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Can were one of the most influential bands to emerge from Europe in the 70s, and this 1972 masterpiece marked a crucial stage in the development from the edgy experimentalism of their earlier albums to the softer ambience of their later work. 'Soup' and 'Pinch' were reminders of their wilder excesses, but on tracks such as 'One More Night' and 'Sing Swan Song' they demonstrated that they could be equally inventive within tighter song structures. 'I'm So Green' and 'Spoon' were almost conventional pop songs, to the extent that the latter provided the band with an unexpected chart-topper in their native Germany.
Can: Damo Suzuki (vocals); Michael Karoli (guitar); Irmin Schmidt (keyboards); Holger Czukay (bass); Jaki Liebezeit (drums).
Can: Damo Suzuki (vocals); Michael Karoli (guitar); Irmin Schmidt (keyboards); Holger Czukay (bass instrument); Jaki Liebezeit (drums).
Rolling Stone (p.92) - 4 stars out of 5 - "[O]riginal, prescient and magnetic."
Spin (p.87) - "[A] funky peak that fueled post-punk."
Spin (01/04, p.48) - "...[Suzuki] mewls, whispers, moans and babbles over Jaki Liebezeit's awesome robo-funk drumming, while the other guys provide free-flying moral support..."
Uncut (p.129) - 4 stars out of 5 - "[T]he music explodes with all the intensity of Miles Davis' electric units of the same period."
The Wire (p.62) - "[T]he record that saw Can jettisoning ballast from their sound in a quest for fluid sonodynamics."
Q (Magazine) (p.141) - "[With an] air of out-there cool, chiefly thanks to Liebezeit's incisive grooves and the otherworldly aura of Suzuki's breathless, hard-to-decipher vocals."
Mojo (Publisher) (p.153) - "By EGE BAMYASI they were coupling avant-garde urges to a more melodic, groove-based formula that sill accommodated vocalist Damo Suzuki's bizarre phrasing and lyrics..." Ege Bamyasi Review
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Purchase Ege Bamyasi CD To buy, Click on price to add to cart | Elliott Smith Either/Or CD (1997)
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The Cinderella-esque climb from lo-fi indie cult artist to Grammy nominee/major label darling must have been a perilous one for Smith, who makes the leap to the big time here after three well-regarded albums on small labels. He's lost none of his bite, though. The production values on XO may be slightly higher, but Smith's vision remains undiluted.
The production, centered around acoustic guitar augmented by keyboards and lush vocal harmonies, recalls pop icons like the Beach Boys (especially on the closing acapella cut), Beatles and Big Star, but this is no sunny Cali-pop album. Leavening the instrumental brightness are Smith's Nick Drake-ish whisper and his thoroughly downcast lyrics, which cast him squarely in the Mark Eitzel/Smog camp of unrelenting self-effacement and misery. The combination of Smith's internal ...
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This Montreal ensemble's fiery debut is marked by surging guitars, soulful strings, driving drums, brilliant bass lines, and the quavering vocals of married couple Win Butler and Regine Chassagne. The group's song structures careen through a vast territory of musical and personal history, with lyrics warm with memories of childhood neighborhoods and deceased loved ones, resulting in an alternating current of joy and sadness.
Favorably compared to the Flaming Lips, Mercury Rev, and Broken Social Scene, the Arcade Fire's sound seems to come from a lifetime of listening to the Cure, Talking Heads, Elvis Costello, and many others--even a dose of soul gets worked into these grand anthems. Chassagne delivers some spellbinding vocals on "Haiti," while the tinkling piano ...
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Maria M.Jacobs a native of Franklinton, Louisiana brings a fresh anointed sound to the Gospel music industry. An anointed woman of God, (Born in 1962). She believed that God called her at an early age to spread the word through gospel music. This was developed at the age of eleven (11) singing at her father's church, in the gospel choir and under her fathers' gospel tents as he traveled from place to place, many church musicals, concerts, and also volunteer work for the community. She writes and arranges her own music. Maria enjoys a mixture of sounds which creates contemporary and traditional gospel.Maria was chosen from her mothers womb. She is the oldest of ten children. She was born to the Reverend Jimmie Robinson Sr. and the late Mrs. Climmie Robinson, of Franklinton, Louisiana. This couple stayed very busy doing God's work, and was stead fast and un-moveabe in the work of God. Maria worked diligently in the church, as a choir director, praise and worship leader, church administration, and working with the youth in her own church and the surrounding churches in the communities. In church services at her fathers church and under the gospel tent, Maria always wanted to lead songs but was very timid somewhat. Her father stressed to her, "Maria, if you want to be a lead singer, you're gonna have to open your mouth, the Lord will speak through you." Through fasting and prayer, Maria began to sing with the anointing and received boldness from the Lord ad she continued. Her determination to sing, whether she had ten to sing to, hundreds to sing to, or thousands, took her to another level in God. Maria worked as as Cosmetology Instructor for Aveda Institute for many years, and worked in her own salon, She recorded her first project, "So Glad I'm Not What I Used To Be, which was released in 1991. She performed in concert with the Jackson Southernaires of Jackson, Miss..., the Washington Parish Free Fair, Texas Gospel Announcers Guild in Austin, Texas with Dr. Bobby Jones of BET.., at the Washington Correctional Institute, opened ceremonies for Williams Brothers, & Helen Baylor when performing in New Orleans, Louisiana, and in many churches through out the area. She also released a maxi single in February 1992, entitled, "Jammin for Jesus" which was played often on the morning show on WYLD in New Orleans, Louisiana, as a morning wake-up call. Maria began to travel to different states with her singers ...
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