| | Amel Bent 20 Ans/Un Jour D'Ete CD - Import Amel Bent Discography of CDs
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Our Price: $36.29  CD Backorder: (Usually ships in 3-10 days) 
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20 Ans/Un Jour D'Ete Music | List Price | $37.98 (You save $1.69) | | Category | Rock/Pop Albums, World CDs, French | | Label | Sony BMG | | CD Universe Part number | 7991440 | | Catalog number | 7549852 | | Discs | 1 | | Release Date | Sep 22, 2009 | | Additional Info | France |
20 Ans/Un Jour D'Ete Review
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As any quick perusal of old Top 40 rock & roll station playlists will attest, singles were where the shakin' action was, as rock & roll albums were scarce as hen's teeth back in those pre-Beatle days. But when the record companies decided to issue one, it was usually an artifact of high rockin' value and some major influence. Naysayers to the contrary, this debut album by the Northwest's first great rock & roll combo is just such an artifact. The Wailers dispensed crude, greasy, largely instrumental rock & roll music for those who came to shake it up and shake it down, and it's all on fine, rhythmic, open display here. This album is amazing in its own simplistic, nuthin'-special way, its crudity almost palpable. There's only one vocal aboard, Kent Morrill's "Dirty Robber," later covered and torched by the Sonics. Everything else is built on the riff-sturdy bones of their biggest hit, "Tall Cool One." With two guitars, piano, sax, and drums -- no bass player anywhere on here, another crudeness indicator of the times and locale it was recorded in -- all blasting away like they're working a VFW ...
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With his high, eerie falsetto and haunting guitar tunings, Skip James sounds like no other country blues player. Although his lyrics were generally drawn from the same bag of floating clichés that showed up in countless other blues songs, his atmospheric recordings, done in 1931 for Paramount, gave James' songs the appearance of tremendous poignancy, and his sad, lonely vocal style made them all seem deeply personal. Eighteen of the sides James recorded for Paramount have survived into the modern era, and all are presented here. ...
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Rose Ayelet Gottlieb is a Swedish-born Israeli singer who lives in New York. Her music walks a wonderfully dizzy line between jazz, Sephardic, and klezmer traditions, and Middle Eastern rhythmic influences. The texts on Mayim Rabim come from the Song of Songs in the Old Testament. This cycle reflects the wonderfully sensual and deeply erotic themes found within its rich language. The chapters are from two through eight, and various verses in this gorgeous text are used repetitively, as are they in the Bible itself. Along with Rose Ayelet Gottlieb are Michael Gottlieb, backing vocalist Deanna Neil, and Michal Cohen. The band is comprised of Michael Winograd on clarinet and bass clarinet, Anat Fort on piano, Rufus Cappadocia on cello, and Take Toriyama on drums. A Persian trope is used on two tracks, played by Galeet Dardashti. The set kicks off with hand drums, and Gottlieb's voice backed by Neil's. The piano and cello enter later, and the bass clarinet articulates her melodic statements moving them toward modal jazz. She chants and sings all through the lyric, never above or below it, on the stunning "Tapuah." On "Al Mishkavi," Gottlieb begins a cappella, piano and bass clarinet enter in the complex melody and wind around it as her voice becomes another instrument, underscoring her lyrics with wordless vocals that hover and shimmer with the cello. "Libavtini," with its mournful yet romantic cello and piano lines, introduces us to words sung in Hebrew, first by Michael Gottlieb in his throaty, low rasp: "You have captivated my heart -- My sister, my bride/You have captivated my heart." He is answered by the female chorus accepting of his praises and then the Gottliebs sing in duet "How wonderful is your love -- my sister, my bride/Your love is better than wine." All around them, a Jewish folk melody wanders in and around the voices on piano and cello. The album closes with title cut, it commences in mournful a cappella by Gottlieb, who is answered by Neil before a piano enters with two notes. The women's voices entwine in the next verse, again unaccompanied before the tune fully articulates itself with bells, piano, and a whispering cello. "Who is that rising from the desert/With her head on her lover's shoulders/Under the apple tree I aroused you/There your mother conceived you/There you were born/ Place me as a seal upon your heart/As a seal upon ...
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