Nick Lowe - Jesus of Cool CD

Jesus of Cool songs Also available in a 3-pack with FACE THE MUSIC and DISCOVERY. 1976's A NEW WORLD RECORD is both a classic of commercial '70s pop and an archetypal ELO album. From the outer-space synths and rich orchestrations that open the album to Jeff Lynne's meticulous production and Beatlesque melodies, A NEW WORLD RECORD is magnificent ear candy. Both ambitious enough to appeal to "serious" rock fans and ultra-catchy enough to sound terrific on Top 40 radio (the plaintively gorgeous, McCartney-like "Telephone Line" and the anthemic "Livin' Thing" were well-deserved smashes), ELO was one of the few '70s bands whose appeal covered both the FM and AM spectrums. The album even resurrects "Do Ya," a classic single by Lynne's former band, the Move, in a splashy new version. The next ELO album, 1977's elaborate double-album OUT OF THIS WORLD, was probably the band's commercial high point, but A NEW WORLD RECORD is the group's artistic high-water mark. Their #5 smash from '76 gave ELO its first platinum record, and it's probably their most consistent creation. The hits Livin' Thing; Do Ya , and Telephone Line join Rockaria; Tight Rope ; a full six bonus cuts and more! Electric Light Orchestra: Jeff Lynne, Bev Bevan, Richard Tandy, Kelly Groucutt, Mik Kaminski, Hugh McDowell, Melvyn Gale. Electric Light Orchestra: Mik Kaminski (violin); Richard Tandy (piano, Moog synthesizer); Kelly Groucutt, Hugh McDowell, Melvyn Gale, Jeff Lynne, Bev Bevan. Personnel: Jeff Lynne (vocals, guitar, slide guitar, Wurlitzer organ, percussion); Kelly Groucutt (vocals, bass guitar, percussion, background vocals); Richard Tandy (guitar, grand piano, electric piano, Clavinet, Wurlitzer organ, Mellotron, mini-Moog synthesizer, percussion, background vocals); Mik Kaminski, Hugh McDowell, Melvyn Gale (cello); Bev Bevan (mini-Moog synthesizer, drums, percussion, background vocals). Liner Note Authors: Jeff Lynne; Rob Caiger. Recording information: De Lane Lea Studios, London, England; Musicland Studios, Munich, Germany. Illustrator: ...

Jesus of Cool CD music Also available in a 3-pack with A NEW WORLD RECORD and DISCOVERY. Master Sound releases are 24-karat gold CDs remastered from first-generation masters. This process utilizes 20-bit technology and Sony's revolutionary "Super Bit Mapping" system. ELO was big enough by 1974 that some people actually suggested that ELDORADO featured Satanic backward-masking. Of course, the idea was ludicrous; but the band playfully responded by adding a backward message to "Fire on High," the opening instrumental on 1975's FACE THE MUSIC. Besides "Fire on High," which was used as background music for countless television programs in the '70s, this album's eight lengthy tracks include two enormous hits, "Evil Woman" and the McCartneyesque ballad "Strange Magic." Decades later, these two tracks are still in constant rotation on classic-rock radio around the world. Those three songs defined the new sound of ELO. Gone were the elaborate, classically styled overtures, in favor of concise, ultra-melodic pop songs given lush, romantic orchestral arrangements with endlessly overdubbed harmony vocals. The next three ELO albums refine this aesthetic to commercial perfection, but this is where it starts. FACE THE MUSIC is the album that put ELO over the top. Here's where they really took off. This 1975 LP cracked the Top 10 as the band perfected their orchestral-rock sound with the hits Evil Woman; Strange Magic , and the rest of this classic album. Includes four bonus alternate mixes and versions! Electric Light Orchestra: Jeff Lynne (vocals, guitar); Kelly Groucutt (vocals, bass); Richard Tandy (guitar, piano, Clavinet, Moog synthesizer); Mik Kaminsky (violin); Hugh McDowall, Melvyn Gale (cello); Bev Bevan (drums, percussion). Electric Light Orchestra: Melvyn Gale (cello); Kelly Groucutt (bass guitar); Mik Kaminski, Hugh McDowell, Jeff Lynne, Richard Tandy, Bev Bevan. Personnel: Jeff Lynne (vocals, guitar, background vocals); Kelly Groucutt (vocals, background vocals); Richard Tandy (guitar, piano, Clavinet, Moog synthesizer); Mik Kaminski (violin); Hugh McDowell (cello); Bev Bevan (drums, percussion, background vocals). Liner Note Author: Rob Caiger. Recording information: De Lane Lea Studios, Wembley, Middlesex, England; Musicland Studios, Munich, Germany. Photographers: Robert Ellis ; Michael Putland; Norman Seeff; Gary Merrin; Barry Plummer.

