| | Atomic Platters: Cold War Music From The Golden Age Of Homeland Security CD - Import
(5-CD/1-DVD box set with hardcover book) This collects over 100 Cold War songs and over 2 dozen Public Service Announcements (voiced by Groucho Marx, Bob Hope, Pat Boone, Johnny Cash and others). Artists on this set who sing about the Bomb and the Red ScEntertainment Weekly (p.78) - "[T]hese pieces - by turns jovial, haunting, and chilling - form an unforgettable mosaic of anxious Americana." - Grade: B
Dirty Linen (p.55) - "ATOMIC PLATTERS is one of the best-conceived and most enjoyable boxes in the entire Bear Family catalog....It certainly brings back the fear, foolishness and out-and-out madness of the ear..." Atomic Platters: Cold War Music From The Golden Age Of Homeland Security Music Atomic Platters: Cold War Music From The Golden Age Of Homeland Security Review
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Purchase Atomic Platters: Cold War Music From The Golden Age Of Homeland Security CD To buy, Click on price to add to cart | Raymond Scott Soothing Sounds For Baby Vol. 2 CD (1997) (Import) Netherlands
Atomic Platters: Cold War Music From The Golden Age Of Homeland Security
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As the second volume in the Soothing Sounds for Baby trilogy, Vol. 2 was designed by Raymond Scott for infants six to 12 months old. Correspondingly, it features fewer, but longer and more complex, rhythmic compositions. The first song, "Tempo Block," is a transitional piece, combining Vol. 1's sprightly keyboard melodies with a slightly tribal rhythm tapped ...
| | Is It...Man Or Astroman? CD (1993)
Atomic Platters: Cold War Music From The Golden Age Of Homeland Security
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Escapist treats abound from this mysterious, tongue-in-cheek collective from the Southern United States. Man or Astro-man? have an ear for yesterday's sounds of tomorrow, as they decorate their mostly instrumental tracks with obscure sound bytes from out-of-date sci-fi movies and forgotten TV shows. Silly, dangerous, occasionally sloppy, but never boring, their album Is It Man...or Astro-Man? ...
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| | Ornette Coleman Sound Grammar CD (2006)
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Personnel: Ornette Coleman (violin, alto saxophone, trumpet); Greg Cohen, Tony Falanga (double bass); Denardo Coleman (drums).
Recorded in front of a live audience, 2006's SOUND GRAMMAR was the first release of all new material from free-jazz icon Ornette Coleman in nearly a decade. Packed with sonic thrills from back to front, this outing finds Coleman in a quartet that features two bassists. The rhythmic and harmonic interplay between the two basses (one is plucked and one is bowed) creates a rich, resonant field on which the drummer and Coleman (on violin, trumpet, and alto saxophone, alternately) improvise freely. The years haven't dimmed the artist's creativity an iota, and SOUND GRAMMAR proves Coleman's unique, original vision to be as vital as ever.
Sound Grammar was recorded in Germany in front of a live audience in October of 2005 with his new quartet -- Greg Cohen (bass), Denardo Coleman (drums and percussion), Tony Falanga (bass), and Ornette (alto, violin, trumpet) -- it's the first "new" product from Coleman in ten years. That said, with the exception of "Song X," the last song on the program, the other five tunes are new, seemingly written just for this band. The use of two bassists here is not only a rhythmic consideration, but a sonorous one. Cohen picks his bass, while Falanga bows his. This heavy bottom and full middle, as it were, leave room for Denardo to interact with his father. While one can make somewhat logical comparisons to Coleman's At the "Golden Circle" in Stockholm recordings on Blue Note from four decades ago with Charles Moffett and David Izenzon, these are only logistical. This time out, Coleman's band is rooted deeply in modal blues -- check the slow yet intense "Sleep Talking." The intensity level is there but it's far from overwhelming, since this band plays together as one. Nothing is wasted, either in the heads of these pieces or in the solos. This band plays together literally as one, no matter what's happening. Listen to the interplay between the basses on "Turnaround," as Coleman finds his unique place in blowing the blues and melding harmolodically with his instantly identifiable lyric sound. As all these sounds blend together, they become, in their order to one another, grammar. And each member finds a unique place in the conversation in this ordered sonic universe.
The playfulness in "Matador" is infectious as the entire band walks through a sideways version of "Mexican Hat Dance" along with the sound of the crowd at a bullfight. As the work unfolds, it becomes clear that the ...
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Atomic Platters: Cold War Music From The Golden Age Of Homeland Security
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