| | Ritchie Valens In Concert At Pacoima Jr. High CD Ritchie Valens Discography of CDs
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With only two brief albums and some demos and rehearsal tapes to draw from, the legacy of the late Ritchie Valens rests on an extremely small canon. Bob Keene managed to release two fairly decent Valens LPs on Keene's Del-Fi label, but this third LP, In Concert at Pacoima Jr. High, was literally the bottom of a very shallow barrel material-wise, consisting of six songs drawn from a poorly recorded junior high assembly concert at Pacoima Junior High in Los Angeles (including ragged versions of Valens' hits "Come On, Let's Go," "Donna," and "La Bamba"), and five studio fragments that were little more than song sketches. Mixed in are bits of totally unnecessary commentary by Keene himself, making the whole thing sound more like a radio documentary than a coherent artistic statement, and in essence, this set may be rock & roll's first official bootleg album. As such, it has some historical and archival importance, but it doesn't add up to a very good set, and in the end just illustrates the one inescapable fact about Ritchie Valens: he died too young. ~ Steve Leggett In Concert At Pacoima Jr. High Music In Concert At Pacoima Jr. High Review
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Buy In Concert At Pacoima Jr. High CD Purchase In Concert At Pacoima Jr. High CD To buy, Click on price to add to cart | David Gilmour About Face CD (1984) Remastered
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Combining layered vocals with a heavily looped guitar sound, "Until We Sleep" begins ABOUT FACE with an almost Byrds-like quality, while the gentleness of the acoustic opening to the ballad "Murder" disguises its homicidal subject matter. Both "Love On the Air," and "All Lovers are Deranged," are distinguished by lyrics written by Pete Townshend, and "Blue Light" is an attempt at funk with a Floydian flavor. Gilmour's strength at ballad writing is evidenced in "Out of the Blue," while the obligatory instrumental is "Let's Get Metaphysical." The album closer is, appropriately enough, the song "Near the End." All ...
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"Here In Angola," "Pandora," and "Indian Summer" were originally released on the LP INDIAN SUMMER.
24 CARROTS is folk-rocker Al Stewart's 1980 album, recorded with Shot in the Dark. This reissue features five bonus tracks, "Here in Angola", "Indian Summer", "Pandora", "Delia's Gone", and "Princess Olivia".
The pun of the title of 24 Carrots -- the first overt signal of humor Al Stewart has displayed in years, possibly ever -- illustrates that a lot has changed since 1978's Time Passages. The loosening of his wit is perhaps the most evident, but the most significant is the departure of producer Alan Parsons, who collaborated with Stewart on his mid-'70s triptych of masterpieces. In truth, 24 Carrots isn't far removed from those high points, because he is indeed still writing at a remarkably consistent pace. No, this record isn't quite at the high standard of the previous three albums, but it does have a number of brilliant moments, from the opening "Running Man" through the silly but effective "Mondo ...
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Dismissed by the benighted as the Doors' "pop album," SOFT PARADE is one of the band's most adventurous recordings, utilizing strings and horns without resorting to schlocky over-production and moving far beyond their blues roots. Morrison was fully into his shaman phase by 1969, and his obsession with that image is reflected in the proselytizing air of "Tell All the People," and of course "Shaman's Blues." The album's biggest hit "Touch Me," while easily the group's most radio-friendly offering, is a pop classic that ranks among the great '60s AM radio tunes. "Wild Child" is a brief return to the blues-rock of yore, but the title track is a sophisticated, extended piece that moves through several different moods and textures, full of the elliptical, poetic lyrics that were Morrison's trademark.
The weakest studio album recorded with Jim Morrison in the group, partially because their experiments with brass and strings on about half the tracks weren't entirely successful. More to the point, though, this was their weakest set of material, low lights including filler like "Do It" and "Runnin' Blue," a strange bluegrass-soul blend that was a small hit. On the other hand, about half the record is quite good, especially ...
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At the beginning of his solo career, McCartney took the term rather literally, recording virtually alone, playing and singing nearly all the parts himself. Nowhere is that approach more effective than on RAM, arguably his finest solo recording. Admittedly, he had a little help from guitarist Hugh McCracken and a couple of others here and there, but for the most part, this is Paul's show. Instead of succumbing to self-indulgence, though, he used this forum to focus his artistic energies, thus turning out some of the best songs of his post-Beatles career.
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