| | My Chemical Romance Black Parade CD My Chemical Romance Discography of CDs
 (2 Customer Reviews)
On this ambitious 2006 outing, My Chemical Romance boldly follows in the footsteps of Green Day, both in working with producer Rob Cavallo and in taking a conceptual route (a la AMERICAN IDIOT). The result is an impressive collection of songs that finds the goth-leaning New Jersey punk-pop group transforming itself into the title's "Black Parade," a darkly clad marching band that relates the woeful tale of "the Patient," as portrayed by frontman Gerard Way (who bleached his hair blond to convey the character's sickness). In addition to bringing--believe it or not--the equally dramatic and eye-liner-loving Liza Minelli on board for a guest appearance, My Chemical Romance proves its theatrical mettle by moving from the melancholy grandeur of "Welcome to the Black Parade," which bears an undeniable Queen influence, to "Cancer," an emotive piano-driven ballad. Lifted by its lush, inventive arrangements and Way's dynamic vocal performances, THE BLACK PARADE effectively stakes its claim as the SGT. PEPPER'S of the brooding Myspace set, and secures My Chemical Romance's shadowy space in rock history.
Amp - Amended Produc
My Chemical Romance: Gerard Way (vocals); Frank Iero, Ray Toro (guitar); Mikey Way (bass guitar); Bob Bryar (drums).
Additional personnel: Cheech Lero, Jamie Muhoberac, Liza Minnelli, Rob Cavallo.
Rolling Stone (p.69) - 4 stars out of 5 -- "[T]he best mid-Seventies record of 2006, a rabid, ingenious para-phrasing of echoes and kitsch from rock's golden age of bombast."
Rolling Stone (p.104) - Ranked #20 in Rolling Stone's "The Top 50 Albums Of 2006" -- "My Chemical Romance rev up the pathos with an arena-ripe panache..."
Spin (p.95) - 4 stars out of 5 -- "It's a savage, heartfelt, at times hilarious goth-mosh emopera..."
Spin (p.62) - Ranked #5 in Spin's "The 40 Best Albums of 2006" -- "[A]n orchestrated spiral of punk-goth, classic rock, Salvation Army bands, and high school musicals."
Entertainment Weekly (p.70) - "[U]plifting, ambitious, and at times riotously enjoyable....Pristinely produced by regular Green Day collaborator Rob Cavallo, this album is not just the band's most adventurous, but also its best." -- Grade: A-
Entertainment Weekly (p.128) - Ranked #3 in Entertainment Weekly's "Top 10 Records Of 2006" -- "PARADE stands as one of the most cohesive, engaging rock records of 2006."
Q (p.147) - 3 stars out of 5 -- "[T]hey've concocted a startlingly ambitious concept album, complete with Queen-inspired solos, windswept piano ballads and Sgt Pepper-style vaudeville."
Q (p.123) - Ranked #32 in Q Magazine's "100 Greatest Albums of 2006" -- "A major new band had arrived."
Alternative Press (p.179) - "What's really engaging is that THE BLACK PARADE is a concept album about death, yet even the most weepy sentiments are delivered with a swagger, a blistering guitar lead or a joyful, bouncy cadence."
Alternative Press (p.136) - Included in Alternative Press's "10 Essential Albums Of 2006".
Kerrang (Magazine) (p.10/14/2006) - "[W]hen THE BLACK PARADE reveals its secrets to you, you'll be dazzled by its brilliance."
Kerrang (Magazine) (p.69) - Ranked #4 in Kerrang's "20 Greatest Albums of 2006" -- "[T]his was punk rock in glorious Technicolor."
