Band From
Dave Matthews Band Tickets Still In Huge Demand by Jay Nault
Dave Matthews Band tickets are still a hot item after 15 years of performances, and this one-time college-town band has hit it big in the music world. The band members really never envisioned the kind of success they’ve had, and their style is as unique as any band on the music scene today. Their appeal is worldwide, and how they got to their current position of prominence is worth analyzing.
Early Beginnings
Dave Matthews had grown up in South Africa, and in order to avoid military service for his country he moved to Virginia after being accepted for admission into UVA. Matthews was a Quaker, and his religious beliefs prevented him from joining the military.
He found work at a local bar as a bartender, and although he had always enjoyed playing the guitar and writing songs, his biggest dreams consisted of writing songs for others to perform, as Matthews had a terrible case of stage fright. Matthews befriended a Charlottesville attorney named Ross Hoffman who convinced Dave to record some of his songs on a demo tape. Matthews accepted this advice, as he knew he wouldn’t have to perform in front of a crowd.
After recording the demo, Matthews presented it to several local musicians, most of whom had been playing in different jazz bands. The musicians were impressed, and they decided to use the bar where Matthews worked as a rehearsal studio while it was closed. This helped Dave get over his fear of crowds, and the band began to improve and find their style.
First Gigs
The band had begun to achieve their sound, and they soon landed their first gig at a rooftop party in Charlottesville. They still didn’t have a name, but they did get a lot of notice from their first audience. That performance was so successful that they played at the local Earth Day celebration in 1991, and that led to several weekly gigs at clubs and bars in the area.
Almost by default, the band adopted the name Dave Matthews Band” as they couldn’t think of anything better. They were gathering a loyal following and word spread both by reputation and by way of tapes that the band allowed audiences to make of their shows. Soon thereafter, Dave Matthews Band tickets became a popular item on the college scene.
Success
Ultimately, the band continued to rise and independently released their first album in 1993 entitled Remember Two Things. The release was certified gold, which was an extremely rare accomplishment for an independent album. It also led to a major recording contract and an unbelievable amount of success. RCA began to distribute their work, and the DMB,” as they’re often called, have released 13 studio and live albums since their initial release.
They have also won several awards, including a Grammy Award, five VH1 Awards and even a NAACP Image Award in 2004. They have also sold millions of records worldwide and tour extensively. It’s safe to say that Dave Matthews has conquered his fear of performing in front of crowds, and Dave Matthews Band tickets will show you just how far he and the band have come.
By Jay Nault, sponsored by http://www.stubhub.com/. StubHub sells Dave Matthews Band tickets, sports tickets, concert tickets, theater tickets and more to most event in the world. Please link to this site when using this article.
Article Source: http://www.earticlesonline.com/Article/Dave-Matthews-Band-Tickets-Still-In-Huge-Demand/67112
Winston Churchill backed by band from the future
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Bella’s Lullaby (from Twilight) for Concert Band $46 (Music from the Motion Picture). By Carter Burwell. Arranged by Paul Murtha. Young Concert Band. Grade 3. Score and set of parts. Published by Hal Leonard |
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Band-in-a-Box 2011 Pro Upgrade (from 2010) $60.53 Upgrade from Band in a Box 2010 to the new 2011 Edition of Band in a Box with over 50 new features. Not for stand alone installation. Automatic accompaniment has arrived! The award- winning Band-In �A-Box is so easy to use! Just type in the chords for any song using standard chord symbols (like C, Fm7, or c13b9), choose the style youÕd like, and Band-In-A-Box does the restÉautomatically generating a complete professional quality five instrument arrangement of piano, bass, drums, guitar, and strings in a wide variety of popular styles.Band-in-a-Box is an intelligent automatic accompaniment program for your multimedia computer. You can hear and play along to many song ideas and go from "nothing" to "something" in a very short period of time with Band-in-a-Box as your "on demand" backup band.Band-in-a-Box is a powerful and creative music composition tool for exploring and developing musical ideas with near-instantaneous feedback. Over the years many features have been added to Band- |
