| | Road Of Major Rom Best CD - Import Road Of Major Discography of CDs
Rom Best Music | List Price | $48.99 (You save $3.00) | | Category | World Albums, Japanese CDs | | Label | Phantom | | CD Universe Part number | 7379879 | | Catalog number | 655859 | | Discs | 1 | | Release Date | Apr 03, 2007 |
Rom Best Review
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Purchase Rom Best CD To buy, Click on price to add to cart | Armik Gypsy Flame CD (1995)
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A 30-song anthology of Tomsco's career, culling together tracks by the Fireballs (including their first hit, "Torquay," and a raw previously unissued demo cover of Little Richard's "Rip It Up"), scattered cuts he did in the 1960s under his own name and as half of "George & Babs," and a wealth of items from the late '50s and '60s on which he worked as a session guitarist. The scope of this material is impressive; as a listening experience, it's inconsistent. At the top of the pile are Buddy Holly classics like "Crying, Waiting, Hoping" (the Fireballs posthumously overdubbed some Holly demos), Jimmy Gilmer's #1 1963 hit "Sugar Shack," Arthur Alexander's superb 1965 soul lament "You Don't Care," and a 1964 track by Carolyn Hester, "That's My Song," that was co-written by Tomsco and his wife. Much of this, however, is slight if inoffensive early-'60s style Tex-Mex ...
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| | Universal Sounds Of America CD (1995) (Import) Import
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Universal Sounds of America is one of the early compilations for Great Britain's Soul Jazz label that made a case for a separate imprint that later became Universal Sound. Artists like Pharoah Sanders, drummer Steve Reid and the Master Brotherhood, Byron Morris & Unity Ensemble, David Durrah, New Life Trio, Marcus Belgrave, and last but not least, the Art Ensemble of Chicago and Sun Ra all on the track listing for this set focus, one way or another, on "space being the place." Numerous cuts here employ the word "space" in their titles and one references it directly. Belgrave, Reid, Morris and the Art Ensemble all had titles reissued on the Universal Sound label (and Reid recorded afresh for Soul Jazz). While the focus here is on the diversity of, to borrow a term from the AEC, "Great Black Music Ancient to the Future," it is deeply rooted in '70s out jazz, with only Belgrave and Morris providing deeper, wider visions. Morris' nearly twelve-and-a-half minute "Kitty Bey" replies on modal jazz and Latin rhythms to get his killer track across. Likewise, Sanders uses an electric piano to position himself in space on the gorgeous "Astral Traveling," and Belgrave take nearly ten with his "Space Odyssey," that reflects on funk, electronic abstraction and Detroit soul-jazz to get his rather elegant point across. The rest is all beautifully played and constructed, but the sheer diversity of the sequencing -- though intentionally constructed in this way -- can be a bit much. Still, there isn't anything here not to recommend. ~ Thom Jurek
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The product of two days of recording in the Philadelphia home of Jack Rose, Pelt's ninth release (CD-Rs not included) is, on first encounter, an austere affair. Both the album and its four compositions are untitled. The cover is made up of fuzzy, black-and-white close-ups of various instruments. The information inside is minimal, providing no specifics regarding who played what. All of this restraint, however, seems designed to let the music contained speak for itself. Each piece here unfolds in an organic fashion: the musicians letting the sound around them dictate what they play rather than forcing the music's development. The result is a series of immense, drone-based structures, performed entirely on acoustic instruments. The contributions of Rose, Patrick Best, Mike Gangloff, and newly inaugurated Mikel Dimmick seem, at first glance, to blur together into a single sound mass. Deeper listening, however, reveals greater detail. On Untitled, it's as if previous Pelt creations have been placed under a microscope, revealing the music's grain. The high recording quality adds to this sensation, the sound almost physically present. The album ...
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Gelena’s StoryGelena’s music career had an early start. As a toddler she made up little songs and skits, headlining at family gatherings. That’s when Gelena’s parents noticed, they had a little performer in the making. Hard-workers themselves, they pushed Gelena to develop her talent. In spite of living below poverty line in Lithuania, they sent their daughter to a music school '" a luxury this family could not afford. Others were drawn by Gelena’s bright pure voice, as she performed in school recitals ...
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