| | Sorehakurushii Suichu Hitomemitenikume CD - Import Sorehakurushii Suichu Discography of CDs
Hitomemitenikume Music | List Price | $38.99 (You save $2.20) | | Category | World Albums, Japanese CDs | | Label | Phantom | | CD Universe Part number | 7209147 | | Catalog number | 629039 | | Discs | 1 | | Release Date | Aug 01, 2006 |
Hitomemitenikume Review
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With help from musicians associated with the era and location (including Don Tosti, Lalo Guerrero, and Thee Midnighters' Little Willie G.) and studio musicians Jim Keltner, Jon Hassell, and legendary Tex-Mex accordionist Flaco Jimenez, Cooder has created a musical novel that richly celebrates the music, life, and lingering mythos of Chavez Ravine, an L.A. neighborhood razed by the city in ...
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Do What I Want finds Howard Fishman moving away from rural music and early jazz and toward a more rock-oriented sound. The regular members of his quartet -- Russell Farhang, Erik Jekabson, Jonathan Flaugher -- are still on board, but for the first time they're backed by drums (Mark McLean, Scott McLemore), electric guitars (Geoff Gersh), and Wurlitzer/Hammond B3 (Brian Pearl). The creative thrust of the songs, however, is remarkably consistent with previous efforts -- chalk it up to Fishman's distinctive way with melody and phrasing, not to mention his plain yet wonderfully expressive vocal delivery. Certain tracks, like the double-time romp "Weary Blues" and the ballad "What Was It Like?," are closer to the aesthetic of the old quartet. Others, like "Do What I Want" and "Get Some Rest," are driven by rock backbeats and lyrics that are more spoken than sung. Lyrically, Fishman swings between dejection and hope, from the darkness of "Don't Love Me" to the unqualified joy of "A New Life." He also gets fiercely acerbic at times, rebuking a depressed friend on "Nervous Breakdown" and ranting in hilariously exasperated fashion about the "Dating Game." (The latter is sort of like Jill Scott's "A Long Walk" gone horribly wrong.) "Good Times," the opener, is a radical reworking of a song that appeared on Fishman's first album; "In Another Life," one of his finest and most heartbreaking songs to date, is the finale from his theatrical work-in-progress, "We Are Destroyed." The record is very effectively produced, with unexpected instrumental breaks and sonic effects around every corner. In all, a vital statement, issuing from a very different precinct of Howard Fishman's mind. It's a rare artist that can do something drastically different and still sound entirely like himself. ~ David R. Adler
HOWARD FISHMAN is an underground grassroots sensation, equally at home performing in tony cabaret rooms,hipster indie clubs,big performing arts centers and little honky-tonk joints. With a full-time touring schedule that regularly takes the band from home (Brooklyn, NY) to Chicago, Los Angeles, Boston, DC, Paris and points beyond, HFQ has had its praises trumpeted by no less than The NYTIMES, DOWNBEAT, WASHINGTON POST, THE NEW YORKER and THE LA TIMES. What keeps the band underground is likely its quirky, uncategorizable style. What THE STAR-LEDGER calls its "smart, postmodern pop" is actually a raw mixture of melodic pop, improvisational jazz, old American blues and hillbilly, New Orleans R&B, classical music, early country, indie rock, free jazz, hip hop, punk, ...
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Released at a time when Nightwish's future appeared uncertain because of the shocking departure of charismatic frontwoman and de facto band calling card Tarja Turunen, Highest Hopes is a comprehensive greatest-hits collection spanning the chart-topping Finnish pop-metal act's entire first decade. Summarized in one convenient CD at last, the 16-song set proves that Nightwish were nothing if not consistent -- both in terms of quality and overall style -- throughout the five and a half studio albums recorded during that period. Yes, enduring early numbers like the Tolkien-esque "Elvenpath," the somewhat preposterous, narration-embellished "The Kinslayer," and the neoclassical metal-by-numbers of "Stargazers" eventually gave way to slightly more refined (and restrained) pop-metal singles like "Ever Dream," "Wish I Had an Angel," and "Nemo" (which, one presumes, was about the submarine captain, not the fish), but the relatively seamless transition between them all is made abundantly clear by the non-chronological order in which they are presented here. Likewise, with the exception of their still tentative (and therefore, on this collection, ...
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