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Mamma Mia! – Concert Band $64.4 (Highlights from the Broadway Musical). By ABBA. Arranged by Roy Phillippe. Concert Band. For concert band. Concert Band. Pop Concert Band. Broadway. Difficulty: easy-medium. Full score and set of performance parts. 346 pages. Duration 5m41s. Published by Alfred Music Publishing |
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The Band From World War Zero $4.99 For everything you do, there’s a song that hits the spot. MOG brings them all to you: a world of music on demand, unlimited mobile downloads and ways to discover music free from the limitations of Pandora. The music you love, with you everywhere you go. |
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Congas & Rumbas From The Unforgettable Band $4.99 For everything you do, there’s a song that hits the spot. MOG brings them all to you: a world of music on demand, unlimited mobile downloads and ways to discover music free from the limitations of Pandora. The music you love, with you everywhere you go. |
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Wrist Band Wrist Band $19.95 Allows you to carry your CED7000 shot timer conveniently on your wrist during shooting matches. Constructed of flexible Neoprene and covered with a light felt fabric for comfort. Timer snaps firmly into plastic holding bracket and won’t shake loose when you’re running from stage-to-stage. Fully adjustable to all wrist sizes with sewn-in no-slip hook-and-loop patches. Mfg: Competitive Edge Dynamics SPECS: Neoprene black. 12” (30.4cm) long 1-5⁄8"(4.1cm) wide. |
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!!! – Must Be The Moon VINYL [LP] $14.39 Twelve inch vinyl pressing of this single pulled from the band’s 2007 album Myth Takes. Features three versions of ‘Must Be The Moon’: Emperor Machine Mix, Hot Chip Remix and Main Version. Warp. Tr… |
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!Oye Esteban! [DVD] $17.99 !Oye Esteban! collects 18 music videos from the King of Manchester Mope, Morrissey. The former singing star of the Smiths is featured prominently in a majority of the videos. He visits the hometown of his idol, James Dean, for “Suedehead.” “November Spawned a Monster” sees him frolicking pensively in a desert, wearing a see-through shirt and an adhesive bandage over a nipple. His ode to the Kray brothers “The Last of the Famous International Playboys” finds the modern bard lip-syncing in an all-green room. He drives a convertible across California with his band in “My Love Life,” which features gorgeous black-and-white cinematography. “Sing Your Life” repositions Morrissey as a suave doo-wopper. He smirks passionately and stalks a steadicam-mounted camera as he promenades through an old city’s back alleys in “Tomorrow.” Videos that don’t feature Morrissey find an odd array of characters promoting animal rights, looking depressed, or performing any of a number of actions that our hero condones. The Warner Reprise DVD edition is fitted with pristine PCM sound, and all of the shine with vibrant, high-resolution color. A subtitle/lyrics mode makes for a quick-and-easy karaoke session. The camera obviously and absolutely loves Morrissey, and Moz fans will fall head over heals in love with this fine retrospective of videos. It’s a package that drips with a style and grace that would make Morrissey proud. ~ Tim DiGravina, Rovi |
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!Viva! Los Straitjackets $17.98 The Shadows/Ventures of the ’90s arrive as a quarter in Mexican wrestling masks, burgundy turtlenecks, black jeans, black Converse and bedecked in silver sun pendants. Live los Straitjackets effect an inscrutable demeanor and rock from a stage uncluttered with monitors. Because they actually listen to each other, the drummer sits in their midst at the stage’s edge. The band is tight, fused and rocking. For me, there is no better guitar-based instrumental rock album of 1997. ~ Tom Schulte, Rovi |
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Films Shot In Austin, Texas (Study Guide) $11.12 Purchase includes free access to book updates online and a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Chapters: Office Space, Bandslam, Dazed and Confused, the Faculty, Slacker, D.o.a.. Excerpt: Bandslam Bandslam is a 2009 American romantic comedy film produced by Summit Entertainment and Walden Media . Written by Josh Cagan and Todd Graff , it stars Aly Michalka , Vanessa Hudgens , Gaelan Connell , Lisa Kudrow and Scott Porter . The film revolves around Will and Charlotte, who form an unlikely bond through their shared love of music. Assembling a like-minded crew of misfits, the friends form a rock group and perform in a battle of the bands competition called “Bandslam”. The film was shot in Austin, Texas , with additional scenes filmed