| | Schubert: Schwanengesang; Brahms: Vier Ernste Gesänge CD Brahms / Quasthoff / Schubert / Zeyen CDS
Schubert: Schwanengesang; Brahms: Vier Ernste Gesänge Music | List Price | $16.98 (You save $6.09) | | Label | Deutsche Grammophon | | Orig Year | 8/14/2001 | | All Time Sales Rank |  6850  | | CD Universe Part number | 2017200 | | Catalog number | 471030 | | Discs | 1 | | Release Date | Aug 14, 2001 | | Recording Time | 1 6 |
Schubert: Schwanengesang; Brahms: Vier Ernste Gesänge Review
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Schubert: Schwanengesang; Brahms: Vier Ernste Gesänge
 $11.49  | | Yes Word Is Live CDs (2005) Boxed Set
Schubert: Schwanengesang; Brahms: Vier Ernste Gesänge
$44.25 
A three-disc collection of Yes concert performances dating from the early 1970s to the late '80s, THE WORD IS LIVE presents the pioneering British prog-rock group in its various incarnations. The first disc features live tracks from '70 and '71, when organist Tony Kaye's distinctive Hammond lines figured strongly into the band's performances, which here include a jam-heavy take on "America" that precedes its studio version. The second and third discs are filled with concert appearances that have Kaye's replacements, either keyboardist Rick Wakeman or Patrick Moraz, surging through classics such as "Sweet Dreams" and "Roundabout." The set goes on to include Kaye's return to the fold, most notably on the high-energy medley of "Make It Easy" and "Owner of a Lonely Heart." While hardcore, bootleg-seeking Yes fans have undoubtedly heard some of these recordings before, THE WORD IS LIVE performs a great service by compiling these era-spanning tracks, making the set essential for any enthusiast.
Includes previously unreleased tracks.
Yes: Jon Anderson (vocals, guitar, acoustic guitar, percussion); Steve Howe, Trevor Rabin (vocals, guitar); Chris Squire (vocals, bass instrument); Trevor Horn (vocals); Peter Banks (guitar); Geoffrey Downes, Patrick Moraz, Rick Wakeman, Tony Kaye (keyboards); Alan White , Bill Bruford (drums).
| | Roy Buchanan Live In Japan CD (2003) (Import) Germany
Schubert: Schwanengesang; Brahms: Vier Ernste Gesänge
$18.39 
LIVE IN JAPAN was recorded during the British blues guitarist's 1977 Japanese tour, and includes both Roy Buchanan originals and covers ranging from Larry Williams' "Slow Down" to Don Gibson's "Sweet Dreams."
Live in Japan (2003) is said to have been Roy Buchanan's favorite of all his platters, and ironically, it was never issued stateside. However, as word spread, the title became an essential addition to his discography. Fact is that it may have never come out at all, had there not been a loophole in Buchanan's contract with former label Polydor, giving them control over his non-North American output. Joining the guitarist for his 1977 tour of Japan are John Harrison (bass), Malcolm Lukens (keyboards), and Byrd Foster (drums/vocals). They are likewise the core contributors to Buchanan's most recent studio effort, A Street Called Straight (1976), though no tracks from the album are represented here. Instead, the set consists of recent collaborations, definitive cover versions, and a few seminal Buchananclassics. The immaculate fidelity immediately separates Live in Japan from most other releases in his canon. The enthusiastic yet typically reserved Japanese audience is first treated to a laid-back and stretched-out reading of Booker T. & the MG's' "Soul Dressing." The backing trio provide a rock-solid bed for Buchanan's sinuous interjections and spacious melody lines. "Sweet Honey Dew" is a perfect vehicle for some incendiary string shredding, although the actual tune is somewhat of a derivation of a standard blues riff. Perhaps more fitting is the rousing rendition of Larry Williams' "Slow Down," uncovering the nimble accuracy accompanying the sonic kick in Buchanan's piercing fret work. Contrasting this is the lengthy jam on "Blues Otani," as the ensemble ably improvise in and around the guitarist. Live in Japan concludes with an intimate and affective "Sweet Dreams," which may well have been the artist's unofficial anthem, as his unique interpretation undoubted
| | David Gilmour About Face CD (1984) Remastered
Schubert: Schwanengesang; Brahms: Vier Ernste Gesänge
$7.59  
Combining layered vocals with a heavily looped guitar sound, "Until We Sleep" begins ABOUT FACE with an almost Byrds-like quality, while the gentleness of the acoustic opening to the ballad "Murder" disguises its homicidal subject matter. Both "Love On the Air," and "All Lovers are Deranged," are distinguished by lyrics written by Pete Townshend, and "Blue Light" is an attempt at funk with a Floydian flavor. Gilmour's strength at ballad writing is evidenced in "Out of the Blue," while the obligatory instrumental is "Let's Get Metaphysical." The album closer is, appropriately enough, the song "Near the End." All in all an essential album in any Floyd fan's collection.
