| | John Foxx Translucence/Drift Music CD - Import John Foxx Discography of CDs
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Our Price: $21.99  CDFor Sale Usually ships in 1-2 days
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UK twofer combines two previously unreleased albums the Ultravox founder/vocalist recorded with Harold Budd, perhaps best-known for his collaborations with Brian Eno, The Cocteau Twins, & Andy Partridge. Packaged in a double gatefold digipak with imagery designed by John Foxx. 27 tracks. Edsel. 2003.Q (1/04, p.132) - 3 stars out of 5 - "[With] evocative, slowly evolving washes of treated synthetic sounds. Music for the spirit and the imagination." Translucence/Drift Music Music John Foxx Translucence/Drift Music Songs | 1. | Sunlit Silhouette |
| 2. | The Other Room |
| 3. | Some Way Through All The Cities |
| 4. | Stepping Sideways |
| 5. | A Delicate Romance |
| 6. | Linger |
| 7. | Curtains Blowing |
| 8. | Weather Patterns |
| 9. | Coming Into Focus |
| 10. | After All This Time |
| 11. | Someone Almost There |
| 12. | Resonant Frequency |
| 13. | Avenue Of Trees |
| 14. | Underwater Flowers |
| 15. | Arriving |
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Translucence/Drift Music Review
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This remastered edition features a 15-track bonus disc of rarities that includes numerous demos, studio outtakes, and live performances.
If you ever observed (or were) a pale depressed-looking teenager dressed entirely in black, sitting in the corner scribbling frantically into a marble bound notebook, then you already understand the Cure. In the 1980s, the Cure provided the soundtrack for an entire generation of misfit toys, and if SEVENTEEN SECONDS was a wake-up call for the dispossessed, FAITH is the daily affirmation. Scaled back down to a three-piece with the loss of keyboardist Hartley, the Cure is a lean, mean fighting machine, ready to rumble.
"Rumble" is the best way ...
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In any case, Rawls is in top form throughout. His readings of blues ballads associated with Big Joe Turner ("Chains of Love"), Etta James ("At Last"), Dinah Washington ("This Bitter Earth"), and his old friend Jesse Belvin ("Good Night My Love") are to all intents definitive.
Import only release on Blue Note. Ballads is culled from three separate albums Lou Rawls recorded for Blue Note between 1989 and 1992. Stylistically and sonically it's utterly consistent, which is a tribute both to Rawls' superior vocals and producer Michael ...
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MY FAVORITE THINGS is a landmark album in jazz history. On the previous year's GIANT STEPS, Coltrane had established his credentials as a bebop master, composer and group leader. By 1960, he was ready to move on. On MY FAVORITE THINGS, Coltrane is in transition, searching for another level to which to raise his music. A new group featuring McCoy Tyner on piano, Steve Davis on bass and Elvin Jones on drums supports Coltrane on this experiment in non-Western harmonics and controlled dissonance.
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This enjoyable set gathers songs from all six of Cledus T. Judd's studio albums. What little filler those records had is trimmed here in favor of the hits, making Essential, well, pretty essential for fans of the country-fried funnyman. Usual targets like Shania Twain and Alan Jackson get sent up with "If ...
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Braxton's Ghost Trance Music series ranks among the most difficult music to review. Everyone has his or her personal favorites among the dozens of discs released under this umbrella and, since the general idea underpinning them all and the quality of musicianship remain rather constant, evaluation comes down to highly subjective factors. For instance, one listener might find the first volume in Leo Records' Ninetet (Yoshi's) 1997 series lacking in interest, but would be hard pressed to rationally explain why this second installment, Ninetet (Yoshi's) 1997, Vol. 2 is so much better. The lineup is the same: a barrage of woodwinds (Anthony Braxton, Brandon Evans, James Fei, Jackson Moore, Andre Vidal, and J.D. Parran, all playing multiple saxophones, clarinets, and flutes) accompanied by guitar (Kevin O'Neil), bass (Joe Fonda), and percussion (Kevin Norton), although all nine players rarely perform at the same time. Both "Composition N. 209" and "Composition N. 210" move through a quasi-endless and constantly renewed flow of trios (the latter also uses larger combinations). The music was recorded the day after the first volume, and consists once again of two disc-long pieces. The difference on Vol. 2 is that the group sounds more focused, more willing to trap the listener into the hypnotic patterns of the music and push him to the edge of free improvisation. "Composition N. 210" in particular deploys some mean tricks to make you forget that it is written down. The two pieces develop very different colors. Most noticeable is the fact that Norton (mostly) plays the drum kit in "N. 210," while he sticks to mallet percussion and cymbals in "N. 209." And so, either by design or attraction, "N. 210" displays ...
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