in New York City. The film generated mostly positive reviews but it failed to chart in the top 10 when it was released on August 14, 2009 in the US, where it grossed only $ 2,250,000 in the weekend. Plot Will Burton (Gaelan Connell ) is a music enthusiast and a David Bowie fan. Throughout the movie, Will writes journal-like e-mails to Bowie seeking approval of his music, although Bowie never answers. When Will’s mother Karen (Lisa Kudrow ) finds a new job, he switches to a new school, which he is eager to do since he was bullied at his previous one. During lunch one day at his new school, he meets a girl whose name is written Sa5m, but pronounced Sam (Vanessa Hudgens ). She tells him about Bandslam, an annual music competition in which the winning band gets a recording contract. Will and Sa5m quickly become friends, but shortly after, he is sought after by another girl named Charlotte Barnes] (Alyson Michalka ). One afternoon, Charlotte asks Will to join her in an after-school day-care center. When she starts inviting him to hang out with her, the teenager is stunned as is his single mother Karen. Impressed by his eclectic knowledge of music, |
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Pay As You Wish Pricing $1.59 This Element is an excerpt from Smart Pricing (ISBN: 9780131494183) by Jagmohan Raju and Z. John Zhang. Available in print and digital formats. What your business can learn from Radiohead’s successful experiment with “pay as you wish” pricing. On October 9, 2007, the English alternative rock band Radiohead began an experiment: Rather than price their music conventionally, they let their fans pay whatever they wanted to download their latest 10-song album, In Rainbows. |
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Pay As You Wish Pricing $1.59 This Element is an excerpt from Smart Pricing (ISBN: 9780131494183) by Jagmohan Raju and Z. John Zhang. Available in print and digital formats. What your business can learn from Radiohead’s successful experiment with “pay as you wish” pricing. On October 9, 2007, the English alternative rock band Radiohead began an experiment: Rather than price their music conventionally, they let their fans pay whatever they wanted to download their latest 10-song album, In Rainbows. |
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Pink 1 1/2 Heel TouhouProject Houjuu Nue Faux Leather Cosplay Shoes $64.99 Everyone loves pink! That’s why we know this darling pair of Cosplay boots is going to be a favorite among anime fans. They are made from a faux leather material and have a rubber sole with a 1.5in heel. A contrasting band of black embellishes the top of the boot and a hidden zipper in the back makes them easy to put on and take off. Product Details: -Made from faux leather and rubber -Available only in the color/style shown -Customization options are not offered on this product. Category: / Cosplay Costumes / Cosplay Shoes |
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# Untitled Second [Bomp!] $15.98 The Telescopes began as a run-of-the-mill British shoegazer band fully under the thrall of noise and My Bloody Valentine, perhaps a little angrier than most of that ilk but pretty unmemorable. At some point, however, they discovered subtlety and songcraft. They traded in most of their noise pedals for some that make the guitars go all spacy and phased-out. They also wrote a batch of songs with melodies and hooks reminiscent of Love or The Notorious Byrd Brothers-era Byrds. The songs on The Telescopes are built on acoustic guitars, then the aforementioned tricked-out electric guitars are laid on top and garnished with bongos, organs, pianos, and all sorts of classic instruments. Stephen Lawrie’s vocals are restrained and semi-emotional and female backing vocals add a touch of sweetness that might otherwise be missing from the record, as the overall atmosphere is very moody and introspective. A large chunk of the credit should be given to producer Guy Fixsen, who also helmed some great records with Moose and Rollerskate Skinny and was a member of Laika. Sadly, the Telescopes split soon after this album came out, but the classic sound they came up with here lives on in bands like Mojave 3 and the Verve. [In 2008 Bomp! reissued the album under the title # Untitled Second, something Rev-Ola had done in 2004. That previous edition included two bonus tracks ("Dnaanb" and "Tornado") and a new cover. The Bomp! version keeps the same cover but adds three different bonus tracks: the EP version of "High on Fire," a sitar-led version of "The Sleepwalk" and non-LP track "Sunspray". Hopefully the next time the record is reissued the label involved pulls together every stray track, re-mix and version, and comes up with something definitive.] ~ Tim Sendra, Rovi |