Mojo (Publisher) (p.110) - 3 stars out of 5 -- "A record riddled with blood-soaked riffs, morbid lyricism and the biggest of conceptual game plans..." Black Parade Music Review Purchase Black Parade CD To buy, Click on price to add to cart | Echo & The Bunnymen The Fountain CD (2009)
Black Parade
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| | Paul McCartney Good Evening New York City CDs (2009) With DVD; Digipak
Black Parade
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Unlike its 2002 predecessor Back in the U.S., Good Evening New York City doesn't cherrypick highlights from a tour, it commemorates a specific event: the inauguration of Citi Field -- the replacement for the now-defunct Shea Stadium, where the Beatles played a legendary show in 1965 -- in the summer of 2009. The circumstances may be different -- different enough to lead to a Billy Joel cameo on "I Saw Her Standing There," the piano man returning a favor from Paul, who played at Billy's Shea-closing shows in 2008 -- and McCartney might have two strong albums of new material to draw upon, but as an album, Good Evening New York City plays a lot like Back in the U.S. with a whopping 17 of its 35 tracks shared between the two titles. More importantly, the vibe is the same, with Macca delivering an expertly balanced and sequenced set with all the skill of the old pro that he is. Apart from the inclusion of "Mrs. Vanderbilt" and "I'm Down," there are no surprises, either in song selection or performance, but no surprises doesn't mean no satisfaction, and this is plenty entertaining
Unlike its 2002 predecessor, Back in the U.S./Back in the World, Good Evening New York City doesn't cherrypick highlights from a ...
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| | Joe Poovey Greatest Grooves CD (1999)
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Greatest Grooves follows the career of Joe Poovey from his early country and rockabilly recordings from the '50s to some of his later efforts ('70s through the '90s), which range from straight country to retro-rockabilly made for European labels. The collection entirely bypasses the '60s, during which Poovey made some of his most commercially successful records, but most listeners will be primarily interested in the '50s material, which makes up over half the disc. "Move Around" and "Ten Long Fingers" are minor masterpieces of the original rockabilly era, and are the primary reasons why Poovey is remembered today. An interesting bonus is two Christmas recordings from a 78 made by Poovey as a young teen. ~ Greg Adams
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| | Ari Brown Ultimate Frontier CD (1996)
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The Chicago-based saxophonist Ari Brown epitomizes everything great about the jazz mainstream. He expresses a unique personality clearly and resolutely within the bounds of his chosen idiom, which is, after all, all one can ask of an artist in any realm. In Brown's experienced hands, the time-worn becomes something new; Brown makes the older jazz styles absolutely contemporary by bringing to them a fresh perspective. This is Brown's first date as a leader; he was 52 years-old when it was recorded. Whereas so much straightahead jazz of the past two decades has ignored the innovations of the free jazz revolution, Brown has integrated a bit of the free sensibility into his post-bop playing. In doing so, he's created a music more directly connected to the whole of the jazz tradition than that of any ten "young lions" (how about using "young copycats," instead?). Brown's supporting cast is a collection of hometown pros -- brother Kirk Brown on piano, Yosef Ben Israel on bass, and Avreeayl Ra on drums. Their music is every bit as warm and as honest as one would expect, coming from musicians for whom this music is not an affectation, but rather a way of life. Ari Brown's music has come to light fairly late in the game -- which is a blessing for his listeners, in a way. For it's an extremely rare delight in these youth-obsessed times to happen upon, for the first time, ...
| | Eddie Fisher You Ain't Heard Nothing Yet/I Love You CD (2002)
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Recorded in 1953-54 & 1967-68. Originally released on RCA (3914), RCA (1097) & RCA (572). Includes liner notes by Robert Rice.
Collectables Records has done a creditable job in reissuing Eddie Fisher's RCA Victor albums on discount-priced CDs that combine the material from two LPs on a single disc, often with bonus material. But there aren't always two albums that match up, either in terms of theme or chronology. This disc juxtaposes recordings from different periods in Fisher's career, making for a stark contrast. Both of the main LPs are concept discs, but there the similarity ends. Presented in reverse chronological order, first up is Fisher's final RCA album, 1968's You Ain't Heard Nothin' Yet. Here the 39-year-old singer turns in a tribute record to his idol, Al Jolson. By this point in his career, the soaring tenor has become a rich baritone, the better to convey the style of Jolson's later performances. Fisher doesn't imitate Jolson except in the odd inflection or bit of phrasing, but the Jolson influence, always apparent in his singing, is accentuated by the choice of material. You can't help thinking of Jolson when Fisher is singing "My Mammy" or "Swanee." Then, at track 12, the disc rolls back 13 years to the 1955 album I Love You, a collection of romantic standards Fisher recorded at the height of his fame and in his mid-twenties. The intention here was to make an album like the ones Frank Sinatra was doing at the time. Fisher isn't quite in that league, but he does a good job with the Cole Porter and Rodgers ...
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