| | Everything But The Girl Acoustic CD Everything But The Girl Discography of CDs
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Acoustic presents two side projects in one. The first half of it consists of Everything but the Girl's covers of six songs by other contemporary performers. The second half contains two live recordings and four re-recordings of songs from Everything but the Girl's repertoire. All of the songs are performed with spare, acoustic instrumentation. The group's favorites are predictable -- Bruce Springsteen, Elvis Costello, and Tom Waits at their quietest -- and while the choices are indisputably good ones -- "Alison," "Downtown Train," Cyndi Lauper's "Time After Time" -- they are also familiar, and Ben Watt and Tracey Thorn don't bring anything new to them. Their own material is calm and contemplative anyway, so stripping away the synthesizers doesn't affect the arrangements much. Acoustic is a pleasant-sounding, inessential Everything but the Girl album. ~ William Ruhlmann
Recorded at Livingston, London.
Everything But The Girl: Tracey Thorn (vocals); Ben Watt (vocals, guitar, piano).
Additional personnel: Dick Oatts (soprano saxophone); Damon Butcher (keyboards); Steve Pearce (bass); Bobby D (percussion).
Everything But The Girl Acoustic Songs Acoustic Music Review Average Rating: (5 out of 5 stars)  ESSENTIAL
An Everything But the Girl fan essential. Focuses on remakes and favorites done acoustic. Shows dynamic and a wide range of genres that they can cover. EBTG is definitely on a class of its own. With all their albums that I have, Acoustic and Amplified Heart are the bests albums of EBTG, or one of the best albums EVER!
Submitted by Martin (Manila, Philippines)
Was This Review Helpful? Yes No Beautiful, and completely different
This is not your typical EBTG CD, if you're looking for synth beats, go elsewhere. However, if you're looking for beautiful quiet harmonies and renderings of popular favorites, this is your CD. I bought this 13 years ago, and still love it today!
Submitted by Heather (Chicago, IL)
Was This Review Helpful? Yes No | Have you heard this album? |  |
Purchase Acoustic CD To buy, Click on price to add to cart | Everything But The Girl Language Of Life CD (1990)
Acoustic
 $6.09  
It may have been the logical extension of Everything But the Girl's ersatz cool jazz approach to finally go all the way by hiring veteran producer Tommy LiPuma and a studio full of fusion stars like Joe Sample (the Crusaders), Russell Ferrante (the Yellowjackets), Michael Brecker, and, finally, Stan Getz, whose early-'60s albums of Brazilian jazz are a main touchstone for the group. With such firepower, The Language of Life, at least musically, may be the album that Ben Watt and Tracey Thorn have been trying to make from the beginning. But it falls down in its songwriting, largely because of the near-disappearance of Thorn and her edgy lyrics; Watt takes over for a series of so-so love songs. And the bottom of the barrel is hit with a cover of Womack & Womack's "Take Me," intended as an erotic come-on and sounding more like a lullaby. ~ William Ruhlmann
It may have been the logical extension of Everything But The Girl's ersatz cool jazz approach to finally go all the way by hiring veteran producer Tommy LiPuma and a studio full of fusion stars like Joe Sample (the Crusaders), Russell Ferrante (the Yellowjackets), Michael Brecker, and, finally, Stan Getz, whose early '60s albums of Brazilian jazz are a main touchstone for the group. With such firepower, The Language of Life, at least musically, may be the album that Ben Watt and Tracey Thorn have been trying to make from the beginning. But it falls down in ...
| | Everything But The Girl Amplified Heart CD (1994)
Acoustic
$9.59 
On AMPLIFIED HEART, this pop duo's mesmerizing blend of swooning Fleetwood Mac-like vocal textures and modern dance floor beats is a departure from their previously sparse, jazzy acoustic style, but is equally as ...
| | Everything But The Girl Walking Wounded CD (1996)
Acoustic
$5.79 
Ben and Tracey went clubbing last night and decided to go straight from the dance floor to the studio. They emerge with WALKING WOUNDED, an album that features Tracey's plaintive vocals backed by layers of electronic percussion. Tracey's soul-baring singing pulls you into the songs--we ride with her atop waves of drum beats and dreamy orchestrations in dance styles that vary from jungle to hip-hop to house. The combination brings about an interesting sensation: The beats move your feet while her wistful voice eases you into a state of relaxation. Melody and melancholy are wrapped together in these dance-sized pieces. So are crossover and hit: In Europe, a remix of the title song was the first true pop/jungle hit. (Simultaneously in the U.S., a remix of "Missing," a track from the band's previous album, AMPLIFIED HEART, stayed on the Billboard pop chart for more than a year, longer than any single in Billboard history.)
Live Recording
Recorded at Little Joey's, Milo and The Strongroom, London, England in 1995.
Producers: Ben Watt, Spring ...
| | Everything But The Girl CD (1984)
Acoustic
$9.29
On Everything But the Girl's 1984 self-titled debut, the British duo of Ben Watt and Tracey Thorn offers up a seemingly light, breezy set of jazz-inflected pop tunes that makes no qualms about evoking the bossa nova boom of the '60s. What makes these songs stand out from other acts in the lounge set, however, are Thorn's nuanced vocals and Watt's literate, melancholy lyrics and smart, subtle arrangements. The lilting single "Each and Every One" proved to be a hit in EBTG's native U.K. (where this album was released, with a somewhat different track list, as EDEN), while other tracks, including the dreamy, droning "Frost and Fire" and the slightly New Wave-ish "Never Could Have Been ...