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#1 $12.99 A band that calls itself Digitaldubs is inviting certain expectations, chief among them an antiseptic, computer-generated sound. But this Brazilian reggae ensemble confounds those expectations along with several others. Much of the material on this excellent album can only be described as traditional roots reggae: the bustling steppers rhythm ridden by guest chatter Ranking Joe on “Fyah Bun Dem” is absolutely classic, as is the heavyweight one-drop structure of the sufferer’s anthem “War and Crime,” featuring Brazilian singer Dada Yute. Local instrumentation sneaks its way into the arrangements on tracks like “Jah Me Guia I” (featuring a brilliant singjay turn from Jeru Banto) and “Your Love Is Overdub” (featuring vocals from Aswad frontman Brinsley Forde), and there are times when Jamaican and Brazilian influences blend completely seamlessly, as on the unabashedly horticultural “Liga Legalize.” The strongest track on a consistently fine album is “Sigue Tu Instinto,” on which Tiano Bless croons soulfully over an elephantine one-drop beat and sinuous horn chart. This is not just a great international reggae album, but one of the best reggae albums of the last five years, period. ~ Rick Anderson, Rovi |
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#1 Hits Explosion $15.98 If the Apples in Stereo had only made Fun Trick Noisemaker and then quit, their legacy as a legendary pop group would have been secure. In 1995, nobody else was making records as giddy or as full of wonder as the Apples, and definitely no one was making records as exquisitely arranged and magical on a shoestring budget. The release of Fun Trick was a defining moment in indie rock that came pretty close to being a lo-fi pop masterpiece, and still sounds just as amazing. That the Apples couldn’t top it is no cause for shame on their part; that they kept trying and ended up creating a catalog as rich in great songs and records is cause for celebration. The cheekily titled #1 Hits Explosion is just the kind of career-summing package the band deserves and it makes clear just how wonderful a band it is. Gathering songs in roughly equal numbers from all six of their studio albums (and adding the infectious rocker “Signal in the Sky [Let's Go]” that they recorded for The Powerpuff Girls’ Heroes & Villains soundtrack), the collection focuses mostly on the ultra-hooky, power pop-influenced side of the band. Starting with the booming rocker “Energy” from their most recent record, New Magnetic Wonder, the songs fly past like gooey sticks of bubblegum, glowing and shimmering like the finest pop music of the ’60s and ’70s. “The Rainbow,” “Go,” “Shine a Light,” and “Ruby” (just to pick four) could have easily been hits in 1967 given the right circumstances, “Shine a Light” sounds like a low-budget ELO, and there’s absolutely no reason “Signal in the Sky” wasn’t topping the charts in 2000. Only “Strawberry Fire” and “20 Cases Suggestive Of…” hint at the trippy, hazily psychedelic side of the group, but even then the hooks in the choruses are strong enough that you could hang a cement overcoat from them with no problem. The possible flaw with the collection is that — as is the case with any such album — one of your favorite tracks might be missing (“Gloww… |
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$have – Trans Universal Worldwide CD $13.69 $have is a band of like minded musicians from Long Beach who believe in making guitar driven, lyrically entertaining, high energy rock. Drawing on influences as diverse as The Ramones and Jimi Hend… |
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’80s Soul Gold $19.99 Hip-O Records, the reissue arm of the major label Universal, often licenses tracks from other record companies to broaden the selections on its compilation albums. But in assembling ’80s Soul Gold, an entry in Hip-O’s discount-priced series of double-CD collections, compilation producer Harry Weinger must have felt that such borrowings were unnecessary. After all, Universal, a company formed by the merger of MCA and PolyGram, already has deep holdings in soul music, starting with the Motown catalog and including MCA itself, which was a big player on the R&B scene in the ’80s. The 30-track album Weinger has compiled cannot be called a greatest soul hits of the decade exactly. It contains only three songs that were among Billboard magazine’s 25 biggest R&B records of the ’80s — the Dazz Band’s “Let It Whip,” Smokey Robinson’s “Being with You,” and Rockwell’s “Somebody’s Watching Me.” But it is hardly lacking in hits. Every track but one reached the R&B Top Ten (the exception, Billy Preston and Syreeta’s “With You I’m Born Again,” hit the Top Ten of the pop and adult contemporary charts), and 16 — more than half — went to number one. As such, the album provides a good sense of what R&B music sounded like in the decade. That sense is enhanced by Weinger’s wise decision to sequence the album in roughly chronological order. The ’80s was a transitional decade for R&B (as is every decade, come to think of it), and the beats that were moving listeners early on were replaced by other ones as time went on. By the end of the second disc, one can hear hip-hop coming on with the cutups and James Brown sampling of Vanessa Williams’ “The Right Stuff” and the very ’90s-like sound of Guy’s “I Like,” the final track. ~ William Ruhlmann, Rovi |