Jesus of Cool buy CD music In an era of wishy-washy singer-songwriters, Zevon immediately stood out as a wild card, a singer unafraid of the heat in kitchen. His first albums revealed a gifted songwriter equally comfortable with heroin-based love songs and manic rockers rife with gunplay. With STAND IN THE FIRE however, he leaps into the flames with headlong abandon. Backed by a band of unknowns, Zevon embraces the spontaneous frenzy of what live performances aspire to but rarely achieve. The band pushes Zevon towards the edge of losing control and he answers every lick with crazed purpose. He throws in marvelously extemporaneous lyrics during "Werewolves of London," screaming bloodlust while calling for the head of James Taylor. Mayhem reaches an apex during a pounding "Poor, Poor Pitiful Me," in which he actually threatens to kill the audience if they don't dance. There is no real threat of bodily harm while listening in the comfort of your own home, though the urge to light fires and empty revolvers into the sofa may become overpowering. Why this searing live document, which captures the singer at the peak of his powers, has not been released on CD in anybody's guess. The 1981 live album masterpiece "Stand In The Fire", until now woefully out of print, prompted allmusic.com to write, “No one argues that Warren Zevon is a gifted singer and songwriter, but "Stand In The Fire" proves that, when he wants to, he can also rock with the best of ‘em.” Recorded at L.A.’s Roxy theatre in 1981, the disc features the two unforgettable original songs Zevon debuted on that year’s tour, “The Sin” and “Stand In The Fire.” Also includes searing versions of “Lawyers, Guns And Money,” “Werewolves Of London,” “Poor, Poor Pitiful Me,” “I’ll Sleep When I’m Dead,” “Mohammed’s Radio,” and “Jeannie Needs A Shooter,” a co-write with Bruce Springsteen, among other stellar performances. Boasts liner notes by David Fricke and four previously unreleased cuts including “Johnny Strikes Up The Band,” “Frank And Jesse James,” and “Hasten Down The Wind.”

Jesus of Cool album for sale Former rock critic Chrissie Hynde launched the Pretenders with an engaging, yet passive, version of the Kinks' "Stop Your Sobbing." She unveiled her own persona fully on The Pretenders, which contains a series of excellent compositions marked by her sensual vocals and brilliant sense of dynamics. An understanding of pop's structures allowed Hynde to exploit them to her own ends while sympathetic support, particularly that of guitarist James Honeyman-Scott, used the excitement of rock without reference to its cliches. Tough and opinionated, Chrissie Hynde's first declaration of independence established the formula she proceeded to follow. Recorded at Wessex Studios, London, England. Pretenders: James Honeyman-Scott (vocals, guitar, keyboards); Pete Farndon (bass guitar); Chrissie Hynde, Martin Chambers. Personnel: Chrissie Hynde (vocals, guitar); Martin Chambers (vocals, drums); Pete Frandon, Pete Farndon (vocals); Chris E. Thomas (keyboards). Audio Mixers: Bill Price ; Mike Stavrou. Audio Remasterers: Dan Hersch; Bill Inglot. Liner Note Author: James McNair. Recording information: AIR Studios; London, England; Marquee Club, London, England; Olympic Studios, London, England; Paradise Theatre, Boston, MA; Regents Park; Wessex Studios. Photographers: Des Letts; Pauline Worral; Tom Sheehan . The Pretenders: James Honeyman Scott (vocals, guitar, keyboards); Chrissie Hynde (vocals, guitar); Pete Farndon (vocals, bass); Martin Chambers (vocals, drums). Additional personnel: Chris Thomas (keyboards, sound effects); Gerry Mackleduff (drums).

