| | Z Z Hill Turn Back The Hands Of Time CD Z Z Hill Discography of CDs
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"Rare and Previously Unreleased Recordings 1965-1972," reads a legend on the cover of the Turn Back the Hands of Time compilation, and while Dan Nooger's liner notes fail to spell out the details, it appears that the bulk of these tracks date from the early '70s and Z.Z. Hill's Hill Records label. One, "Don't Make Me Pay for His Mistakes," was a hit for the blues singer in 1971. The first three tracks present Hill's distinctive covers of the Temptations ("Ain't Too Proud to Beg," "My Girl") and Tyrone Davis ("Turn Back the Hands of Time"). Certainly, this is not the best Z.Z. Hill collection out there; on the other hand, it does contain some effective performances that have not gotten much recognition previously. ~ William Ruhlmann
rare & memorable late 60's-early 70's music from late great soul singer, inc. his excellent cover of "Ain't Too Proud To Beg" & the hit "Don't Make Me Pay For His Mistakes"
Arranger: Gene Page.
Personnel: Z.Z. Hill (vocals).
Liner Note Author: Dan Nooger.
Turn Back The Hands Of Time Music Z Z Hill Turn Back The Hands Of Time Songs | 1. | Ain't Too Proud to Beg |
| 2. | Turn Back the Hands of Time |
| 3. | My Girl |
| 4. | It Can Be Fixed |
| 5. | Nine Pound Steel |
| 6. | Don't Make Me Pay for His Mistakes |
| 7. | Mr Nobody's Somebody |
| 8. | Sweet Woman |
| 9. | One Way Love Affair |
| 10. | Think People |
| 11. | You Better Take Time |
| 12. | Five Will Get You Ten |
| 13. | Right to Love, The |
| 14. | You Were Wrong |
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Turn Back The Hands Of Time Music Review Purchase Turn Back The Hands Of Time CD To buy, Click on price to add to cart | Etta James: At Last ! CD (1961) Remastered
Turn Back The Hands Of Time album
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Originally released on Argo (4003). Includes liner notes by Andy McKaie.
Digitally remastered by Erick Labson (MCA Music Media Studios, North Hollywood, California).
When Etta James signed with Chess Records in 1960, the label decided to pair her raw, ...
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| | Ray Brown Jazz Cello CD (1960) Remastered; Digipak
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On the last day of August and the first day of September 1960, bassist Ray Brown recorded his third album for the Verve label, focusing most of his attention upon the cello while Joe Mondragon handled the bass. The 11-piece band on this date was conducted by arranger Russ Garcia and included reed players Paul Horn and Bob Cooper as well as pianist Jimmy Rowles. The results were typical of late-'50s West Coast mainstream jazz: familiar ballads and friendly, uplifting standards, tidily performed. Some of the tunes reach back to the 1920s, with "Rock-A-Bye Your Baby with a Dixie Melody" serving as a surprisingly hip link with vaudeville as Brown's pizzicato maneuverings are punctuated with punchy blasts from reeds and brass. If one takes the time to place this recording within an historical context, an impressive evolution reveals itself. The first bassist to cross over to cello on records in modern times is believed to have been Oscar Pettiford, while Fred Katz popularized the warm-toned instrument through his work with drummer Chico Hamilton. The progression of jazz cellists since then is impressive, from Ray Brown, ...
| | Ozma Spending Time On The Borderline CD (2003) Enhanced CD
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Ozma keep maturing as a power pop-punk outfit and shaking off the Weezer tag a bit -- in fact, at times they're reminiscent of old Split Enz, in large part because of the keyboards. But there's plenty of energy about the songs, and "Turtleneck Coverup" even shows major signs of political awareness -- growing up in public. There's more variety in the sound, both in the instruments, like acoustic guitar or keyboards codas to pieces, or even in the texture of the instruments -- witness the opening to "Spending Time." The songwriting continues to hit a high standard, although "Eponine" and "Wake Up" both seem to vanish in the moment, before "Restart" and "Lightyears Will Burn" forcefully reclaim attention. The singing is what you've come to expect, more joyous abandon than necessarily always hitting the right notes, but that's fine -- it works in the context, although you have to think that with a little more work on the vocals they could actually move into a classic pop category. Still, there's absolutely nothing wrong with this -- you've just got to wonder how far they can run in this style, though, before it becomes a dead end. ~ Chris Nickson
What kind of musical chaos ensues when the rock n' roll torch of the 20th century is handed down to a new generation raised on such 1980s cultural staples as Nintendo, Back to the Future, and Tron? The answer is something of an oxymoron: a very orderly chaos. The Los Angeles power-pop quintet Ozma evolved their unique brand of guitar-based, synth-driven chaos in the latter half of the 1990's. A rabid fan following developed quickly in the Southern California clubs, and spread widely in this country and others with the 1999 release of Ozma's debut album "Rock and Roll Part Three." Ozma formed quite by chance in September 1995 when Jose Galvez and Ryen Slegr met Daniel Brummel on the Internet and the three began collaborating on songs with high school friend Patrick Edwards on drums. The Internet remains crucial to Ozma: their self-designed website, ozmaonline , helps strengthen the already close relationship the band enjoys with fans by allowing their questions to be answered directly and quickly.No member of ...
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The second album by Illinois indie rockers Shipwreck has such a deliberately limited musical aesthetic that before it's even half over, even the most minimally musically savvy listener can accurately predict what the rest of the album will sound like. Even on relatively slow songs like the hyper-dramatic "Black Moon," guitarists and singers John Owen and Harman Jordan reveal themselves to be one-trick ponies in terms of guitar sounds and arrangement ideas. Think back and mentally reconstruct the first minute of U2's "Where the Streets Have No Name," ...
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