| | Everything But The Girl Idlewild CD (1988)
Acoustic
$9.59
| | David S Ware Threads CD (2003)
Acoustic
$14.29  
Since the beginning of the 21st century, David S. Ware's recordings have moved more toward the notion of composition than free-blowing improvisation. The album Threads is the most fully realized of his scoring attempts yet, and stands out from his catalog as a work of great innovation and emotional power. The David S. Ware String Ensemble is comprised of his quartet with William Parker, Guillermo Brown, and Matthew Shipp, and is augmented by microtonal violist Mat Maneri and classical maestro Daniel Bernard Roumain on violin. Ware's compositions are not subtle by jazz standards. They involve stridently stated rhythmic arrangements, such as those found on "Sufic Passages," which inverts and extends part of the line from John Coltrane's "A Love Supreme," and is eerily reminiscent of the intro statement of the 1960s Ramsey Lewis Trio with Maurice White in live settings -- check out "Hang on Sloopy," "Wade in the Water," or "Dancing in the Street" from Cadet Records for reference. Ware sounds nothing like Lewis, of course, particularly with this instrumentation. Shipp uses a Korg synthesizer on the entire album, and the rhythmic patterns but forth by Brown and Parker are mere jump-off points for explorations in tone, color, and texture. Ware's melodic sensibility is never quite revealed, though it is never absent, either. Here, once a pattern is stated and developed, it is extrapolated upon first by the string players creating modal passages in the middle. Ware and Shipp function either as soloists or contrapuntal rhythmic foils on the track.
On "Ananda Rotation," co-written with Shipp, Ware delves into the sonority of Parker's bowed bass as the entry point into minor-key journeys around a noir-ish thematic. The other strings join in, droning across the background and Shipp colors the entire proceeding with washes of unidentifiable sonics. Brown hovers over the cymbals and tom-toms like a ghost as Ware delves into the heart of these different tonalities and opens them onto a new sonic landscape where Maneri moves across the drone to improvise alongside him. The album is broken up in the middle by a stomping blowout entitled "Weave I," where the strings never make an appearance; in fact it is a duet between Ware and Brown, taking an Afro-Cuban rhythm and turning it inside out on a theme created by Ware, who also roils through its variations until it returns toward the end. The same thing happens at the album's close. But it is on the title cut and the shimmering, melodic restraint of "Carousel of Lightness" that Ware makes his true sensibilities most plain. His acceptance of sonic ambiguity and harmonic opaqueness are brought under the command of dynamic on these tracks, and from the crack in the tension comes some of the most beautiful, intuitive, and forward-thinking ensemble playing in a decade by any American jazz group. Threads is easily Ware's classic thus far in that it showcases the musician at the height of all of his powers: improvisational, compositional, ...
| | An Evening with John Petrucci and Jordan Rudess CD (2000)
Acoustic
$10.59
Evening with John Petrucci & Jordan Rudess is an unheralded recording by Dream Theater and Liquid Tension Experiment alumnus John Petrucci, and Jordan Rudess is a unique entry in the Dream Theater family discography. Recorded live in Nyack, New York, the duo performed a mixed set of acoustic and electric (guitar only) compositions. Both players are world-class musicians, but Rudess in particular demonstrates his well-rounded skills, proving why he is an in-demand session player for the likes of David Bowie and Paul Winter. Petrucci too is a fine musician, but lacks the harmonic and rhythmic sophistication to serve as a strong ...
| | History Never Repeats: The Best Of Split Enz CD (1987) Import; Remastered
Acoustic
$13.95
| | T Raumschmiere Sick Like Me CD (2005)
Acoustic
$6.85
| | Hollywood Maverick - The Gary Paxton Story CD (2006) (Import) United Kingdom
Acoustic
$16.65
Brian Wilson admired him. Phil Spector was scared of him. In the roll-call of 1960s Hollywood record men, quixotic producer Gary S. Paxton was one of the most remarkable. This 32 track anthology not only traces his career, but also includes early and/or
As something of a less ruthless, more musically inclined Kim Fowley (with whom he briefly partnered in his early career), Gary Paxton was an interesting jack-of-all-trades. Working mostly in Hollywood, between the late '50s and late '60s he had his hand in innumerable records as a producer, songwriter, and performer. This compilation gathers 32 such tracks from that time, some of them previously unreleased, and most from very obscure singles, though it does include several hits with which he was involved: Skip & Flip's "It Was I," the Hollywood Argyles' "Alley-Oop," and Bobby "Boris" Pickett's "Monster Mash." Alec Palao's 28-page liner notes are so thorough, and so evocative of the early-'60s anything-goes Hollywood pop/rock scene, that some collectors will find them worth the price of this CD alone. That doesn't negate the fact, however, that most of the tracks on the CD are forgettably derivative of many trends in the era, from rockabilly, instrumental rock, and doo wop to Ricky Nelson (David & Lee's "Tryin' to Be Someone"), Bo Diddley (Renfro & Jackson's "Elephant Game, Pt. 1" is a pretty transparent takeoff on Diddley's hit "Say Man"), folk-rock (Mickey Rooney, Jr.'s previously unreleased "I Can Read Between the Lines"), Association-like harmony pop/rock (the Four Freshmen's 1966 single "Nowhere to Go"), novelty rock, uptown New York Brill Building soul-pop, and more. In fact, the three aforementioned hits are the best cuts, ...
| | Lo Compilation CDs (2006)
Acoustic
$12.95
DJ: Susumu Yokota.
| | Chow Nasty Super (Electrical) Recordings CD (2007)
Acoustic
$13.85
| | Bill Mumy Landlord Or The Guest CD (2008)
Acoustic
$11.39
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