| | Emerald Rain Short Sighted CD - Import Emerald Rain Discography of CDs
 (1 Customer Review)
This is the rich and innovative release from rock group Emerald Rain, which has 12 tracks, including "Wanted to Believe" and "Wouldn't You."
A good many bands seem to be intent on merging classical/symphonic styles with heavy metal. This group does a much better job than many at it. The central reasons that their music seems more immediate is that they appear to have a genuine interest in the classical end of things, while a lot of other bands seem to just lean on it as a way to give class and finesse to their metal. The funny thing is, the genuine and appreciative nature that these guys seem to give to those inspirations add an air of class all their own to this release. One of the unusual points of the CD is an all-instrumental cover of the Led Zeppelin standard "Immigrant Song." The cut is more of a complete working than just a cover, and if you approach listening to it with an open mind, it is a very effective piece. All in all, this is a superior album in the neo-classically tinged metal genre. ~ Gary Hill
Japanese edition of the Canadian melodic rock act's fourth studio album has earliest release and one bonus track 'Inside Out'. Avalon. 2003.
CD contains 1 bonus track.
Recorded at House Of Audio, Karlsdorf, Germany.
Personnel: Murray Daigle (vocals, acoustic guitar, background vocals); Mike Dmitrovic (guitar); Darren Smith (drums).
Audio Mixers: Mike Dmitrovic; Sean Gregory; Murray Daigle.
Recording information: Mds Recording, Ajax, Ontario, Canada; The Recording House, Scarborough, Ontario, Canada.
Photographers: Jason Stroud; Andy Guglielmo.
Adagio includes: David Readman (vocals); Stephan Forte (guitar, keyboards); Richard Andersson (keyboards); Franck Hermanny (bass); Dirk Bruinenberg (drums).
Additional personnel: Sabine Hartel (violin).
Emerald Rain Short Sighted Songs | 1. | Second Sight |
| 2. | Wanted to Believe |
| 3. | Everyday Hero |
| 4. | All Fair and True |
| 5. | Beneath the Blue |
| 6. | Think of Me |
| 7. | This Must Be Love |
| 8. | Wouldn't You |
| 9. | Need to Fly |
| 10. | Ever After |
| 11. | Done Bleeding |
| 12. | Indise Out |
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CHICAGO V (from 1972) was in some ways the end of the "old" Chicago, pointing the way towards a smoother, mellower style they'd adopt in the years to come. V still has jazz and progressive elements ("A Hit By Varèse," "Dialogues"), political commentary ("State of the Union"), and melodious, sunny, horn-laden pop (the huge hit "Saturday In The Park"). The playing was still tight and clean, and the vocals still earnest and heartfelt, but a lighter mood began to replace the urgency of the band's late-'60s recordings.
With four gold multi-disc LPs and twice as many hit singles to its credit, Chicago issued its fifth effort, the first to clock in at under an hour. What they lack in quantity, they more than make up for in the wide range of quality of material. The disc quite literally erupts with the progressive free-form "A Hit By Varese" -- which seems to have been inspired as much by Emerson, Lake & Palmer's Tarkus (1971) or Yes circa Close to the Edge (1972) as by the Parisian composer for whom it is named. Fully 80 percent of the material on Chicago V (1972) is also a spotlight for the prolific songwriting of Robert Lamm (keyboards/vocals). In addition to penning the opening rocker, he is also responsible for the easy and airy "All Is Well," which is particularly notable for its lush Beach Boys-esque harmonies. However, Lamm's most memorable contributions are undoubtedly the Top Ten sunshine power pop anthem "Saturday in the Park" and the equally upbeat and buoyant "Dialogue, Pt. 1" and "Dialogue, Pt. 2." Those more accessible tracks are contrasted by James Pankow's (trombone/percussion) aggressive jazz fusion "Now That You've Gone." Although somewhat dark and brooding, it recalls the bittersweet "So Much to Say, So Much to Give" and "Anxiety's Moment" movements of "Ballet for a Girl in Buchannon" found on Chicago II (1970).
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Released many years after the fact in time for the 2007 Benny Carter centennial, this swinging 1994 live encounter at Yoshi's in Oakland consists of outtakes from a Mel Martin tribute to Carter on Enja released at the time. But that's for the buffs and scholars to sort out, for these are vastly enjoyably prime cuts in their own right, going beyond the status of mere historical document. From the evidence here, as well as the gigs he played at the Hollywood Bowl during this period, Carter at 87 was still a monster of an alto player -- fluid, inventive, more unpredictable than ever. The rhythm section is headed by another jazz original, Roger Kellaway, who adds ...
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