Fabrizio De Andre - In Direzione Ostinata E Contraria CD

In Direzione Ostinata E Contraria album for sale Nearly equalling its predecessor, Jacques Dutronc's third album tends to shift the focus a little more from content towards image. By this time, the artist was highly regarded in France for his unruly nature and unpredictable stage antics, dressing immaculately in a time when peace and love required a different sort of costume. The cover art for his albums must have added to his popularity, as many of the pictures were taken by Jean-Marie Périer, in-house photographer to the French pop magazine Salut Les Copains. From the front, back, and inside of the laminated gatefold covers of his LPs, the singer's combined elegance and goofiness shone in all their glory. Anne Ségalen was again Jacques Lanzmann's co-writer, if only for half of the songs. Among them is the centerpiece and title track of Dutronc's third album, L'Opportuniste. The song illustrates another aspect of Dutronc's iconic status with the French public: it matches his teasingly nonchalant delivery to thought-provoking lyrics. Stating that he's open to communism, socialism, and capitalism, he declares himself an opportunist on the spot, one who likes parties in general (political as well as festive). The '90s being the days of large scale political turmoil in France, the devil is in the details: was Dutronc making a political statement here or demonstrating boundless nihilism? It doesn't matter, as the familiar mixture of garage rock (the sublime "Je Suis Content") and orchestral pop (the moving "Proverbes"), balanced by deranged vaudeville ("Le Roi de La Fête"), smoky jazz ("Les Vangaugains"), and even a children's song ("La Leçon de Gymnastique du Professeur Dutronc") serve as welcome diversions. This transitional album helped to cultivate Dutronc's image into a new romantic type of character. While both "Comment Elles Dorment," off his second album, and the title track to the EP, "J'Aime Les Filles" from 1967, could have been viewed as indications of things to come, the breezy romantic ode to love "Amour Toujours Tendresse Caresse" completes the picture. Within a year's time however, the ill-advised Dutronc would overdo things by taking to yodeling on "L'Hotesse de L'Air" for his eponymous fourth album, 1970's Jacques Dutronc. [The following is important with regard to detailing Jacques Dutronc's discography. All seven albums he made between 1966 and 1975 lack a proper title. To keep them apart, the third album is equally referred to by its original year of release (1969), the first song on the album (&"A Tout Berzingue") or either one of the title tunes to the preceding EPs "A Tout Berzingue," "L'Opportuniste," or "La Seine." Furthermore, the content of these three EPs ...

In Direzione Ostinata E Contraria album for sale  

In Direzione Ostinata E Contraria CD music Editor: Paul Forgues. Personnel: Alexz Johnson (vocals); Craig Northey, Tim Welch (guitar); Dave Ogilvie (lap steel guitar, keyboards, programming); Dave Pickell, Dave Glenn (piano); Rob Wells (keyboards, programming); Katie B, Leslie Stanwyck (background vocals). Recording information: The Orange Lounge.

In Direzione Ostinata E Contraria buy CD music Parnell's music is a very Texan mix of multiple popular music forms: bar-band rock, honky tonk country, boogie, blues, soul, and gospel. It's no surprise to find some similar-minded vets with high profiles, like Delbert McClinton, Bonnie Bramlett, and (as songwriting contributor) Dan Penn, among the supporting cast of this record. He's similar, yes, but not as outstanding -- as a songwriter, stylist, or singer -- as any of those figures are at their best. It's serviceable earthy Texas music that's suitable for bars and clubs at both party time on the stompers and closing time on the slow tunes, but kind of middle of the pack as far as it goes. When he trots out the high-energy blues-rock riffs, it wanders closest to clichéd ground. For that reason, the blue-eyed soul ballads, like "Breaking Down Slow" (one of the ones that Penn co-wrote and Bramlett sings on), are better, but there are better blue-eyed soul singers around, like Bramlett, to invite the comparison that it lays right on the table for you. ~ Richie Unterberger Bonnie Bramlett,Mississippi Mass Choir,Keb Mo,D.Mcclinton Audio Mixers: Lee Roy Parnell; John Kunz. Recording information: Muscle Shoals Sound. Photographer: Ron Keith. Personnel includes: Lee Roy Parnell (vocals, acoustic & electric guitars, harmonica); Keb Mo (vocals, National guitar, banjo, harmonica); Bonnie Bramlett, Delbet McClinton (vocals); James Pennebaker (acoustic & electric guitars); Jack Pearson (guitar, Hammond B-3 organ); Jim Horn, Steve Herman (horns); Kevin McKendree (Wurlitzer piano, Hammond B-3 organ); Mark Jordan (Hammond B-3 organ, keyboards); Steve Mackey (acoustic & electric basses); Lynn Williams (drums); Tom Roady (percussion); Vickie Hampton, Jay Boy Adams, The Mississippi Mass Choir (background vocals). Personnel: Lee Roy Parnell (vocals, electric guitar); James Pennebaker (acoustic guitar, electric guitar); Jack Pearson (acoustic guitar); Jim Horn (horns); Kevin McKendree (Wurlitzer organ); Steve Mackey (electric bass); Lynn Williams (drums); Tom Roady (percussion); Jay Boy Adams, Vicki Hampton (background vocals).

