| | Berryz Kobo Very Beauty CD - Import Berryz Kobo Discography of CDs
Very Beauty Music | List Price | $22.99 (You save $2.00) | | Category | World Albums, Japanese CDs | | Label | Phantom | | CD Universe Part number | 7374951 | | Catalog number | 654577 | | Discs | 1 | | Release Date | Mar 13, 2007 |
Very Beauty Review
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Dan Barrett emerged as one of the top young trombonists during the mid-'80s; his ninth date as a leader for Arbors Records finds him leading a quintet through a marvelous collection of swing songs, many of which have been overlooked for a long time or never received widespread attention in the first place. "Melody in Swing" features Barrett's effortless swing and great tone in an easygoing arrangement. He adds a mute for his languid bittersweet solo during the gently swinging "Carelessly," backed by pianist Ray Sherman's rapid runs. "What Is This Thing Called Love?" has a mysterious introduction that adds a touch of campiness, while Barrett's muted horn almost sounds like an old-time crooner on the relaxed arrangement of "There Is No Greater Love," a piece almost always heard at a breakneck tempo by many jazz groups. ...
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Although San Francisco-based, Jeffrey Halford makes music that is seeped in the South. It's a sound forged from roots rock and country blues, with a hint of gospel and folk. The easy-flowing "Oh, Susanna" begins with a brief guitar nod to the same-named traditional tune and then proceeds to tell a Civil War-set narrative from a Confederate soldier's perspective, which refers to Ambrose Bierce's short story Incident at Owl Creek Bridge. "Memphis," meanwhile, is a rousing tribute to that Tennessee town complete with shout-outs to Al Green, B.B. King, and the King, Elvis. Throughout the record, Halford displays a sharp storytelling eye. The hobo ode "Straight Razor" and the panoramic tale of Central California, "Black Gold," stand out as particularly evocative, moving songs. Sometimes his societal critiques verge on becoming heavy-handed; both the anti-gun "."44" and the Native American ...
| | BellRays Red, White And Black CD (2003)
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The BellRays turn in another batch of searing soul-punk moments on Red, White and Black. While they're led by the throaty, nearly unchecked vocal rip of Lisa Kekaula -- whose vocals seem to ricochet off the considerable chip on her shoulder -- the other spectacular thing about this record is Tony Fate's absolutely amazing clutch of guitar tones. His rig is urgent Thin Lizzy/Kiss sludge on the mellow menace of "Used to Be," but it crackles with immediacy for the bristling Detroit-style rocker "Street Corner," or during the mid-album standout "Sister Disaster." The BellRays hit everything on time (including your jaw), which gives even their more workmanlike moments an enviable zing. A turn toward squelchy, angry, and wildly shifting punk rock poetry on "Poison Arrow" works Black Flag-wonders in Kekaula's hands -- in another's it would simply be overwrought. Let's say it again: she's an absolutely amazing vocalist, checking everyone from Arthur Lee and Tina Turner to Mick Collins, whose band the Dirtbombs are fellow travelers of the BellRays. "You're Sorry Now" brings in some backing vocals for its freaked-out, '60s garage revivalism; its melody returns later in the album for a brooding piano revisit. Late in the album, "Voodoo Train" busts through the station wall. Its extended beginning is like the thrum of a faraway locomotive, before Kekaula lays it down -- "Well I feel like Satan and I'll tell you why" -- and the thing lurches into bluesy, punky overdrive. It might be the strongest thing on the record, since it effortlessly combines the past and present, anger and love, rousing vocals and roundhouse-rattling electric guitar. Is that blood on your lip? You must've bit through it a few songs ago. [Red, White and Black came complete with six additional, downloadable tracks, the better to make your computer bleed, too.] ~ Johnny Loftus
The BellRays turn in another batch of searing soul-punk moments on Red, White and Black. While they're led by the throaty, nearly unchecked vocal rip of Lisa Kekaula -- whose vocals seem to ricochet off the considerable chip on her shoulder -- the other spectacular thing about this record is Tony Fate's absolutely amazing clutch of guitar tones. His rig is urgent Thin Lizzy/Kiss sludge on the mellow menace of "Used to Be," but it crackles with immediacy for the bristling Detroit-style rocker "Street Corner," or during the mid-album standout "Sister Disaster." The BellRays hit everything on time (including your jaw), which gives even their more workmanlike moments an enviable zing. A turn toward squelchy, angry, ...
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