| | Exercises In Futility CD Marc Ribot Discography of CDs
Exercises In Futility Music Exercises In Futility Songs
|
Click on the  buttons below to play song samples |
| |   | 1. | Exercises in Futility, for guitar: Etude No. 1. Five Gestures |
| 2. | Exercises in Futility, for guitar: Etude No. 2. Morton 1 |
| 3. | Exercises in Futility, for guitar: Etude No. 3. Elvis |
| 4. | Exercises in Futility, for guitar: Etude No. 4. Bombasto |
| 5. | Exercises in Futility, for guitar: Etude No. 5. Lame |
| 6. | Exercises in Futility, for guitar: Etude No. 6. Cowboy |
| 7. | Exercises in Futility, for guitar: Etude No. 7. Ballad |
| 8. | Exercises in Futility, for guitar: Etude No. 8. Groove? |
| 9. | Exercises in Futility, for guitar: Etude No. 9. Morton 2 |
| 10. | Exercises in Futility, for guitar: Etude No. 10. Min |
| 11. | Exercises in Futility, for guitar: Etude No. 11. Ascending |
| 12. | Exercises in Futility, for guitar: Etude No. 12. Mirror |
| 13. | Exercises in Futility, for guitar: Etude No. 13. Wank |
| 14. | Exercises in Futility, for guitar: Etude No. 14. Event on 10th Avenue |
| 15. | Joy of Repetition, for guitar, The |
| Exercises In Futility Review
GuidelinesRemember to focus your comments on Exercises In Futility CD. Check our review guidelines for specific details regarding customer review policy. To submit your review, please fill out the above form and click "Submit Review." A staff member will then verify your review meets our guidelines. Upon approval, your review will be published within a few days. Please do not use this form to comment on web site errors or for order related questions. If you have concerns of this nature, please contact customer service by filling out this form.
Purchase Exercises In Futility CD To buy, Click on price to add to cart | John Hammond Wicked Grin CD (2001)
Exercises In Futility album
 $8.85   
For WICKED GRIN, John Hammond takes a break from interpreting the likes of Sleepy John Estes and Blind Lemon Jefferson to have a go at the canon of good friend Tom Waits. Further authenticating this project is Waits's involvement as producer and musician. Rounding out the cast on this impressive project are Sir Douglas Quintet keyboardist Augie Meyers, harp legend Charlie Musselwhite, Canned Heat's Larry Taylor, and Fabulous Thunderbird Stephen Hodges on skins.
Turning to albums like RAIN DOGS, SWORDFISHTROMBONES, and BONE MACHINE for source material, Hammond used his pliable baritone and tasty fretwork to inhabit the characters and seedy scenarios of these songs. Druggies and prostitutes come to life in the 12-bar blues dirge that is "Heart Attack and Vine," while the image of homesick sailor in a foreign port is teased out with an economically played Vox organ throughout "Shore Leave." Elsewhere, Hammond and company make like Los Super Seven on the norteno-flavored "Jockey Full Of Bourbon," with Meyers and his squeezebox making like Flaco Jimenez. The only non-Waits song included is "I Know I've Been Changed," an album-ending traditional gospel number turned into a field holler by Waits's shredded growl and Hammond's soulful howl.
Produced By Tom Waits
Recorded at Prairie Sun Recording Studios, Cotati, California and Alpha & Omega Studios, San Rafael, California. Includes liner notes by T-Bone Burnett.
Personnel: Tom Waits (guitar, hand claps); Charlie Musselwhite (harp); Augie Meyers (accordion, piano, electric piano, Wurlitzer organ, hand claps); Stephen Hodges (drums, hand claps, percussion); Gene Cornelius, Oz Fritz, Ralph Patlan (hand claps).
Audio Mixer: Oz Fritz.
Liner Note Author: T Bone Burnett.
Recording information: Alpha & Omega Studios, San Rafael, CA; Parairie Sun Recording Studios, Cotati, CA.
Photographer: Jay Blakesberg.