In Direzione Ostinata E Contraria songs From the start of its bomb-dropping opening track, "The Return," you can immediately hear what makes State of the Art different than the rest of the Hilltop Hoods' back catalog: musicians. Not the full orchestra they employed on The Hard Road: Restrung, although the classical influence does show up a few times, but rather guitar and bass and drums. Members of fellow Adelaide band Lowrider as well as other instrumentalists are scattered throughout State of the Art like toppings on a pizza. The chipmunk soul that came to define the Hoods (and a lot of Australian hip-hop in their wake) is gone. They still use the stop/pause/BAM pattern they specialize in -- they're still recognizable -- but there's been definite forward momentum. What else is new? A big fancy guest star, for one thing. Pharoahe Monch shows up on the killer "Classic Example," which is full of lines about how they're hot to death like Joan of Arc and "Bringin' this shit that got your hands clappin'/Swingin' my dick like Dr. Manhattan." Their favorite topic -- drinking -- does get a track devoted to it as usual, but this time it's about partying yourself to death like their idols have rather than just being another ode to beer guzzling. Appropriately, it's called "Chris Farley." The storytelling they're best at, previously seen in over the top fantasies like "The Sentinel," emerges on "Parade of the Dead," a homage to George A. Romero's zombie movies complete with the boys surviving a siege and making inventive use of a chainsaw. They finish with "Fifty in Five," which finds MC Suffa recounting the last 50 years' worth of bad news in a downbeat manner oddly reminiscent of the Edge in U2's "Numb," only less sleepy-sounding. Although State of the Art isn't quite an instant classic like The Calling, it's certainly a step up from The Hard Road. ~ Jody Macgregor 2009 album from one of Australia's original and most renowned Hip Hop groups. After over five years of limited exposure in Adelaide, where there was practically no Hip Hop scene, the Hilltop Hoods and others began to draw attention. The group received two nominations for the Hip Hop Act of the Year Award at The Australian Dance Music Awards and again at the 3D World Music Awards in 2001 and 2002. Today, Hilltop Hoods continue to enjoy their success, and even have their own shoe design sponsored by DC Shoes. 13 tracks including the single 'Chase The Feeling'. Universal. Personnel: Joseph Braithwaite (vocals); Nick Lambert (guitar); Bacchanalia String Quartet (strings); Johnny Bartlett (keyboards). Recording information: Mixmaster Studios; Take Away Studios; The Suffering City.

In Direzione Ostinata E Contraria CD music Track Listing of songs: Bangladesch; Danke Freunde; Großstadt-Inidaner; Lass uns miteinander reden; Mach dich nicht kaputt; Fünfzehn ist ein undankbares Alter; Ein morscher Baum trägt keine guten Früchte; Der letzte Kranich vom Angerburger Moor; Das ist die Freiheit, die ich meine; Der Computer macht alles; Die Kinder Gottes; Am Tag, als Conny Kramer starb;

