwelt und lassen einen die Alltagssorgen vergessen. Jeff Lynne versteht es wiedereinmal hervorragend, Klassik und Pop miteinander zu vereinen und nach den meißt sehr experimentellen Vorgängeralben einen grandioses Konzeptalbum zu schaffen. Schon das Intro deutet an, was einen auf diesem Album erwartet: Toll arrangierte Streicher und Bläser, wie z.B. auf "Boy Blue" oder "Nobody`s Child", aber auch gefühlvolle Songs, wie "Can't get it out of my head" und "Eldorado", die wahrscheinlich schönste Ballade des Albums.

Einfach anhören und Ihr werdet dieses Meisterwerk noch mehr in Euer Herz schließen. Keine Frage, die volle Punktzahl! Milestone ******(6)

1. "Eldorado Overture" 2:12

 
2. "Can't Get It Out of My Head" 4:21
3. "Boy Blue" 5:18
4. "Laredo Tornado" 5:29
5. "Poor Boy (The Greenwood)" 2:57
6. "Mister Kingdom" 5:29
7. "Nobody's Child" 3:56
8. "Illusions in G Major" 2:37
9. "Eldorado" 5:17
10. "Eldorado Finale"

Jeff Lynne – vocals, electric and acoustic guitars, bass, keyboards

Bev Bevan – drums, percussion
Richard Tandy – piano, moog synthesiser, guitar, backing vocals, orchestra and choral arrangements
Mike de Albuquerque – bass
Mik Kaminski – violin

Hugh McDowell – cello
Mike Edwards – cello
Louis Clark - orchestra and choral arrangements and conducting

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Dienstag, März 09, 2010 / Eingestellt von peter / Kommentare (0)

Peter Frampton – Comes Alive (1976)Why would Peter Frampton, so close to stardom after a decade, release a live, double-record set when he hasn't really established a large audience? He says, "I just wanted to do an album that summed up the first four solo records in the most effective way possible." This album also gives him a dynamic, highly charged context for both his dramatically phrased vocals and a new, rougher guitar style. And the move may not be as ill-conceived as it seems—his manager, Dee Anthony, used live albums to put J. Geils and Humble Pie over the top.


This album is a primer for those who've overlooked him in the past. In addition to shattering guitar leads on tracks like "Lines on My Face," "Show Me the Way" and "Do You Feel like We Do," the vocals are forceful, the harmonies balanced and the ensemble playing well-rehearsed. Although Frampton has been stereotyped a hard rocker, the introspective side two is largely acoustic. This album also reveals other facets of Frampton's musicianship that his studio efforts have obscured. Second guitarist Bob Mayo provides a rich, dense middle texture, and working with him, Frampton demonstrates his excellence as a rhythm guitarist, a rare thing among lead players. Echo has always been a key factor in his sound and Frampton here manages to combine Leslie speakers, a compressor and augmented echo onstage without losing any presence. But what really makes his lead playing distinctive is his intuitive melodic sense, the economy of his solos and his elegant, quasi-jazz phrasing.

Although Frampton has included most of his best material, numbers like "I Wanna Go to the Sun" and "(I'll Give You) Money" run dangerously close to heavy-metal redundancy. The adapted "Jumping Jack Flash," like several other previously recorded songs, hasn't really evolved beyond the original Frampton version, and "Do You Feel like We Do," which invariably gets the live crowd crazy, runs on far too long here. Overall, however, this album is Frampton's most coherent, exciting and accessible. Frampton Comes Alive is more than a summation of his solo career; it's also a synthesis of the best third-generation British rock styles. As the genre's brightest light, it will be interesting to see where he takes it from here. Milestone ******(6)

Personnel: Peter Frampton (vocals, guitar); Bob Mayo (vocals, guitar, piano, Fender Rhodes piano, organ); Stanley Sheldon (vocals, bass); John Siomos (drums).
1. Frampton Comes Alive
2. Doobie Wah
3. Show Me the Way
4. It's a Plain Shame
5. All I Want to Be (Is to Be By Your Side)
6. Wind of Change
 
7. Baby, I Love Your Way
8. I Wanna Go to the Sun
9. Penny for Your Thoughts
10. Money, (I'll Give You)
11. Shine On
12. Jumping Jack Flash
13. Lines On My Face
 
14. Do You Feel Like We Do

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Neuer Mel Gibson Film ab 11.03.10

Donnerstag, März 04, 2010 / Eingestellt von peter / Kommentare (1)


Erster Mel Gibson Film seit 2002 !!!



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Mittwoch, März 03, 2010 / Eingestellt von peter / Kommentare (0)

David Lee Roth - Skyscraper (1988) Zwei Jahre nach dem Debüt veröffentlichte DAVID LEE ROTH bereits sein zweites Werk SKYSCRAPER. Mit weicherem Sound und die Songs sind wesentlich eingängiger als noch beim Debüt. Af SKYSCRAPER sucht man erfolglos Stücke wie SHY BOY oder ELEPHANT GUN. Am ehesten können noch THE BOTTOM LINE und HOT DOG AND A SHAKE an diese Uptempo-Kracher anknüpfen. Der Rest des Albums ist eher Chart-tauglich und besticht durch viele Melodien.
Aber das soll nicht darüber hinweg täuschen, dass SKYSCRAPER ein wunderbares Album ist, hier verbindet sich individuelles musikalisches Können mit großartigen Songs zu einem wahren Highlight des Pop-Rock, der locker mit den Veröffentlichung von Bands wie BON JOVI, EUROPE, AEROSMITH etc aus diesen Jahren mithalten kann (und diese aus Sicht der Instrumentalisten sogar übertrifft).
Auf SKYSCRAPER befinden sich zehn sehr gute Lieder, für die viele andere Bands einiges gäben. Eine sehr glatte Produktion und die selbst auferlegten Restriktionen, denen sich die Musiker hier unterwerfen. Es ist ein hervorragendes Album geworden.
Da sich aber die Musik zu sehr von der eigentlichen musikalischen Vision entfernt hatte musste DAVID LEE ROTH zunächst schon bald nach der Fertigstellung des Albums BILLY SHEEHAN und später dann auch noch STEVE VAI ersetzen (was sich als so gut wie unmöglich herausstellte
Milestone:******(6)



 
David Lee Roth-vocals/Steve Vai-guitars/Gregg Bisonette-drums/Billy Sheehan-bass/Brett Tuggle-keys
    













 1. Knucklebones
 
2. California girls
3. Just a Gigolo
4. Just like paradise
5. The bottom line
6. Skyscraper
7. Damn good
8. Hot dog and a shake
9. Stand up
10. Hina

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