Personnel: John Hammond (vocals, acoustic slide guitar, guitar, harmonica, handclaps); Tom Waits (vocals, guitar, pluck
| | Dirty Three In The Fishtank CD (2004) Extended Play
Exercises In Futility CD music
$9.65
In late 1999, the Dutch label KonKurrent invited Minneapolis band Low into an in-house studio to record one of the label's near-legendary In the Fishtank sessions; bands have two days to record between 20-30 minutes of all new material of their choosing. Also touring at the time were Low's pals, the Australian instrumental dynamos the Dirty Three. Low invited them in, and in the same collaborative spirit as another In the Fishtank session involving Tortoise and the Ex, this half-hour session is the document. What is truly amazing about this hookup is how natural these two bands sound playing with one another. Low has been striking out lately, playing different kinds of material while keeping its signature slower-than-slow approach to songwriting. The Dirty Three has taken a more melodic and dynamically restrained tack since their landmark Ocean Songs recording of a few years back. Of the six songs recorded here, none is more successful that the nearly ten-minute cover of Neil Young's "Down By the River." Mick Turner's trademark guitar style opens the work with lots of brush and cymbal work. It's unrecognizable for the first five minutes; it's just an opening shimmering drone with guitar strings wafting in and out of the atmospherics before Low's Mimi begins singing the verse and Alan teams with Turner to entwine guitars. And when Warren Ellis' violins slip into the middle of the stream, the eerie effect is complete, and the trancelike motion of the song takes hold and won't let go until silence takes over. The other five tracks are sensual Low originals full of longing and resplendent minimalism. The D3 hold their place in the Low mix, painting it out over a vaster, more colorful expanse, creating more space in their trademark suffocating mix. Alan and Mimi croon together, singing like lovers rather than as bandmates on "Invitation Day." Mimi's vocal and Turner's guitar playing sound enmeshed on "When I Called Upon Your Seed." Drummer Jim White is also a perfect foi
| | Harold Mabern Few Miles From Memphis CD (1968)
Exercises In Futility music CDs
$14.15
On A Few Miles from Memphis, recorded by pianist Harold Mabern in 1968, he's joined by tenors George Coleman and Buddy Terry, bassist Bill Lee, and drummer Walter Perkins for a bluesy, rhythm-filled set featuring familiar fare like "A Treat for Bea" and fun originals like "Walkin' Back." There's also the odd inclusion of "There's a Kind of Hush," a pop song that comes out sounding like an old standard here. ~ Ronnie D. Lankford Jr.
When record labels like Prestige release two albums on one CD, it's a great bargain for music fans. A Few Miles from Memphis combines the album of the same name and Rakin' and Scrapin', both recorded by pianist Harold Mabern in 1968. On the first set he's joined by tenors George Coleman and Buddy Terry, bassist Bill Lee, and drummer Walter Perkins for a bluesy, rhythm-filled set featuring familiar fare like "A Treat for Bea" and fun originals like "Walkin' Back." There's also the odd inclusion of "There's a Kind of Hush," a pop song that comes out sounding like an old standard here. The second set includes a similar setup but inserts trumpeter Blue Mitchell into the lineup and brings drummer Hugh Walker on board. There's a nice take on "Rakin' and Scrapin'" with some great solo work by Mitchell and Coleman, and a solid version of "I Heard It Through the Grapevine." Mabern's piano work is excellent on both albums, whether building the rhythmic base that keeps these pieces in motion or offering energetic solos. Despite the small changes between sets, these two albums easily flow into one another and offer a nice, 75-minute portrait of Mabern in 1968. ~ Ronnie D. Lankford Jr.
2lps On 1cd "A Few Miles From Memphis"&"Rakin' & Scrapin'"
2 LPs on 1 CD: A FEW MILES FROM MEMPHIS (1968)/RAKIN' & SCRAPIN' (1969).
Personnel: Harold Mabern (piano, electric piano); Harold Mabern; Buddy Terry, George Coleman, Buddy Terry (tenor saxophone); Bill Lee (double bass); Hugh Walker, Hugh Walker (drums); Blue Mitchell (trumpet); Walter Perkins (drums).
Aud
| | Solomon Burke That's Heavy Baby 1971-1973 CD (2005)
Exercises In Futility songs
$17.75
Raven presents the very best of Solomon Burke's recordings for MGM in the 1970s, many on CD for the first time. A pioneering soul singer, Burke's powerful voice and fervent emotionality were much-admired through the 1960s. At MGM, with arranger Gene Page, Solomon deftly crafted a commercial and contemporary sound - both urban pop ballads and rhythmic hymns to black empowerment, all framed around his impassioned voice. Using fractured, multi-layered background vocals (a la Marvin Gaye), and deep vocals not unlike Barry White, Burke created, over three albums, some of his most powerful, distinctive and important work. This 22-track compilation culls the essence of Burke's MGM albums and includes three rare non-LP tracks.
