| | Verdi: I Vespri Siciliani CD Arroyo / Domingo / Jald / Levine / Npco / Verdi CDS
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Our Price: $26.25 CDFor Sale Usually ships in 1-2 days (Only 2 available)
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3cds-Martina Arroyo,Placido Do Sherrill Milnes,James Levine Verdi: I Vespri Siciliani Music | List Price | $35.98 (You save $9.73) | | Label | RCA | | Orig Year | 8/10/1999 | | All Time Sales Rank | 10374  | | CD Universe Part number | 1132043 | | Catalog number | 63492 | | Discs | 3 | | Release Date | Aug 10, 1999 |
Verdi: I Vespri Siciliani Classical Review Verdi: I Vespri Siciliani Songs Verdi: I Vespri Siciliani Music Composers on Verdi: I Vespri Siciliani CD : Giuseppe Verdi Conductors on Verdi: I Vespri Siciliani CD : James Levine Genres on Verdi: I Vespri Siciliani CD : Opera, Romantic Period Performers on Verdi: I Vespri Siciliani CD : Alan Byers, Placido Domingo, Kenneth Collins, Leo Goeke, Maria Ewing, Martina Arroyo, Sherrill Milnes, James Morris, Richard van Allan [Bass / Baritone Vocal], Ruggero Raimondi, Terence Sharpe
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| | Judas Priest Demolition CD (2001)
Verdi: I Vespri Siciliani
$13.95 With most of the album written by guitarists Glenn Tipton and K.K. Downing, the group's identity is as solid as ever. The relentless fury that is drummer Scott Travis kicks off "Machine Man," the band's own "Highway Star." Distorted guitar, reminiscent of the band's TURBO era, highlights "One on One." The passing of Tipton's father and the emptiness he felt is reflected in the ballad "Close To You." Tunes like "Hell is Home" and "Lost And Found" offer familiar metal themes; alienation, individuality, and the difficulty in overcoming adversity. "Metal Messiah" preaches the metal gospel, assuring us that THIS band won't be bringing any DJ's on tour any time soon. DEMOLITION kicks, and will satisfy the hunger of all longtime Priest fans.
After longtime vocalist Rob Halford left the band in 1992, Judas Priest recruited Tim Owens, who (ironically enough) sang in a Priest cover band. The band then released its most brutally heavy album to date. These events inspired the Mark Wahlberg film ROCK STAR, but the band distanced itself from the movie, concentrating on DEMOLITION and taking the material on the road. The album is a return to form as the band digs back to its traditional metal roots.
Judas Priest: Ripper Owens (vocals); Glen Tipton, K.K. Downing (guitar); Ian Hill (bass); Scott Travis (drums).
| | Joe Stump Speed Metal Messiah CD (2004)
Verdi: I Vespri Siciliani
$16.45 If people thought Alvin Lee was fast on "I'm Going Home" from the Woodstock movie, Joe Stump will make the leftovers from that generation wonder what Lee wrought -- the word wrought being a good one, meaning "shaped by hammering with tools. Used chiefly of metals or metalwork. Made delicately or elaborately." See if a Tony Bennett fan can figure out where the title track ends and "The Red Priest" begins. Stump gets down to business slamming and churning out metallic flakes so perfect and in such succession that it almost stops being music and sounds like the product of one of Ray Kurzweil's computers from his classic 2000 book The Age of Spiritual Machines: When Computers Exceed Human Intelligence. In that non-fiction tome Kurzweil feeds information into a computer and lets it write its own poetry -- and who's to say Stump isn't some program from the films The Matrix or The Terminator grinding out the mayhem that prevails over the eight-plus minutes of "Eastern Beast"? There is absolutely no letup from song to song, seven and a half minutes of "Reflection" melting into the nearly seven minutes of "The Killer Instinct." Certainly these sounds could find their way into a movie soundtrack for 60 seconds or so, but a steady diet could prove much even for the most ardent admirers of this improvisational journeyman. "Dragon's Den" is almost four minutes of Stump playing by and with himself. At the end of the day the proficiency becomes so extreme that Lou Reed's epic Metal Machine Music says more with its random chaos than this incessant Texas chainsaw massacre. Titles like "Retroactivity," "Psycho Shred Suite 1st Movement," and "Psycho 2nd Movement (Presto)" don't have the language Jimi Hendrix injected into "Room Full of Mirrors" or anything on his The Cry of Love album, which is what you sometimes have to measure these things by. The final track, "Chamber Maid," actually has some drama and presence, and if Stump could have stretched this kind of anticipation and though
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