| | Lita Ford In Concert CD Lita Ford Discography of CDs
(3 Customer Reviews)
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Lita Ford's In Concert disc on Cleopatra is the re-release of Greatest Hits Live!, originally circulated on the Dead Line imprint in both the U.S. in 2000 and in Germany in 2003. It opens up with an "exclusive studio track," "Nobody's Child," co-written by veteran guitarist Glen Burtnik with backing from a different group than the one that provides instrumentation on the concert tape. "Nobody's Child" is solid anthemic rock, as is "Larger Than Life," which kicks off the live side of things. If you're looking for Runaways chestnuts or material from her first two solo discs from the early '80s you won't find that here, as the tunes are culled from 1988's Lita, 1990's Stiletto, and 1991's Dangerous Curves albums. Recorded "at one of Lita's favorite watering holes in southern California" by Westwood One, this is quite possibly a radio broadcast, though there's no info on which "watering hole" Lita and the boys rocked, nor is there a date. The six-page booklet unfolds to create a mini-poster of the metal priestess on one side with the credits on the flip. It sounds like your regular FM broadcast of a tight and entertaining hit artist on the road, and is a decent document of Ford in action. At times she sounds like the group Heart, especially on "Black Widow" and "What Do You Know About Love," also dipping quite often into the Kiss bag by placing a heavy chorus inside the hard rock. In fact, the first five tunes all fall into that category -- heavy rock and heavy chorus hooks. It's fun with no frills, a female guitar hero delivering the goods and putting some of her best-known material out in her stage show. Lita's cover of "Only Women Bleed" is absent, but the disc does display an impressive bunch of cohorts who have written with the veteran over the years -- Chip Taylor, Lemmy Kilmister, Nikki Sixx, Ozzy Osbourne, Jim Vallance, and others. "Can't Catch Me" has a hook that is unique and won't quit, while "Rock Candy" (a cover of Montrose) closes out the set in an overtly sexual but slow -- for Lita -- groove. ~ Joe Viglione
Personnel: Lita Ford (vocals, guitar); Glen Burtnik (vocals, acoustic guitar); Joe Taylor (guitar, background vocals); David Ezrin (keyboards, background vocals); Tommy Caradona (bass guitar, background vocals); Phil Chen (bass guitar); Jimmy DeGrasso, Roger Carter (drums).
In Concert Music | List Price | $10.98 (You save $1.09) | | Category | Rock/Pop Albums, Rock CDs, Heavy Metal, Live Performances, Box Sets, Hard Rock | | Label | Dead Line Music | | Orig Year | 2004 | | All Time Sales Rank | 37449  | | CD Universe Part number | 6739342 | | Catalog number | 1416 | | Discs | 1 | | Release Date | Jul 13, 2004 | | Studio/Live | Live | | Mono/Stereo | Stereo | | Producer | Lita Ford | | Engineer | Biff Dawes | | Personnel | Lita Ford - vocals, guitar Jimmy DeGrasso Phil Chen - bass guitar Glen Burtnik - vocals, acoustic guitar Joe Taylor - guitar, background vocals David Ezrin - keyboards, background vocals Roger Carter - drums Roger Carter - drums Tommy Caradona - bass guitar, background vocals
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$14.15 The Brazilian mandolin master follows his masterful quintet date Brasilianos with a more intimate (hence the title) and plucky solo affair on the ten-string mandolin that he says uses "road technology"--that is, a good mike, his laptop, and an MBox. Rhythmically diverse and intricately rendered, the session sounds like a one-take affair, with him not worrying so much about arrangements but just letting songs from his favorite Brazilian composers work through him as if by an unconscious process. He gets off to a lovely, hypnotic start with the passionately rhythmic "Samba do Soho," focusing on pure, crisp fingerstyling as he conveys the joy intended by writers Paulo Jobim and Ronaldo Bastos. De Holanda is in more of a thoughtful mode on Chico Buarque and Edu Lobo's "Beatriz" and his own simple expression of "Gratitude," which he follows with the strumming grace of Tom Jobim's "Luiza." De Holanda's other originals, "A César o Que é de César" and the graceful "Amor, Saudade Amor," stand up well with the works of the other composers. Because each song has a similar tempo, the collection is best enjoyed as a seamless whole. From the get-go, his goal seems to be fully expressing the melodic, "vocal," and rhythmic capabilities of the instrument he has such a passion for. ...
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