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’89 Live in Japan $9.99 Sometime in 1992/1993 a revamped Quiet Riot featuring vocalist Kevin DuBrow with Bob Rondinelli on drums (around this time Rondinelli had also filled in on an Aerosmith gig one night when Joey Kramer wasn’t available — call him Mr. Fill-In) performed at a little-known club in Billerica, Massachusetts called Mr. Tipps. It is one of those suburban gigs we call “the last rung on the rock & roll ladder” and it’s a pity because Quiet Riot had more than just a clever name, and more than the cachet of being the professional birthplace of guitar wizard Randy Rhodes. To those who don’t know the story, DuBrow faced a mutiny by the band he founded and Pasha Records released an album in 1988 with two different members, titling the disc, interestingly enough, after the first Japanese release by the original group. This DVD, ’89 Live in Japan, comes from that strange lineup in between and features vocalist Paul Shortino of the group Rough Cutt as well as bassist Sean McNabb and an uncredited Jimmy Waldo — keyboard player from the groups New England and Alcatraz. Why Waldo is treated like a hired hand is one of those unique situations which seemed to develop after Flo & Eddie called Mountain’s organ player Steve Knight “the most useless man in rock & roll.” The statement was far from accurate, of course, but it was humorous and Mott the Hoople and Aerosmith would both push keyboardists to the side and pretty much off-stage after that infamous quip. Though the 1988 self-titled Quiet Riot album faced horrible reviews and little or no commercial acceptance, this DVD is actually quite enjoyable. As a live band, Q.R. had that long-hair-’80s-thing down pat. What replaces original vocalist DuBrow’s personality is a very slick and well-executed heavy metal show. “Stay With Me Tonight” might not be a rock & roll classic, but it comes off well live and along with the nine in-concert tracks there is a bonus of the video shot for “Stay With Me.” This is no mere clone band going t… |
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‘Cause I Sez So $16.98 Five years into one of the most unlikely reunions in recent rock & roll history, the New York Dolls have begun to acknowledge the great paradox of the new edition of the band. If ever there was a band with a distinctive musical and emotional personality, it was the Dolls, but with only two members of the original lineup still alive and able to take the stage in 2009, David Johansen and Syl Sylvain have had a heavy burden to bear, trying to make music that feels and sounds like the New York Dolls without their iconic lead guitarist, their original rhythm section, and the sort of lifestyle that defined their world view when they were the edgiest band in America’s toughest city. The new Dolls created a reasonable approximation of what their old sound would have been like had they all survived into the new millennium on 2006′s One Day It Will Please Us to Remember Even This, but 2009′s ‘Cause I Sez So suggests this band has little interest in living in the past, including their own. Todd Rundgren, who produced the Dolls’ brilliant 1973 debut, was behind the controls for this set, and the first two songs, “‘Cause I Sez So” and “Muddy Bones,” conjure up the sloppy downtown energy of the Dolls Mk. 1 better than anything on One Day It Will Please Us, full of dirty guitars, crashing drums, and broadly strutting vocals from Johansen, complemented by Rundgren’s roomy, natural-sounding production. But after that one-two punch, the album shifts gears, easing into a groove that’s more easygoing and (gulp) mature than the classic Dolls assault, with a warmer and more subdued approach. “Lonely So Long” is a great pop tune with a faint resemblance to the Beatles, “Nobody Got No Bizness” is a high-spirited, hip-shaking R&B shuffle, “Temptation to Exist” is a melodramatic ballad that sounds like it could have fit onto one of Johansen’s Buster Poindexter albums, “This Is Ridiculous” is a blues-influenced number that gives the singer plenty of room to showboat, and “Maki… |
