| | Pilot Two's A Crowd CD Pilot Discography of CDs
 (1 Customer Review)
Pilot had lost half of their members by the time they recorded the ironically titled Two's a Crowd in 1977. The remaining duo of David Paton and Ian Bairnson enlisted the help of Alan Parsons and various session musicians to make this, Pilot's fourth and rarest album. Long out of print, Two's a Crowd was reissued in 2005 as a limited-edition CD in Japan after apparently winning a poll of Japanese music buyers. If true, that startling development took no one by surprise more than the bandmembers themselves, who re-recorded most of the songs for a 2002 comeback album titled Blue Yonder because Paton and Bairnson didn't think the original album would ever see the light of day again. Despite the obscurity of Two's a Crowd (it produced no hits and has had none of its cuts appear on the various Pilot anthologies), the album is well worth the attention. It's a classic Pilot album through and through, comparable in sound and execution to the group's previous three albums. The would-be hit single, "Get Up and Go," is a catchy, jangly pop song in the vein of the band's earlier hit "Just a Smile," and "Library Door" may be Paton's prettiest ballad. "Monday Tuesday" is the sort of light pop Paul McCartney produced in the '70s, but other songs retain some of Morin Heights' harder edges. Fans who balk at the $25-$40 import price tag can take comfort in the knowledge that its price will only increase on the collectors' market after the limited edition has sold out. ~ Greg Adams
24bit digitally remastered Japanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork. Features the bonus track "Godspeed". Two's A Crowd Music | List Price | $36.98 (You save $9.19) | | Category | Rock/Pop Albums, Rock CDs | | Label | BMG (distributor) | | Orig Year | 1977 | | All Time Sales Rank |  145238  | | CD Universe Part number | 7336789 | | Catalog number | 37797 | | Discs | 1 | | Release Date | Nov 22, 2006 | | Mono/Stereo | Stereo | | Additional Info | Japan; 24 Bit Remastered; 24 Bit K2 Remastered |
Pilot Two's A Crowd Songs | 1. | Get up and Go |
| 2. | Library Door |
| 3. | Creeping Round at Midnight |
| 4. | One Good Reason Why |
| 5. | There's a Place |
| 6. | Other Side |
| 7. | Monday Tuesday |
| 8. | Ten Feet Tall |
| 9. | Evil Eye |
| 10. | Mr. Do or Die |
| 11. | Big Screen Kill |
|
Two's A Crowd Music Review Purchase Two's A Crowd CD To buy, Click on price to add to cart | Graham Nash Crosby & Nash CDs (2004)
Two's A Crowd album
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HIGHLIGHTS is a single-disc distillation of David Crosby and Graham Nash's 2004 double-disc set CROSBY/NASH, subtracting seven songs (and combining the brief acoustic fragments "Grace" and "Jesus of Rio" into a single track) to make a total of 12. Cutting the nearly 80-minute set by over a third has strengthened the remaining songs immensely, showcasing gems like the sumptuous "Lay Me Down," which would ...
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| | Neil Young Live At Massey Hall 1971 CD (2007) Includes bonus DVD
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Bob Dylan once famously remarked about hearing Neil Young's "Heart of Gold" on the radio that he knew his days as the man of the hour were numbered. Fact is, Young is the only guy who can even reasonably compete with Dylan for the title of rock's greatest songwriter, and while "Dylan in the '60s" has long been a cliched assessment of an undeniable rock hot streak, so too has become "Neil Young in the '70s." While Dylan has long culled material from his archive, Young has been reluctant to do the same. He's now joining the fray full force with LIVE AT MASSEY HALL 1971--the second live release in an ongoing series from Young's legendarily deep vaults.
The performance comes between the release of AFTER THE GOLDRUSH and HARVEST and hot on the heels of DEJA VU, basically the last time Young's eminently enthralling man-child persona of "I Am A Child" and "Helpless" held sway over the obstinate, electric crank ...
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Jack Bruce must have enjoyed his 2005 get-together with Cream so much that, when Clapton and Baker were unwilling to continue the collaboration, he rang up Robin Trower to renew the brief power trio fling they had in the mid-'80s. The Trower-Bruce pairing had released only two albums, B.L.T. and Truce, and was dormant since 1982, so this 2007 reunion was somewhat of a continuation of the project, albeit one separated by a quarter century. The results impressively continue where Truce left off, as Bruce ...
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| | Eric Quartet Mintel Ground-Breaker CD (2008)
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Ground-Breaker came about like most of the events that shape the direction of my music, it just happened. Well, let\'s say it happened with some careful planning. When I say planning, I had been telling our audiences that we would soon record the music we played in concert but didn\'t have a clear idea as to when. One day our recording engineer and friend Jim McGee suggested Bennett Studios in Englewood, NJ to record the new CD. Bennetts Studio is run by Tony Bennett\'s son Dae Bennett. I took his suggestion and glad that I did. Most of these songs we have been playing in concert for almost a year. In that time the songs evolved with each member of the quartet adding something different and unique to each piece. I hope you enjoy the new music and feel the love and enthusiasm we have for jazz and for you, the listener. Enjoy. Eric Mintel August 25, 2008"This recording is a real-time performance. We tracked it in one night on a big old Neve vintage console in an incredible room with serious mic.s and great people. Several cuts were first takes, never more than 2. The musicianship, creativity and positive vibe in that room produced a CD that is reminiscent of the way jazz used to be recorded. A classic CD of which I am proud to be a part. Thanks guys!" Jim McGee, engineer. Review by Hrayr Attarian as it appeared in all about jazz August 8, 2009. The title of a record may be misleading, and even when it promises more than it delivers, it doesn't necessarily mean that the music is of poor quality. Eric Mintel's Ground Breaker does no such thing but it is a solid, well above average effort in the post bop tradition. The original tunes are all complex, intricate compositions by Mintel, allowing each musician plenty of solo space. The music has the loose swinging beat of 1950s Blue Note recordings, but the use of an electric bass instead of an acoustic gives a modern sensibility that does not seem out of place at all. The tunes alternate between modal and more standard bluesy hard bop, as well as subtle elements of western classical music. Although Mintel counts Dave Brubeck as his mentor and idol, his playing is more reminiscent of the lighter toned pianists of '50s jazz including Kenny Drew and Barry Harris. The lone horn player in the group is Nelson Hill, whose sound on flute and alto saxophone is derivative-but not a mere copy-of James Moody's later work. The rhythm section, with electric bassist Dave Antonow and drummer Dave Mohn, deftly anchors the music and its members occasionally solo with quiet passion. The music is recorded on an old-fashioned console which, in addition to impeccable sound, this adds to the album's old school charm. There is a unity of theme throughout, even when the sole standard, "When You're Smiling," is introduced. Unity, however, does not mean monotony because in their intricate ...
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