| | Ame Son Primitive Expression CD - Import Ame Son Discography of CDs
Primitive Expression Music | List Price | $27.99 (You save $1.70) | | Category | Rock/Pop Albums, Rock CDs | | Label | Phantom | | CD Universe Part number | 7332316 | | Catalog number | 646423 | | Discs | 1 | | Release Date | Nov 21, 2006 |
Ame Son Primitive Expression Songs | 1. | Le Grand Cirque De La Lune |
| 2. | Hein! Quant A Toi |
| 3. | Comme Est Morte l'Evocation |
| 4. | Je Veux Juste Dire Part 1 Archer Guitar |
| 5. | Part II 4 Temps |
| 6. | Part III Glissendo |
| 7. | Part IV 7 Temps |
| 8. | Part V |
| 9. | Part VI Free Final |
| 10. | Sweet Georgia |
| 11. | Deboublement |
| 12. | Le Dedale |
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Primitive Expression Review
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Purchase Primitive Expression CD To buy, Click on price to add to cart | Tom Waits Glitter And Doom Live CDs (2009) Digipak
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Glitter and Doom Live, a double-disc set, marks Tom Waits' third live effort in his nearly 40-year career, each one summing up his career to the point of its release. The first, Nighthawks at the Diner issued in 1975 on Asylum, is regarded by many as one of the greatest live albums of all time. The second was Big Time, released during his tenure at Island in 1986. The musical performances on disc one of Glitter and Doom Live were culled from Waits' historic sold-out tour of the U.S. and Europe. He compiled and sequenced the set himself, intending to make them sound like a single show. The material leans, understandably, on his recordings with the Anti label. There are stellar performances here, such as "Get Behind the Mule" from The Mule Variations, "Trampled Rose" from Real Gone, and a haunting version of Leadbelly's "Fannin Street" from Orphans: Brawlers, Bawlers & Bastards, to mention just three of the 17 cuts here. But he goes back to his Island albums too. For instance, there are completely re-visioned readings of "Lucky Day" and "I'll Shoot the Moon" from 1993's Black Rider, and a killer -- though equally revamped ...
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| | Postmarks Memoirs At The End Of The World CD (2009) Digipak
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The Postmarks' self-titled debut album had a quiet beauty that was founded in the trio's love of Burt Bacharach, bossa nova, and the baroque pop sounds of late-'60s bands like the Left Banke. Centered on the whispered yet powerful vocals of Tim Yehezkely, the album had a restrained, rainy-day charm that made it one of the best pop albums of 2007. After an album of covers in 2008 (By-the-Numbers), the band came back in 2009 with a decidedly different-sounding album. Memoirs at the End of the World is still centered on Yehezkely's lovely vocals, but instead of hazy, subtle arrangements, the group has gone all-out into the world of film music. They've traded the Bacharach for John Barry, the Astrud Gilberto for Shirley Bassey. The songs are tricked out in huge-sounding string sections, bombastic horns, atmospheric electronics, and all sorts of sounds you might hear in film scores from the 1960s. It's an approach that is quite off-putting at first, especially if you were hoping for an album that sounded similar to the debut. Getting past the initial shock, though, some things become clear. The group still writes wonderfully melancholic ("No One Said This Would Be Easy," "I'm in Deep") and irresistibly catchy ("All You Ever Wanted," "Go Jetsetter") songs. Yehezkely sounds great as the chanteuse standing in the middle of the swirling cinematic setting, alternately breaking hearts and charming the pants off you with ease. Most importantly, though, is the realization that the Postmarks are darn good at writing, playing, arranging, and producing atmospheric film music. They've obviously absorbed lots of classic scores and studied great composers like Henry Mancini, John Barry, Lalo Schifrin, and Roy Budd. The music they've created here is clearly in debt to the sounds those men made, but remains a Postmarks product due to one simple fact: none of the aforementioned composers could have written pop songs as breezy and nonchalant as those found on Memoirs. There is an easy grace at the middle of their sound that is at odds with soundtrack music, an indie pop core that keeps the album from being overdone or fussy. Most of the credit has to go to Yehezkely's ...
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