Raven's That's Heavy Baby gathers 22 Solomon Burke rarities he recorded for MGM between 1971 and 1973, following his career-defining soul hits for Atlantic in the '60s. During his brief stint with the label, Burke produced two enjoyable soul/gospel/country-inspired albums, Electronic Magnetism and We're Almost Home, plus contributed a few songs to the soundtrack of the blaxploitation film Cool Breeze. The majority of these cuts maintain a consistently high performance level with the exception of three insipid cover versions from Electronic Magnetism. The problem with Creedence Clearwater Revival's "Lookin' out My Back Door," Sly Stone's "Stand," and especially, "Three Psalms of Elton: Your Song/Border Song/Take Me to the Pilot" has nothing to do with the material or Solomon Burke's performance, but with the flashy arrangements drenched in background vocals. Imagine former Osmonds producer and onetime MGM head honcho Mike Curb behind the controls of a Stax record; not even Solomon Burke's commanding, booming delivery could rise above such garishness. Luckily, the remaining material is decent, as are the rare singles from the period: "The Night They Drove Old Dixie Down," "Georgia up North," and "Here Comes the Train." That's Heavy Baby is a welcome re
| | Ike & Tina Turner Nutbush City Limits/Feel Good CD (2006) Bonus Tracks
Exercises In Futility album
$17.79
Raven's 2006 two-fer Nutbush City Limits/Feel Good combines two of Ike & Tina Turner's last albums together and adds five bonus tracks, three of which were taken from other Ike & Tina albums from the early '70s, one taken from a Tina solo record, and one disco mix of "Nutbush City Limits." The album that arrives first on this two-fer was actually the last of these two to be released: Nutbush City Limits appeared in 1973, a year after Feel Good, but its title track is one of Ike & Tina's best-known songs so it's an appropriate choice to kick off this disc. Besides, the two records are so similar in tone and approach, it'd be easy to assume that Feel Good arrived before Nutbush, but that isn't to say they're interchangeable. Both records are hard day-glo funk, overloaded with fuzz guitars, wah wahs, clavinets and horn sections, but of the two, Nutbush City Limits is a bit closer to gritty deep soul thanks to a slow-burning cover of Dobie Gray's country-soul classic "Drift Away," the gospel-fied "That's My Purpose," a churning, funky reworking of "You Are My Sunshine," and, of course, the hard-driving title track, which mythologizes Tina's country upbringing. Of course, "rootsy" in this context is a relative term, since Nutbush City Limits still feels like '70s funk even with all the country flourishes; songs as greasy as the frenzied "Make Me Over" and down-and-dirty as "Get It Out of Your Mind," Ike's two originals here, guarantee that, as does an insane hard-rocking reclaiming of "River Deep, Mountain High" that plays like a spit in Phil Spector's eye. As such, Nutbush City Limits feels like a celebration of Ike & Tina's versatility, but even so it never wanders too far, since Ike knew that the key to the appeal of the Ike & Tina Revue was their hard, dirty funk -- and that's precisely what Feel Good celebrates. This, not Superfly, is the sound of early-'70s pimping, even when the tempo slows down (which happens rarely) it's for a slow blues grind, not a ballad, and
| | Raga For Peter Walker CD (2006) Digipak
Exercises In Futility CD music
$11.09
Many of the legends of acoustic guitar in the 20th century have already passed on -- John Fahey, Robbie Basho, Ali Farka Toure. Due partially to his spare recording career, Peter Walker's own reputation has not always been as well known as those of said giants, but his own influence has been considerable. A Raga for Peter Walker -- a tribute album that, in a nice touch, not only consists of work composed by its contributors rather than simply offering up covers but also features some original work by its subject in question -- helps to demonstrate this while he is still here to receive acknowledgement of it. Walker's four originals, all new tracks, bookend the collection, each brief but demonstrating that Walker's vigor and skill remain undimmed, from the opening "Day at the Fair," which lives up to its