| | Kool & The Gang All The Hits Live CD Kool & The Gang Discography of CDs
Kool & the Gang were one of the best live bands in rock history, but this concert record isn't the place to hear them in their glory. Of undocumented vintage (but definitely from the mid-'90s), All the Hits Live presents ten live tracks -- all hits, true, but the playing is so smooth and the sound so polished that the occasional exhortations to the crowd are the only reminders to the listener that this was a live record. Kool & the Gang get the crowd energized during "Hollywood Swinging" and "Celebration," but those are rare moments of excitement. ~ John Bush All The Hits Live Review
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Purchase All The Hits Live CD To buy, Click on price to add to cart | The Ultimate Bee Gees CDs (2009)
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| | Preacher's Wife CD (1996) Original Soundtrack
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THE PREACHER'S WIFE was nominated for a 1988 Grammy Award for Best R&B Album. "I Believe In You And Me" was nominated for a 1998 Grammy Award for Best Female R&B Vocal Performance.
That renaissance gal is at it again. As in THE BODYGUARD, Whitney Houston does double duty as star and soundtrack provider for THE PREACHER'S WIFE. Don't look for her to be sticking to the commercial pop-R&B sound that served her so well on her last soundtrack album, though. THE PREACHER'S WIFE finds Houston reaching back to her roots in gospel, and collaborating with some stellar gospel artists, including her mother, Cissy.
Several cuts here, including "Hold On, Help Is On The Way" and "I Go To The Rock," find the soulful Georgia Mass Choir supporting Houston in her return to the fold. On "He's All Over Me," Houston is joined by gospel great Shirley Caesar as well. On a more modern tip, Houston delivers "Somebody Bigger Than You And I," accompanied by a veritable who's-who of contemporary ...
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Most of Graffiti is a natural progression for Chris Brown. Like many young cred-seeking male singers who have just exited their teenage years, Brown emphasizes womanizing and hedonism and balances it out with a couple clean and empty ballads, as well as a couple relatively lighthearted Europop numbers. A handful of songs deal with his relationship with Rihanna, as well as the fallout from his assault of her. ~ Andy Kellman
Most of Graffiti -- that is, the songs that do not detail what ex-girlfriend Rihanna and the rest of the world have done to him -- is a natural progression for Chris Brown. Like many young cred-seeking male singers who have just exited their teenage years, Brown clumsily emphasizes womanizing and hedonism and balances it out with a couple clean and empty ballads. Out of this portion of the album, only a couple songs leave a lasting impression, and when they do, the silly things that come out of Brown's mouth tend to be the reason; take "As stingy as you ...
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It's important when encountering this album for the first time to think of it as a dry run for film soundtracking rather than as a straight-up techno effort -- because viewed through the latter lens, This Film's Crap is actually not much. Thus the lengthy opener "No Man's Land," opening with pure Third Man/Spy Who Came in From the Cold dynamics -- bells, solitary footsteps, a moody late-night vibe -- and developing into a more mainstream and less classically-oriented (but still quite successful) version of In the Nursery's majestic work. Even the military snare drums that suggest that band's crisp approach are here, used rather well at that. Other fine cuts that hit the balance between modern sheen and black-and-white-era thriller include "Inspired by Leyburn," with a particularly great John Barry/Ennio Morricone guitar figure courtesy of Steve Hillage, and the closing "Coming Home to the Sun." Where Holmes more openly flies the techno flag, his work is useful enough for dancefloor filling but not particularly remarkable beyond that, functional without being truly striking. Thus songs like "Got Fucked Up Along the Way" start with basic and unsurprising techno clichés but only get inspired when things sound, again, like a soundtrack to a chase scene, nervy synth notes echoing through the accelerated punch. Perhaps by default, one of the most notable tracks is a collaboration with Saint Etienne singer Sarah Cracknell, "Gone," a beautiful jazz-touched ballad that takes the atmosphere and slow seductive crawl of Julee Cruise's work and transposes to a more openly modern setting. Later versions of ...
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Recording information: Kompressor Digital.
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Jets Overhead's second album, 2009's NO NATIONS, is a pleasant, gently trippy throwback to the '90s shoegaze scene filled with waves of guitars, dreamily hazy vocals, and sweetly sung melodies. The band also adds layers of vintage keyboards, including the rarely used ARP Solina, to create a warm and ...
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