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‘Cause I Sez So $16.98 Five years into one of the most unlikely reunions in recent rock & roll history, the New York Dolls have begun to acknowledge the great paradox of the new edition of the band. If ever there was a band with a distinctive musical and emotional personality, it was the Dolls, but with only two members of the original lineup still alive and able to take the stage in 2009, David Johansen and Syl Sylvain have had a heavy burden to bear, trying to make music that feels and sounds like the New York Dolls without their iconic lead guitarist, their original rhythm section, and the sort of lifestyle that defined their world view when they were the edgiest band in America’s toughest city. The new Dolls created a reasonable approximation of what their old sound would have been like had they all survived into the new millennium on 2006′s One Day It Will Please Us to Remember Even This, but 2009′s ‘Cause I Sez So suggests this band has little interest in living in the past, including their own. Todd Rundgren, who produced the Dolls’ brilliant 1973 debut, was behind the controls for this set, and the first two songs, “‘Cause I Sez So” and “Muddy Bones,” conjure up the sloppy downtown energy of the Dolls Mk. 1 better than anything on One Day It Will Please Us, full of dirty guitars, crashing drums, and broadly strutting vocals from Johansen, complemented by Rundgren’s roomy, natural-sounding production. But after that one-two punch, the album shifts gears, easing into a groove that’s more easygoing and (gulp) mature than the classic Dolls assault, with a warmer and more subdued approach. “Lonely So Long” is a great pop tune with a faint resemblance to the Beatles, “Nobody Got No Bizness” is a high-spirited, hip-shaking R&B shuffle, “Temptation to Exist” is a melodramatic ballad that sounds like it could have fit onto one of Johansen’s Buster Poindexter albums, “This Is Ridiculous” is a blues-influenced number that gives the singer plenty of room to showboat, and “Maki… |
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‘Merican [EP] $7.99 After a seven-year hiatus, punk-pop pioneers the Descendents return with ‘Merican, a solid five-song EP that picks up where the band left with 1996′s Everything Sucks. The group’s first release on Fat Wreck Chords, after a short tenure with Epitaph, finds Milo Aukerman, Bill Stevenson, Stephen Egerton, and Karl Alvarez revisiting the timeless lovelorn attack of cherished songs from their past like “Wendy,” “Clean Sheets,” and “Silly Girl” on the disc-opener, “Nothing With You.” Made whole with an infectious chorus, unrelenting rhythms, and a buoyant guitar, the song gives way to the ferocious title cut, which harks back to vintage Bad Religion as it explores the black marks on America’s history, from slavery to Vietnam. But such sociopolitical commentary is rare from the ‘Dents, who downshift to the palatable midtempo number “Here With Me,” which eventually gives way the manic, spastic “I Quit,” a nervous, edgy “Catalina”-like throwback. Only the closing instrumental, a hidden number without an official title, is worth skipping, as it drags in a way that no Descendents number has a right to. ~ John D. Luerssen, Rovi |
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‘Pop Star 2′ Ring $21 .Sparkling ring features two alternated rows of Bezel handset cubic zirconia in goldtone.Bonded eternity band made of 14-karat gold . The perfect addition to your jewelry collection.Ring measures 21mm long X 7mm wideAll carat weights and measurements are approximate and may vary slightly from the listed dimensions. Treatment code CR. See Gemstone Treatments for further information.Click for Ring Sizing Help Materials: base metal, cubic zirconia |
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‘Round About Midnight [LP Reissue] $21.98 Given that ‘Round About Midnight was Miles Davis’ debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, debuted at the Newport Jazz Festival the summer before to a thunderous reception. The date was also an ending of sorts because by the time of the album’s release, Davis had already broken up the band, which re-formed with Cannonball Adderley a year later as a sextet, but it was a tense year. Musically, this sound is as unusual and as beautiful as it was when issued in 1956. Davis had already led the charge through two changes in jazz — both cool jazz and hard bop — and was beginning to move in another direction here that wouldn’t be defined for another two years. Besides the obvious lyrical and harmonic beauty of “Round About Midnight” that is arguably its definitive version even over Monk’s own, there are the edges of Charlie Parker’s “Au Leu-Cha” with its Bluesology leaping from every chord change in Red Garland’s left hand. Coltrane’s solo here too is notable for its stark contrast to Davis’ own: he chooses an angular tack where he finds the heart of the mode and plays a melody in harmonic counterpoint to the changes but never sounds outside. Cole Porter’s “All of You” has Davis quoting from Louis Armstrong’s “Basin Street Blues” in his solo that takes out the tune, and Coltrane has never respected a melody so much. But it’s in “Bye-Bye Blackbird” that we get to hear the band gel as a unit, beginning with Davis playing through the melody, muted and sweet, slightly flatted out until he reaches the harmony on the refrain and begins his solo on a high note. Ga… |
