Frank Zappa - Lost Episodes CD

Lost Episodes songs Le Noise finds Neil Young joining forces with Daniel Lanois, a producer renowned for his haunting, atmospheric recordings. Recorded at the producer's home in Silverlake, Lanois added textures to Young's solo guitar recordings, resulting in an adventurous, distinctive record. In addition to being available on CD, digital download and vinyl, there are deluxe CD/DVD and BluRay versions of Le Noise that feature black & white films of Young performing the ...

Lost Episodes buy CD music Audio Mixer: Enda Walsh. Liner Note Authors: Gavin Martin; Solly Lipsitz; Alan Licht. Born to Sing: No Plan B marks Van Morrison's 35th album and his return to Blue Note Records. Morrison released What's Wrong with This Picture? for Blue Note back in 2003. He re-signed to legendary jazz label in large part because musician and producer Don Was signed on to head it. Featuring ten new songs, Morrison plays guitar, alto saxophone, and occasional keyboards. Employing his trademark Celtic soul, the album also showcases incursions into jazz and blues -- and sometimes all three within the same tune. Morrison recorded the sessions in Belfast, and produced them. He used his road band augmented by guest musicians.

Lost Episodes CD music Released independently for online download without any advanced notice in March 2008, GHOSTS I-IV is a 36-track instrumental album that reveals Nine Inch Nails at its most experimental and intriguing. Always adept at musical moods and textures, NIN mastermind Trent Reznor has been known to let his angst-ridden vocals and lyrics overshadow his songs, but on this generous collection, which follows YEAR ZERO by less than 12 months, his compositions are allowed to breath on their own, and the results are disarmingly diverse, though, naturally, never exceedingly sunny. Working closely with co-producer/songwriter Atticus Ross and frequently calling upon guitarists Adrian Belew (King Crimson) and Alessandro Cortini, Reznor treats GHOSTS as a score to some dark imaginary David Lynch-like film (in fact, the two auteurs collaborated on LOST HIGHWAY). While some tracks trade in Reznor's signature moody techno sound ("3 Ghosts I"), others mix acoustic-guitar strumming with burst of industrial noise (the subsequent "4 Ghosts I"). Elsewhere, Reznor employs dulcimer ("22 Ghosts III") and marimba ("30 Ghosts IV"), letting an unusually organic aesthetic creep in. Challenging but never inaccessible, GHOSTS I-IV is the work of a mature artist operating in a compelling creative zone. Audio Mixer: Alan Moulder. Recording information: 2007. Photographers: Tamar Levine; Rob Sheridan. Arranger: Atticus Ross. Nine Inch Nails: Trent Reznor. Personnel: Alessandro Cortini (guitar, dulcimer, electronics); Adrian Belew (guitar, marimba, electronics); Brian Viglione (drums); Atticus Ross (programming).

Lost Episodes album for sale For Earth Below, Trower's third solo album, is heavily induced with a blues-rock formula that withstands the duration of the eight tracks and arrantly displays his slick guitar mastery. His subtle yet dominant fusion of blues and hard rock styles not only inflicts character throughout each song, but also demonstrates how effective an instrument the guitar can become when the proper techniques are applied. Much like Twice Removed From Yesterday but not as diverse as Bridge of Sighs, this album has Trower sounding a tad more velvety around the edges, with the blues element sometimes governing the entire piece, an asset to the album's complete texture. The opening "Shame the Devil" and "A Tale Untold" best exemplify his distilled playing style, while a song like "Gonna Be More Suspicious" represents how focused a musician he really is, making each chord pour into the next so that the sound becomes totally viscous. James Dewar, who plays bass and sings vocals, contributes aptly to the low end of the music, filling in where needed, while drummer Bill Lordan helps out on percussion. Finishing off with the sultry but dimensioned aura of "For Earth Below," the album wraps up with a wholehearted satisfactory feel. The albums that followed For Earth Below began to stray slowly from being blues-influenced to a sound that contained a mainstream feel, with fragments of bright rock adding a sheen to his raw guitar repertoire. ~ Mike DeGagne Photographer: Robert Failla. Personnel: Robin Trower (guitar); James Dewar (vocals); Bill London (drums). Recording information: Record Plant, Los Angeles, CA.