title with sprightly, cascading brightness, to "Jaleo Para Angela," reflecting his newer interest in flamenco. The remaining six songs are each individual efforts from a variety of American and European performers, each saluting Walker's style while finding its own voice. Young Turk James Blackshaw begins with a live rendition of "Spiralling Skeleton Memorial," a captivating performance that gently hints at Walker's raga training but is much more formally arranged in a Western sense, while the brilliant Jack Rose bows with a live track of his own, "Cathedral et Chatres II." Greg Davis' "Truly We Dwell in Happiness" explores heavy echo and field recordings alongside the expected acoustic flow, while Steffen Basho-Junghans, typically enough, contributes the longest track with "Blue Mountain Raga" and Shawn David McMillen adds the more free-form "Black Drink." Perhaps one of the most surprising in context is Thurston Moore, if only because he is so often associated with electric rather than acoustic work. But his "Dirt Raga" is a striking fusion of styles, at once moodily captivating as so much of his other music is and infused just enough with Walker's own open-ended s
| | Masaaki Suzuki SCHÜTZ: Geistliche Chormusik CDs (2006) (Import) Import
$36.39 | | Russian State Sympho Glazunov:Symphonies & Orchestral Work CDs (2008) Boxed Set
$30.25 | | Stuart Skelton Foulds: A World Requiem CDs (2008) Sacd Hybrid
Exercises In Futility music CDs
$32.19 
This is a Super Audio CD playable only on Super Audio CD players.
| | La Magnifica Comunit Boccherini:String Quintets Vol V CDs (2008)
$9.99 | | Pieter Jan Belder Scarlatti:Collection Complete Keyboar CDs (2008) Boxed Set
$86.85 | | Donizetti: Imelda De Lambertazzi / Elder, Cabell, Et Al CDs (2008) SACD Hybrid
Exercises In Futility songs
$41.09
This is a Super Audio CD playable only on Super Audio CD players.
| | Andrea Bocelli Carmen CD (2008) Import
Exercises In Futility album
$48.89
It's always great to see youngsters take up the bluegrass/acoustic cause and bring it into the future, carrying on the tradition while adding new musical elements. It was great when the Country Gentlemen did it in the 1960s, when the Seldom Scene did it in the 1970s, when the Tony Rice/David Grisman crowd did it in the 1980s, and when Nickel Creek did it in the 1990s, and it's great that the Infamous Stringdusters are doing it in the new century. In truth, despite the Stringdusters' very traditional instrumentation, their music is hardly bluegrass at all; most of the songs on their second, eponymous album are original compositions, none are traditional or classic bluegrass numbers, and many of them have little in common with bluegrass -- the chopping mandolin offbeats and occasional banjo solos are the only really old-school elements that remain. Not that there's anything wrong with that, of course -- at their best, the Infamous Stringdusters are excellent songwriters and even better singers in a sort of newgrass/acoustic country vein, and their best material includes songs like the sprightly but regretful "Won't Be Coming Back," the gorgeously arranged "The Way I See You Now," and the very fine instrumental "Golden Ticket." However, at their worst they have a tendency to let their virtuosity overcome their musical judgment. "When Silence Is the Only Sound," in particular, is so full of fancy chords that its melody ends up meandering aimlessly and never taking any kind of definite shape. However, most of this album treads very deftly on the fine line separating forward-thinking modernism and the old-school verities, and the singing is always first-rate. Recommended. ~ Rick Anderson
BOCELLI INTERPRETS THE MASTERPIECE OPERA BY BIZET.
Infamous Stringdusters: Andy Hall (vocals, dobro, background vocals); Jeremy Garrett (vocals, fiddle, background vocals); Travis Book (vocals, bass guitar); Andy Falco (guitar); Chris Pandolfi (banjo, background vocals); Jesse Cobb (mandolin, background vocals).
Personnel: Andy Falco (guitar, background vocals); Tim O'Brien (bouzouki, background vocals); Erick Jaskowiak, Ryan Baker (background vocals).
Audio Mixer: Dave Sinko.
| | Mozart: Die Zauberflöte / Mackerras, Hendricks, Anderson CDs (2008)
$15.05 |
|
|
|
 |
|
|
6306 
Adobe Flash
Email a Friend