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‘Round About Midnight [Legacy Edition] $23.99 Miles Davis’ entry into the Sony Legacy Edition series features his Columbia Records debut and the first offering from his quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. The label already issued the album in a definitive presentation with four additional tracks taken from the sessions onboard. Musically, the sound on ‘Round About Midnight is as unusual and beautiful as it was when it was issued in 1956. Davis, having already spearheaded two changes in jazz — with cool jazz and hard bop — was beginning to move in another direction here that wouldn’t be defined for another two years. The title track showcasing his muted trumpet premiered at the Newport Jazz Festival the previous summer (in a sextet with Thelonious Monk on piano) to a thunderous reception, and the studio offering is stunning as well. Charlie Parker’s “Au Leu-Cha” is edgy, with deep blues leaping from every chord. Coltrane’s solo is notable for its stark contrast to Davis’ own: Coltrane chooses an angular tack where he finds the heart of the mode and plays in harmonic counterpoint to the changes but never sounds outside. Cole Porter’s “All of You” has Davis quoting from Louis Armstrong’s “Basin Street Blues” in his solo. On “Bye-Bye Blackbird” we get to hear the band gel as a unit, beginning with Davis playing through the head, muted and sweet, slightly flatted out until he reaches the chorus and begins his solo on a high note. Garland slips shapes into those interval cracks and shifts them as the rhythm section keeps “soft time.” Of the bonus material, the gem is Jackie McLean’s “Little Melonae” — Davis and company recorded before the composer could. The band comes out blazing on this set, but it’s Coltrane who’s the surprise in his quoting various Dizzy Gillespie solos. For those who had already purchased the album, it may be disconcerting to need to buy it again in order to procure the 33 minutes of live material on disc two. Track one is that legendar… |
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‘S Make It $11.99 This edition of Art Blakey’s Jazz Messengers is an unusual one. The personnel includes Blakey veterans Lee Morgan (returning to the band after some success as a leader), Curtis Fuller, and Victor Sproles, along with John Hicks (who appeared on three other Blakey records) and the tenor saxophonist John Gilmore (of Sun Ra fame) in his only appearance with the band. As typical for Blakey-led groups, the emphasis is on original material by its members; the one Broadway show tune included, “Faith,” is from a long since forgotten I Had a Ball. Morgan’s driving blues “‘S Make It” is easily the highlight of the session, though Hicks’ richly voiced “Waltz for Ruth” and Fuller’s Latin-flavored “Little Hughie” also deserve to be better known than they are. It’s a shame that this was the only recording by this particular lineup of the Jazz Messengers, as Gilmore’s strong blowing complements Morgan very well. Originally issued by Limelight, it was reissued in Japan by Universal, meticulously reproducing the original foldout cardboard sleeve for the CD package. ~ Ken Dryden, Rovi |
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‘Til Tuesday Members $8.5 Purchase includes free access to book updates online and a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Not illustrated. Excerpt: Aimee Mann (born September 8, 1960) is an American rock guitarist, bassist, singer, and noted songwriter. Aimee Mann grew up in Bon Air, Virginia, graduated from Midlothian High School and attended the Berklee College of Music in Boston, but dropped out to sing with her first punk rock band, the Young Snakes; the band released the EP Bark Along with the Young Snakes in 1982, and a compilation album was issued in 2004. In 1983, seeking a return to “sweetness and melody”, she co-founded with Berklee classmate and boyfriend Michael Hausman the new wave band ‘Til Tuesday, which achieved success in 1985 with its first album, Voices Carry. The title song is said to be inspired by Hausman and Mann’s breakup. The producer, Mike Thorne, in a March 1999 article disputes this and states the lyrics originally had Mann singing to another woman. The gender was changed due to pressure from the record company. The video became an MTV staple, winning the MTV Video Music Award for Best New Artist, although