This follow-up to David Gilmour's late '70s debut is a Bob Ezrin-produced post-WALL effort, and as such it incorporates the harder sounds Gilmour had become accustomed to during the WALL sessions. Written and released around the time of Roger Waters' exit from Pink Floyd, this album foreshadows the Floyd's future musical direction.
Personnel: David Gilmour (vocals, guitar); Barbara Snow, Roddy Lorimer, Tim Sanders, Simon Clark (horns); Steve Winwood (piano, organ); Ian Kewley (piano, Hammond b-3 organ); Bob Ezrin (keyboards); Jon Lord, Anne Dudley (synthesizer); Pino Palladino (bass guitar); Jeff Porcaro (drums, percussion); Louis Jardin, Ray Cooper (percussion); Vicki Brown, Roy Harper, Sam Brown, Mickey Feat (background vocals).
| | David Gilmour CD (1978) Remastered
Schubert: Schwanengesang; Brahms: Vier Ernste Gesänge
$6.79
Before David Gilmour virtually "became" Pink Floyd he was always the most likely member of the band (with the possible exception of de-facto leader Roger Waters) to release a solo album. 1978's welcome eponymous debut showcased his multi-faceted performing talents.
The album opener "Mihalis" is an ANIMALS period instrumental, which, along with "Raise My Rent," sounds like an outtake from that album. The beautiful "There's No Way Out of Here" begins with a lonely harmonica and, with "No Way" and "I Can't Breathe Anymore," expounds the album's main theme of being trapped in an untenable situation. "Cry From the Streets" is a nod to the blues, while the lovely "So Far Away" harks back to the ballads of OBSCURED BY CLOUDS. Almost a missing mid-period Floyd album, this solo effort is a must-have for all Pink Floyd fans.
By the time of David Gilmour's solo debut, he had not only established himself several times over as an underrated, powerful guitarist in Pink Floyd, but as a remarkably emotional singer, his soothing approach perfectly suited to such songs as "Wish You Were Here." The self-titled album, recorded with journeyman bassist Rick Wills and Sutherland Brothers drummer Willie Wilson, later to be part of the touring Floyd lineup for its Wall dates, isn't a deathless collection of music in comparison to Gilmour's group heights, but is a reasonably pleasant listen nonetheless. Certainly it's much more approachable than Animals, released later that year, eschewing epics for relatively shorter, reflective numbers. While Gilmour wrote the vast majority of the songs himself, the most successful number was co-written with Unicorn member Ken Baker: "There's No Way Out of Here," an agreeably dreamy, wistful song featuring an attractive acoustic slide guitar/harmonica hook. That it sounds a bit like a Pink Floyd outtake certainly doesn't hurt, but one figures Roger Waters would have tried for some heavily barbed lyrics to offset the melancholy. Throughout the album Gilmo
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Live Recording
Personnel: Robert Carl (chant); Mark Engebretson (alto saxophone); Jérôme Pruett (tenor saxophone); Scott Bean (trombone); Laura Loewen, Istvan BRacz (piano); Robert Black (double bass); Atilla Civilek, Kyle Dunleavy, John Drelick, Jason Walker, Shane Shanahan (percussion); Kevin Hill (background vocals).
Recording information: Roulette, New York, NY.
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