| | That's Otoko No Kayo Blues Thats Otoko No Kayo Blues CD - Import That's Otoko No Kayo Blues Discography of CDs
Thats Otoko No Kayo Blues Music | List Price | $38.99 (You save $2.20) | | Category | World Albums, Japanese CDs | | Label | Phantom | | CD Universe Part number | 7437197 | | Catalog number | 687446 | | Discs | 1 | | Release Date | Jul 03, 2007 |
Thats Otoko No Kayo Blues Review
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Purchase Thats Otoko No Kayo Blues CD To buy, Click on price to add to cart | Pink Martini Splendor In The Grass CD (2009) Digipak
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Pink Martini follow the around-the-world-in-a-dozen-songs thrills of HEY EUGENE! with SPLENDOR IN THE GRASS, a mellower, simpler set of small pleasures. These are relative terms, however; the group's music is still well-traveled, with China Forbes singing in five languages (English, Spanish, Neapolitan, French, and Italian) instead of the six or so on EUGENE!. However, Pink Martini opt for a more unified sound here, ...
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| | Claude Challe Buddha-Bar, Vol. II CDs
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Claude Challe's Buddha-Bar, Vol. II compilation has elements of Far Eastern spirituality, African song, European electronica, and Spanish spice. The first album, Buddha-Bar, is very mellow for the most part. Deepak Chopra and Demi Moore, far and away the most recognizable names on the album, do a spoken word ditty on love and self-worth. People who are not fans of new age doctrine will appreciate artists such as Oliver Shanti and Consuelo Luz, both of whom contribute songs that manage to sound musical, spiritual and ethnic at once. The second album varies from hallucinatory to groovy to fairly high-energy. "Tears Inshalla" will appeal to fans of Eastern-influenced trance. Lyrics are of almost no importance on the album. They do exist on most tracks, but they bounce around from English to Portuguese ...
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Digitally remastered by Dick Baxter (BMG Studios, March 1994).
Having made their LP debut with half an album's worth of repackaged oldies, the Sweet then followed through with an entire disc of the things, drawing from both their own recent back catalog and that of songwriters Nicky Chinn and Mike Chapman, to create a record of almost unholy pop pleasure. For the Sweet were not the only arrow in the Chinn and Chapman quiver. They were scoring hits, too, with New World, with their "Tom Tom Turnaround" ranking among the most mawkishly compulsive songs in the duo's entire catalog. Passing it on to the Sweet to cover for their own LP didn't simply make sense from a commercial point of view. It was also the first step toward establishing Chinnichap as a songwriting brand name that would ultimately become as self-sufficient as any Motown, Brill, or Kasenetz-Katz coupling. Two recent Sweet singles, "Funny Funny" and "Co Co," and three B-sides, "Jeanie," "Spotlight," and "Done Me Wrong Alright," do weight this supremely punningly titled set down a little -- add "Tom Tom Turnaround" and the average fan would probably have owned a full half of the record before even picking it up. It should also be acknowledged that the remainder of the record was in no way comparable with the quality of those other songs. A lackluster rendering of "Daydream" and the unappetizing American soft rock stylisms of "Santa Monica Sunshine," "Reflections," "Honeysuckle Love," and "Sunny Sleeps Late" are all little more than bland filler. However, "Chop Chop" absolutely remedies the rest of the album's failings. Another Chinn and Chapman classic, it was originally recorded by singing DJ Tony Blackburn, with members of the Sweet themselves on backing vocals. It failed to take off, and the Sweet ...
| | Ground Zero Revolutionary Pekinese Opera CD (1996)
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The membership of Otomo Yoshihide's Ground Zero increased with each new project, and for the their third album, Revolutionary Pekinese Opera, the core of the band is still only comprised of six members (although there are several guests on various tracks). The bulk of the noise comes from Yoshihide's turntables, which play a greater role here than on the later GZ projects. Revolutionary Pekinese Opera was a reinterpretation of a work by Heiner Goebbels and Alfred 23 Harth, two German musicians who were involved in the early progressive rock movement, and who created a work sampling a revolutionary Chinese opera in 1984. Yoshihide uses this work as a source and as an inspiration, but the samples used here cover not only Goebbels and Harth's original work, but also martial arts movies, commercials, political speeches (including Ronald Reagan's quarter-dime-penny speech), telephones, and telephone conversations, and Western classical music. The various members of Ground Zero also get some solo spots on this album. One of Yoshihide's best guitar solos is featured in "Paraiso 1," and the percussionists (including the shamisen, which will become a full-time instrument in Consume Red) get a workout in "Opening" and "Crossing Snow Mountains." But the highlights of this album are Yoshihide's virtuosic turntables and the beginnings of a concerted assault on copyright and sampling, which would be taken to an extreme in the Consume Red project a year later. This is also the first album with sampler artist Sachiko M, who has become Yoshihide's primary partner ...
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