| | Stephan Eicher Eldorado CD Stephan Eicher Discography of CDs
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This 2007 album entitled "Eldorado" is the return of Stephan Eicher. Eicher mixes Electro with Pop and adds a touch of Folk and Americana. Co-written and composed by Mickey 3 D, Raphael, and Philippe Dijan. Features 11 tracks. Eldorado Music | List Price | $29.99 (You save $5.54) | | Category | Rock/Pop Albums, French CDs, World | | CD Universe Part number | 7428484 | | Catalog number | 9847903 | | Discs | 1 | | Release Date | May 01, 2007 |
Stephan Eicher Eldorado Songs | 1. | Confettis |
| 2. | Rendez-Vous |
| 3. | Weiss Nid Was Es Isch |
| 4. | Dimanche en Dmbre |
| 5. | (I Cry At) Commercials |
| 6. | Voyage |
| 7. | Solitaires |
| 8. | Pas Du |
| 9. | Charly |
| 10. | Eldorado |
| 11. | Zr Mir |
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Eldorado Review
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Purchase Eldorado CD To buy, Click on price to add to cart | Mariza Terra CD (2008) Bonus Track
Eldorado album
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Terra feels like an attempt to move Mariza into the musical mainstream. She's already established herself at the forefront of fado, as one of the leading performers of the emotive Portuguese style, and there's no doubt she possesses a wonderful voice. But the addition of several guests, such as Chucho Valdés, Ivan Lins, and Tito Paris (among others) seems to open up the seams between fado and other genres, including Brazilian music and jazz. It does so relatively subtly, and she keeps her base pretty ...
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Additional personnel includes: Glen DaCosta (tenor saxophone); David Madden (trumpet); Nambo (trombone); Devon Evans (percussion).
Digitally remastered by Ted Jensen (2001, Sterling Sound, New York, New York)
An interesting collection of singles and posthumously archived material created in the same way as Hendrix's CRASH LANDING and The Beatles "Free as a Bird," (albeit with most of the original musicians), CONFRONTATION is more consistent than one would expect and includes at least one certified classic in "Buffalo Soldier." The record features some very tasty guitar, good vocal performances and the always rock-steady rhythm section of the Barrett brothers. While not absolutely essential, it should certainly be the next purchase for anyone who already owns all ...
| | Mariza Transparente CD (2005)
Eldorado CD music
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Transparente is Mariza's "big" album, it seems, the one designed to make her more than just the shining star of the new fado. The music connects the dots between Portugal and Brazil, giving an international quality to it all. Her voice is as crystal clear as ever, and production by Jacques Morelenbaum is wonderfully transparent. Yet there's a sheen to it all that seems intended to rub off any rough edges. You can hear it in the soft strings that cushion "Meu Fado Meu." It just seems to be trying too hard, rather than letting the music unfold. It's apparent, too, in the fact that the songs are all short -- the longest barely passes three-and-a-half minutes. Not that it's not a gorgeous album; it enfolds the ears like silk; Mariza herself has never sounded more seductive, and the cello on "Quando Me Sinto So" is as warm and inviting as a lover's kiss. But unlike her previous work, there seems an air of calculation about all this, the sense of deliberately seeking out a larger audience rather than allowing the music to speak for itself. She'll never sing a bad note, and there's absolutely nothing to fault with this album. ...
| | U K Subs A.W.O.L. CD (1987)
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Compiling the last sessions recorded by the classic U.K. Subs lineup of Charlie Harper, Nicky Garratt, and Alvin Gibbs, A.W.O.L. sounds less like a patchwork recording than it should. Despite the presence of no less than three drummers, the album holds together because the band works as a cohesive unit. The tracks veer from the all-out fury of "Police State" to the darker, murkier "Enemy Awaits," displaying more growth in the band's songwriting skills. "Keep On Running" even incorporates new wave-style keyboards -- an unthinkable move on previous albums. Unfortunately, after these sessions, the band's classic lineup broke up, and afterward the U.K. Subs became little more than a collection of sidemen assembled by frontman Harper. Only the album's brevity keeps it from being a definitive recording on par with the seminal early albums. Still, for a last shot of the classic Subs, this album is definitely worth tracking down. ~ Victor W. Valdivia
Compiling the last sessions recorded by the classic U.K. Subs lineup of Charlie Harper, Nicky Garratt, and Alvin Gibbs, A.W.O.L. sounds less like a patchwork recording than it should. Despite the presence of no less than three drummers, the album holds together because the band works as a cohesive unit. The tracks veer from the all-out fury of "Police State" to the darker, murkier "Enemy Awaits," displaying more growth in the band's songwriting skills. "Keep on Running" even incorporates new wave-style keyboards -- an unthinkable move on previous albums. Unfortunately, after these sessions, the band's classic lineup broke up and afterwards, the U.K. Subs became little more than a collection of sidemen assembled by frontman Harper. Only the album's brevity keeps it from being a definitive recording on par with the seminal early albums. Still, for a last shot of the classic Subs, this album is definitely worth tracking down. ~ Victor W. Valdivia
Once a major player in the second British punk explosion of 1979-1980, the UK Subs still retain a cult following whose tastes never left that era. This factor, coupled with singer Charlie Harper's boundless perseverance, has enabled the UK Subs ...
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A prominent fixture in the Northeast's funk/jazz scene, amongst bands such as Addison Groove Project and Topaz, ulu has developed a dedicated fan base through relentless touring for over half of a decade. After a few line-up changes ulu is as tight as they've ever been, as showcased in Nerve, the New York City quartet's fourth release. Nerve features a collection of artistic and creative arrangements, ranging from neck-breaking funk to lounge jazz. "Where's Paul" kicks off the album with a taste of 70's funk, led by keyboardist Scott Chasolen. Chasolen's dynamic organ playing has garnered ulu comparisons to Medeski, Martin and Wood, but it's the tenor sax playing by Aaron Gardner coupled with interesting bass lines by Brian Killeen on songs such as "Rollin'" and "Slinky," that help separate ulu from the rest of the pack. While the members of ulu are obviously very proficient at their instruments, it's their use of space and restraint in their songs such as "All You Can Eat" that provide a refreshing change of pace that's often hard to find in improvisational/instrumental bands. The rocking "Bovine Confines" showcases ...
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