| | String Quartet Tribute To Staind CD (1 Customer Review)
Staind outdistanced itself from the nu-metal pack by piggybacking on the emotional roller coaster that is Aaron Lewis. While his vocal presence drifted from agitated to saddened, intimate to in your face, Staind's instrumentation was often average at best. All of which makes The String Quartet Tribute to Staind a surprise, since its instrumental arrangements of material from Dysfunction (1999) and Break the Cycle (2001) ring with emotional shifts and moments of real power. Guided by violin and viola, the mix also includes cello and double bass, but fails with forays into programming and synth that only work on the pleading "Fade." For the most part, however, the musicians have expertly transfused Lewis' dualistic nature -- emotional train wreck to lumbering locomotive -- into their arrangements. "Outside" is fragile, yet it seems to teeter on the edge, as if it were a porcelain figurine about to crash to the floor below. The grinding "Just Go" is almost unrecognizable, reimagined as a halting ballad tinged with hopeful violins. In this case, the chamber musicians have actually made their source material better. The set is essential for any Staind fan, as it offers another window into the emotions making up the band's spiritual center. ~ Johnny Loftus
Personnel: Woody Pak (guitar, baglama, keyboards, drum programming); Tom Vos, Richard Adkins, Roberto Cani (violin); Tom Tally (viola); Mathew Cooker, Alex W. Y. Wong, Guenevere Measham, Richard Dodd (cello).
Audio Mixers: Woody Pak; Jerrold Launer.
Recording information: Casa Amarilio; Private Island TRAX; The Woodhouse, Los Angeles, CA.
Arrangers: Woody Pak; David Ari Leon.
Personnel includes: Woody Pak (guitar, bagalama, keyboards, programming); Richard Adkins, Tom Vos, Roberto Cani (violin); Tom Tally, Karen Goulding Long (viola); Guenevere Measham, Richard Dodd, Alex Wong, Matt Cooker (cello); Adrian Rosen, Barry Newton (bass).
Tributee: Staind.
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As black metal's fully enthroned reigning kings, Emperor are truly an interesting, intriguing act, combining the soaring, operatic, orchestral sensibilities of classical music with the pomposity, technical skill, and brutality of various types of heavy metal. What emerges from that Norwegian cocoon is something entirely new, or if not entirely new, then a fully realized version of something that had been attempted by other acts. This live disc, which also incorporates multimedia -- a video for "I Am the Black Wizards" and Emperor screensavers -- was recorded and engineered during European touring for Equilibrium IX. Whether or not the tracks ...
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$11.49 A Note on "Almost Off the Dial": Pop Music With Free WillThe great drummer, Shelly Manne, talking about a session with the even greater pianist, Bill Evans, said of jazz musicians that they "should not play anything just for effect, but search for good sound, beauty, taste and an honest overall musical approach, using technique for musical ends alone, always thinking of the group sound and playing naturally. And, of course, in jazz the swing must be there." And our fine contemporary pianist, Bill Charlap, has said that one of the many things he learned from ...
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$16.45 Walking Down Whalley (Stacy Phillips - BMI) - If you’re wondering about the sobriquet neo-urban traditions, this piece is a prime sample. I used to live on a main drag in New Haven, Connecticut. Anyone from a small city will recognize the neighborhood with one listen to the lyrics. New Haven is perhaps the last feudal society in the United States, with the big gorilla, Yale University, playing the liege lord, and the townies in the reluctant role of loyal serfs.Which instrument is soloing? On this and other pieces on this CD, often both lead simultaneously. Nao Toque (Zequinha Abreu) - From Brazil comes a style called chorro with an infectious kind of musical craziness. Towards the end we add a touch of a salsa rhythm break to Don’t Touch . A Smooth One (Benny Goodman & Charles Christian) - With a tip of the hat to a World War II vintage riff from Mission to Moscow, Paul and I travel a smooth musical path from urbane suavity to Dionysiac intoxication, and back. Just two guitars with very disparate voices.Blues for Charlemagne (Stacy Phillips - BMI) - You think you’ve got the blues? 1200 years ago they really had it rough. No chocolate chip cookies, no TV and Charles the Fat was no help. 27th of September (Djiddjung) / Tears (Django Reinhardt/Stephane Grappelli) - The first piece is from the playing of Antonio Lopes (better known as Travadinha), the greatest exponent of the old time violin style of the Cape Verde Islands. The genre is one of the seemingly endless fusions of European and African musicality.The French Rom-based Tears flits between major and minor tonality, with substantial portions in neither. Four From Hawaii - The first two, short pieces are from the repertoire of electric steel pioneer Dick McIntyre, though their titles have faded from my memory bank. Third up is Haole Hula, played in the Hawaiian chordal style of the 1950’s. We perform it in a hapa (half) haole (Caucasian) mix of Western and Polynesian styles. European-derived marches were one of the first genres played by native Hawaiians in the late nineteenth century on the newly invented steel guitar. Kohala March celebrates the home of many sugar plantations. I’ve tried to keep some of the really old sounds in this version. Most everything can fit into the neo-urban ...
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