Mann’s then-signature spiky hair would lead some to dismiss the group. Mann was featured on the Rush song “Time Stand Still” (from Hold Your Fire, 1987) which became a minor UK hit, singing backup vocals and appearing in the music video. Her laughter is also heard at the start of “Force Ten,” from the same album. With Mann playing an increasingly important role in songwriting, ‘Til Tuesday released two more albums, Welcome Home and Everything’s Different Now. On their final tour, musician Jon Brion joined the band, which broke up in 1990 when Mann left to start her solo career. Around the time of the first album’s release, Mann began a romantic relationship with Jules Shear; they broke up before the final ‘Til Tuesday album, which contained … More: |
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(Why Don’t You Take) The Other Side? $13.99 Given that he’s got an extensive background as a pianist in Germany’s rich jazz scene — having made a home in Munich after moving from his native Milan — Robert Di Gioia’s work as the virtually one-man-band behind (Why Don’t You Take) The Other Side? comes as something of a surprise. No doubt he’s had to gradually ease out of some of the most defining traits of his original craft throughout his tenure as Marsmobil; though it began as an amalgam of lounge jazz and electronica in 1999, it fully culminates here with a far-removed, fascinatingly wide-ranging set sporting an abundance of tributaries. This is a tour de force of immaculately mind-bending pastoral pop, with an arsenal of instruments at play and only one finger on the trigger. Early album highlight and single “Crazy Colored Lights” utilizes a neat little tactic of segmenting the words of the title in a fleeting vocal harmony, and cycling them repeatedly as an isolated sonic tidbit floating over the rest — the perfect sonic equivalent of a kaleidoscopic image that does much to set the stage for what follows. One of the album’s two guests also shows up on this track in the form of a spoken word interlude by an entity known as the Illusionists, a strangely riveting out-of-left-field segment on a song that has already done much to ingratiate itself. You could swear that Mark Everett of Eels makes an appearance on the equally strong “Moon of Dust,” but as it turns out the song is intended merely as an “homage to Eels,” and is actually that much more impressive for it. At 16 tracks it would be tempting to assume there’d be some filler here, but this masterwork simply unfolds with nary a dull or derivative moment. Pianos and keyboard-driven sounds are the most consistently featured sonic implement, but in many cases they are used to lay the groundwork or simply twinkle at the higher end of the spectrum while other instruments take the spotlight. Such is the case with the deftly executed “Lolly,” which… |
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(m)orning [Advance] $13.99 Although often lumped into the emo category, Mae has rarely adhered to that genre’s conventions, and (m)orning is perhaps the furthest the bandmates have ever sounded from their Warped Tour brethren. This eight-song EP is the band’s first release since losing its contract with Capitol Records, and the disc sounds more like an album than anything else, with songs that bleed together and several tracks that top the seven-minute mark. While EPs often serve as receptacles for an artist’s discarded B-sides, (m)orning is its own entity, and the songs are crafted appropriately. “The Fisherman Song (We All Need Love)” builds steadily, adding layer upon layer of guitar before exploding into a cathartic bridge, while “The House That Fire Built” marries challenging time signatures with an epic, open-armed chorus. Several minutes later, “Boomerang” gives way to “Two Birds” with a flurry of guitar arpeggios and piano riffs, making for a fairly gorgeous transition. All of this will be little interest to outsiders, perhaps, but fans should enjoy (m)orning’s mix of experimentation and accessibility. [An advance copy was also released.] ~ Andrew Leahey, Rovi |
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**i Love Lucy Tm Watch W/ Rhinestone Cas $25.95 For all you I Love Lucy ™ fans, we have the i deal watch for you. Our licensed I Love Lucy ™Watch features a scene from Lucy and Ethel in th e Chocolate Factory on the face, a faux pink leat her crocodile watch band and a rhinestone case. |
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*NSYNC Hotline Fantasy Phone & Game with CD-ROM ( Windows ) $29.53 Hear their real voices : For Windows 95 or newer : See exclusive video footage of the guys : Learn new facts about the band : Use your Fantasy Phone as a game controller too : Take your Phone with you and get surprise calls : Receive secret text messages from the guys : Ask them questions in the Answer Hotline game |