| | Velhas Virgens Voces Nao Sabem Como E Bom Aqui Dentro CD - Import Velhas Virgens Discography of CDs
Voces Nao Sabem Como E Bom Aqui Dentro Music Velhas Virgens Voces Nao Sabem Como E Bom Aqui Dentro Songs | 1. | Voces Nao Sabem Como E Bom Aqui Dentro!! |
| 2. | Mulher Do Diabo, A |
| 3. | Abre Essas Pernas |
| 4. | Ja Dizia O Raul |
| 5. | Beijos de Corpos |
| 6. | Madrugada E Meia |
| 7. | Uns Drinks |
| 8. | Siririca Baby |
| 9. | Eu Nao Quero Mais |
| 10. | Vampiro |
| 11. | Pao Com Cerveja |
| 12. | Selvagem Do Asfalto |
| 13. | Nao Vale Nada |
| 14. | Lambendo Com a Testa |
| 15. | Sweet Blues for You |
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Voces Nao Sabem Como E Bom Aqui Dentro Review
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Recorded live at the Roseland Theater, Portland, Oregon on October 25 & 26, 1996.
Live versions of the 1970s English hard rock act's greatest hits include "Slow Ride" and "I Just Wanna Make Love to You."
This 76-minute collection of live cuts from two live shows in Oregon during 1996 starts off a little ominously, in terms of the beat that the group uses on "I Just Want to Make Love to You," abut Rod Price's guitar carries the day and the group does well enough on the old blues-rock standard, stretched out to nearly ten minutes. Unfortunately, there isn't a lot of variety in the sound of Lonesome Dave Peverett's singing, which is good, but not quite good enough to sustain interest across over an hour of largely original material. The material offers some variation -- the most attractive songs here are the Chess-based material, which includes "Chevrolet," an undisguised Bo Diddley variation, but the group does better with originals like "Soakin' the Bone" (itself a Jimmy Reed rip-off). The material is well-recorded, and fans of Rod Price's guitar will definitely not feel short-changed by the mix or the mastering. ~ Bruce Eder
This 76-minute collection of live cuts from two live shows in Oregon during 1996 starts off a little ominously, in terms of the beat that the group uses on "I Just Wanna Make Love to You," but Rod Price's guitar carries the day and the group does well enough on the old blues-rock standard, stretched out to nearly ten minutes. Unfortunately, there isn't a lot of variety in the sound of Lonesome Dave Peverett's singing, which is good, but not quite good enough to sustain interest across over an hour of largely original material. The material offers some variation -- the most attractive songs here are Chess-based material, which includes "Chevrolet," an undisguised Bo Diddley variation, but the group does better with originals like "Soakin' the Bone" (itself a Jimmy Reed rip-off). The material is well-recorded, and fans of Rod Price's guitar will definitely not feel short-changed by the mix or the mastering. [The 2001 double-disc release by SPV includes two songs not found on the original -- "It's Too Late" and "Stone Blue" -- and two bonus tracks: "Angel of Mercy" and "Tear You Down."] ~ Bruce Eder
Best of live compilation. ...
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It's tempting to call 2005's THE COOKBOOK a return to form for Missy Elliott, but the truth is that she's never stepped from the forefront of commercial hip-hop as a conceptualist, songwriter, and producer (with the help of her peerless collaborator Timbaland). The rise of new sounds and trends ...
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Benjamin Escoriza was born in Granada but has lived in Spain for the past 20 years; his usual gig is playing with the Spanish group Radio Tarifa, a trio that has made its name blending flamenco, Latin, pop, and North African sounds. On his debut solo album he sticks with those general influences, but focuses a bit more on the flamenco side. The result is something of a mixed bag. The instrumental arrangements are wildly eclectic but uniformly fascinating, from the complex rhythms and medieval-sounding reed instruments on "Paquita la Guapa" to the intense waltz of "Niña." While almost everything is wildly danceable, there's quite a bit of subtle elegance at play here as well: notice what the guitar is doing just underneath the surface of "El Cebollón," for example. The problem throughout this album, however, is Escoriza's vocal style, which is generally overwrought and sometimes downright harsh -- it may be a stylistic quirk that makes perfect sense in the context of his unique blend of cultural referents, but it's really not much fun to listen to, which is a shame given the high quality of so much of the music itself. Fans of Radio Tarifa ...
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