Lost Episodes CD music Combining rock and intricate, experimental jazz with biting social commentary and a healthy dose of juvenile humor, Zappa's music was never less than provocative and often quite challenging. He manages to be musically ambitious, ironic, scatological and just plain weird, often within the same song. If you're looking to dive into his voluminous oeuvre, 1973'S OVER-NITE SENSATION is a good place to start. Following a string of experimental, nearly instrumental releases, the record is about as accessible as Zappa gets, and features some of his catchiest, wittiest songs. Even with musicians such as George Duke and Jean-Luc Ponty and several horn players, the album is more rock than jazz. Awash with references to tweezers, dental floss, dandruff, ponchos, poodles and dwarves, OVER-NITE SENSATION is laugh-out-loud funny. The opener, "Camarillo Brillo," which recounts a nutty sexual encounter, is full of intricate wordplay, and the more explicit "Dinah Moe Hum" surely delighted legions of brainy high school boys when it was released. The wonderfully demented "Dirty Love" belongs in the pantheon of great Zappa songs, as does "I Am the Slime," a hilariously astute, prescient take on couch-potato culture, decades before the term was coined. Illustrator: Cal Schenkel. Photographer: Emerson-Loew. Arranger: Frank Zappa. Personnel: Frank Zappa (vocals, guitar); Sal Marquez (vocals, trumpet); Jean-Luc Ponty (violin, baritone violin); Ian Underwood (flute, clarinet, alto saxophone, tenor saxophone); Bruce Fowler (trombone); George Duke (keyboards, synthesizer); Ruth Underwood (vibraphone, marimba, percussion); Ralph Humphrey (drums). Recording information: Bolic Sound; Paramount; Whitney.

Lost Episodes buy CD music Two years after the Beatles rolled out the hits for the final time further up the West Coast at Candlestick Park -- and over a year into a Rolling Stones touring hiatus -- the Doors played a set at the Hollywood Bowl that is widely regarded to be their finest ever captured on film. Although they weren't necessarily filling a gap on the live circuit left by their contemporaries -- with their third album, Waiting for the Sun, already in the can and under a week away from release -- it's clear from this recording that they were keen to impress the 18,000 people who filled the Bowl on July 5, 1968. It's a tight, musically impressive, well-paced set that falls at that sweet spot in the Doors' career, between the laid-back hesitancy of early club performances -- such as those found on Live at the Matrix '67 -- and the often overblown, strident, and bluesy improvisation of later gigs like the two-hour plus 1970 set released as Live in Detroit. Here, the band are well-rehearsed, locked-in, and ooze intensity with Bruce Botnick's expert remastering giving John Densmore's dexterous drumming a more prominent focus than it has previously been warranted. It's not just improved sound that we benefit from here, either. As Jim Morrison's vocals were not originally captured for large chunks of "When the Music's Over," "The Wasp," and "Hello, I Love You," Botnick has managed to reconstruct his vocals from recordings that were made in preparation for the Absolutely Live album. Furthermore, while 1987's Live at the Hollywood Bowl lasted 22 minutes, here we get the entire set: over an hour of music. Live at the Matrix '67 might have displayed the breadth of their repertoire in a club environment -- cherrypicking the best performances from four nights' worth of material -- but Live at the Bowl '68 is by far the best one-disc Doors concert available to date. From Morrison's primal scream and the explosive drum fill that kickstarts "When the Music's Over," they play to the back of the Bowl, and in turn get the back of the Bowl to lean in a little on the more introspective, tempered passages of "Light My Fire" and "The End" that appear toward the latter part of the set. Although the Doors built on the drama that was inherent in the music of the Beatles and the Stones, neither of those acts could match their unequivocal gift for portraying mystery and intrigue on record, or for that matter, in a live context. While Mick Jagger -- who looked on from the front row -- stayed in L.A. for the rest of month to oversee the final mix of the Stones' satanic blues rock cornerstone Beggars Banquet, Paul McCartney was back in London that night adding the bassline to "Ob La Di Ob La Da." The Doors returned to perform at the Hollywood Bowl in September 1972, very sadly without Morrison. ~ James Wilkinson Liner Note Authors: John Densmore; Ray Manzarek; Robby Krieger; Bruce Botnick. Recording information: Hollywood Bowl (07/05/1968). Photographer: Henry Diltz. Personnel: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums). Audio Mixer: Bruce Botnick.