Jesus of Cool CD music While moderation was never Warren Zevon's strong suit, his efforts to clean himself up in the early '80s resulted in two of his finest albums, 1980's literate but corrosive Bad Luck Streak in Dancing School and the following year's explosive live set Stand in the Fire. It seemed as if the wired chaos of Zevon's personal life had been channeled into his art on those LPs, but after another bout with the bottle and another attempt at sobriety, Zevon tried another approach at merging his music and his life on 1982's The Envoy. On The Envoy's best songs, Zevon tackles his dangerous appetites head on; "Charlie's Medicine" is a chilling requiem for a drug dealer who used to sell him dope, "Jesus Mentioned" is a spare but curiously moving meditation on the death of Elvis Presley, who "went walking on the water with his pills," and the ragged but right "Ain't That Pretty at All" is an unlikely but powerful recovery anthem in which he howls "I'd rather feel bad than not feel anything at all." When Zevon confronts his own demons on The Envoy, the album is intense and compelling stuff, but unfortunately there aren't enough of these moments to prop up the rest of the set, which is smart and literate but not especially exciting. Novelist Thomas McGuane co-wrote "The Overdraft," a hard-charging rocker that unfortunately doesn't make much sense, while the languid "The Hula Hula Boys" plays like a joke in which the punch line got lost, and the two love songs, "Let Nothing Come Between You" and "Looking for the Next Best Thing," manage to sound at once heartfelt and like lesser variations on themes he'd covered with greater strength before. The Envoy would prove to be Zevon's last album for five years after he took another stumble into addiction, but while it's an often brave and ambitious disc, the high points don't quite redeem its weaknesses. ~ Mark Deming "The Envpy", the reflective 1982 masterpiece that Zevon once described as “The Excitable Boy Grows Up,” makes its CD debut with this release. Highlights include the title track, the moving “Never Too Late For Love,” “The Hula Hula Boys,” and “The Overdraft,” a co-write with novelist Thomas McGuane featuring a ripping Lindsey Buckingham solo. Four previously unreleased tracks include outtakes of “Word Of Mouth” and “Wild Thing,” and the romantically skewed gem “Let Nothing Come Between You.” Liner notes by Rolling Stone editor David Wild. Audio Remasterers: Dan Hersch; Bill Inglot. Liner Note Author: David Wild. Recording information: Record One, Los Angeles, CA. Actors: Ted Shackleford; Gary Braglia; Don Grabowski "Don G."; James Houghton; Jonathan Exley; Greg Ladanyi; Harry Landry; George Gruel. Photographer: Randee Saint Nicholas. Personnel: Warren Zevon (guitar, acoustic 12-string guitar, piano, prepared piano, electric piano, synthesizer, background vocals); Waddy Wachtel (guitar, acoustic guitar, percussion, background vocals); David Landau (guitar, background vocals); Danny Kortchmar, Kenny Edwards, Steve Lukather (guitar); LeRoy Marinell (acoustic guitar); Jim Horn (recorder); Jeff Porcaro (drums, log drum); Mike Botts, Rick Marotta, Russ Kunkel (drums); Steve Forman (percussion); J.D. Souther (background vocals). Audio Mixer: Greg Ladanyi.

Jesus of Cool buy CD music The discographies of both pop-rocker Matthew Sweet and Susanna Hoffs's former band the Bangles are heavily steeped in 1960s sunshine pop, so it's little surprise that the two would team up for an album of covers devoted to their favorite decade. UNDER THE COVERS VOL. 1 finds Sweet and Hoffs performing songs by the Beatles, Dylan, the Beach Boys, the Velvet Underground, the Zombies, and others, throwing in a few tasty obscurities (the wonderful "I See the Rain" by the Marmalade, for example) and a pair of Neil Young tunes for good measure. Hoffs's sultry singing nicely offsets Sweet's tenor, and the whole is fleshed out by Sweet's alternately jangly and stinging guitar work and Van Dyke Parks's arrangements for keys and strings, making for a fresh, inspired look to yesteryear. Audio Mixer: Michael Sweet. Liner Note Author: Van Dyke Parks. Recording information: Lolina Green Studios, Los Angeles, CA (2005). Illustrator: Ed Fotheringham. Photographer: Henry Diltz. Personnel: Michael Sweet (vocals, acoustic guitar, electric guitar, piano, harpsichord, organ, Mellotron, xylophone, tambourine, hand claps, percussion); Susanna Hoffs (vocals, hand claps); Ivan Julian (guitar, acoustic guitar, electric guitar); Richard Lloyd (guitar, electric guitar); Greg Leisz (electric guitar, electric 12-string guitar); Julie Pusch (violin, viola); Joseph Harvey (cello); Carey LaMothe (trumpet, French horn); Van Dyke Parks (piano, harpsichord, organ); Ric Menck (drums, bongos, shaker, tambourine). Additional personnel: Susanna Hoffs.