In Direzione Ostinata E Contraria buy CD music Systemchick started playing in bands as a teenager in Chicago in the 90's. House and industrial were everywhere. She began playing lead guitar with several industrial bands at their studios. Already being very interesting in distortion, every studio she played at there was always different recording equipment and effects. At one point, she saw a floppy disk being put into a keyboard, "this was very new and confusing; I was like what is that about". She started to learn more about multi track recording and eventually found her way to software. It started out simply so she could have a more interesting metronome. 'After I discovered you could take a bass drum and play it at 200 beats per minute in different musical notes, and throw piano rolls on cymbals and the limitlessness of it all just overwhelmed me in a very good way. ' Soon after she would spend so much time programming beats that she got interested in playing drums as well. In 2000 she relocated to the San Francisco bay area and very soon after began playing guitar with a death metal noise band. After playing shows and gigging throughout SF and East Bay the girls amicably parted ways 1 year later. Wanting to get all kinds of musical experience, and with an enormous love for free jazz (Sun Ra, Ornette, Mingus, Pharaoh Sanders) she began playing drums in a big band jazz band. "Initially I though this many people and all these instruments coming together would be great, but really I felt very rigid and almost robotic doing these standards. No room to deviate to much from the sheet music" Learning about electronics and sound engineering, and sound related physics at night the first tracks of Forces against Nature were recorded in 2003 while in the jazz band - almost as a reaction to it. 'Forces Against Nature' was recorded between 2003 and 2007. Virtually no compression was used. After the release of her CD she wrote her own biography of herself in the 3rd person. She felt this was better than throwing a fake first and last name at the bottom trying to pretend it was press like everybody else. "I feel it's more legit this way." I am currently hard at work at on a powerful new album due out in late '09. Thanks for your interest and for going past the sounds being spoon fed to you from mass media :)

In Direzione Ostinata E Contraria songs Chile New York is a sound environment for a sculpture installation first exhibited in 1980 and related to the CIA-supported coup in Chile that overthrew Allende and brought in the Pinochet era of repression and mass executions. It's music designed to be an audio backdrop, with three 20-minute pieces and four short snippets of the saxophonist closer to his bluesy mode playing off the percussion colors provided by Warren Smith. "One" starts off with sax musings and occasional flute overdubs over Smith's marimba/vibes and background sounds. It's very atmospheric but simple and engaging as the musicians react to each other, using space as another musical element. It develops organically, picking up intensity about halfway through, and "Two" essentially falls in the same vein, with Julius Hemphill playing bluesy licks while Smith's gongs shimmer and resonant kettle drum notes kind of pitch-shift in the background. Hemphill's playing may have a little harder tone and more intense flurries, but he's still dealing in fundamentals, not any complex, abstract exercises that everyday people walking through the installation couldn't grasp. Again it's about using space and silence, reducing the music to the minimal levels that serve expression with sort of solo sections for both near the end (sort of, since the concept of solos really doesn't fit this kind of playing) before inchoate human cries from Hemphill and Smith's unobtrusive thumps and rattles close it out. "Three" is more outside, with a flute overdub complementing Hemphill's darker, intenser tenor playing before he shifts to alto/tenor exchanges a third of the way in. You can read suffering, pain, and loss into the much angrier playing, with Smith understandably in more of a background role (two Julius Hemphills have to be really tough to go up against), before it tapers down to a ruminative finale. The four short pieces are almost afterthoughts: "Five" features flute fading into vocalized sound effects from Hemphill over snare drum washing, and "Six" is vaguely Asian with flute and reverberating percussion and cymbals. Chile New York always sustains interest because these two musicians are fully attuned to each other's nuances, and fans of Hemphill's solo sax excursions or duo/trio recordings will almost certainly enjoy it. ~ Don Snowden Recorded live in New York, New York on May 1, 1980. Includes liner notes by Jeff Schlanger, Warren Smith, James Scully and Julius Hemphill. Personnel: Julius Hemphill (vocals, flute, alto saxophone, tenor saxophone); Warren Smith (percussion). Liner Note Authors: Warren Smith ; Jeff Schlanger; Julius Hemphill. Recording information: 05/01/1980. Personnel: Julius Hemphill (vocals, alto & tenor saxophone, flute); Warren Smith (percussion).