| | Area Arbeit Macht Frei CD - Import Area Discography of CDs
Italian progressive rockers Area blend jazz and rock on 1973's ARBEIT MACHT FREI.
Appearing as it did in 1973, Area's debut album must have sounded to the average Italian pop critics like the end of the world. Issued on the Cramps label (and reissued by Arkarma as part of the Area box set), the album highlighted Area's early sound, which featured overt folk melodies, Canterbury Scene prog rock, acid psychedelia, and vanguard jazz all filtered through a particularly Italian sensibility. Those who came to love PFM later will not be able to handle the beautiful -- yet very disciplined -- weirdness of Area, at least on this disc. The Soft Machine comparisons are inevitable, especially in the free jazz sax blowing of Victor Eduardo Busnello. But in the deep funky guitarism of Paolo Trofani and rock-steady rhythmic invention of Patrick Djivasa on bass and Guido Capiozzo on drums, this band, fronted by keyboardist Patrizio Fariselli and vocalist-from-Mars Demetrio Stratos, Area was, at least in this early stage, a rock & roll band more than it was a jazz unit in the same way Soft Machine had evolved into one. Stratos is closest, sounding like Leon Thomas fronting Eno-era Roxy Music playing Mahavishnu Orchestra tunes, but Busnello's saxes are a close second. The rockish angles come from the guitars, while the bridge to progressivism comes from the rhythm section. Of the six tracks here, clocking in at just over 36 minutes, "Arbeit Macht Frei," the title track, is the one that brings all the pieces together most seamlessly. There are quotes from King Crimson's "21st Century Schizoid Man" and Jeff Beck's Beck-Ola album wrapped around towering rhythmic architectures and bleeding key changes that blur the boundaries between the various musics that made up the pursuit of Area. This is ambitious, strange, and ultimately very beautiful, an album that has dated very well into the new century. ~ Thom Jurek
Italian reissue of the Italian jazz rock fusion (progressive rock) band's 1973 album.
Italian reissue. Area Arbeit Macht Frei Songs | 1. | Luglio Agosto Settembre (Nero) - (Italian) |
| 2. | Arbeit Macht Frei - (Italian) |
| 3. | Consapevolezza - (Italian) |
| 4. | Le Labbra del Tempo - (Italian) |
| 5. | 240 Chilometri da Smirne |
| 6. | Labbattimento Dello Zeppelin |
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Arbeit Macht Frei Review
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Purchase Arbeit Macht Frei CD To buy, Click on price to add to cart | Bob Dylan Christmas In The Heart CD (2009)
Arbeit Macht Frei album
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After the initial shock fades, the existence of CHRISTMAS IN THE HEART seems perhaps inevitable. After all, the thing Bob Dylan loves most of all are songs that are handed down from generation to generation, songs that are part of the American fabric, songs so common they never seem to have been written. These are the songs Dylan chooses to sing on CHRISTMAS IN THE HEART, a cheerfully old-fashioned holiday album from its Norman Rockwell-esque cover to its joyous backing vocals. Apart from the breakneck "Must Be Santa," which barrelhouses like a barroom, Dylan doesn't really reinterpret these songs as much as simply play them with his crackerjack road band, dropping in a little flair -- restoring "we'll have to muddle through somehow" to "Have Yourself a Merry Little Christmas," singing the opening of "O Come All Ye ...
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NIGHT CASTLE appears just in time for the big 2009 holiday season but don't be fooled: this isn't a Christmas album, even if it's sonically indistinguishable from Trans-Siberian Orchestra's other seasonal releases, and the fact that it's been dubbed "Capra-esque" certainly brings it within the realm of the season. NIGHT CASTLE brims ...
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After establishing himself as the 21st century Harry Connick, Jr., young vocalist Michael Buble made his recording-debut year a prolific one, by capping it off with this five-song Christmas EP, in addition to his pair of full-length releases from earlier in 2003. Like Mr. Connick (who hadn't exactly thrown in the towel himself at that point, releasing his own Christmas album a month-and-a-half earlier) Buble aims to extend the classic Frank Sinatra-style approach to pop music well beyond ...
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Still enamored of the concept of the concept album more than four years after AMERICAN IDIOT, Green Day unveiled its rock-opera sequel, 21ST CENTURY BREAKDOWN, in 2009. Like its predecessor, BREAKDOWN wholeheartedly embraces the iconic punk-pop act's shift to a stadium-filling sound, while also remaining loyal to the San Francisco-based trio's progressive sociopolitical outlook. Even with a president in the White House ...
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| | Rachael Yamagata Happenstance CD (2004) Import; Limited Edition
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Japanese pressing of the singer/songwriter's 2004 album includes one bonus track 'Collide'. RCA.
Happenstance is Yamagata's debut long-player; it is a logical and delightful follow-up to her acclaimed, self-titled EP. It features 13 listed tracks that are either self-penned or written in collaboration with producer John Alagía (John Mayer, Josh Kelly) and mentor/guitarist Kevin Salem. The cuts "Worn Me Down" and "Reason Why" carry over, but they have been completely re-recorded. It is an unabashedly lush, deeply textured pop record that makes no apologies for its radio-friendliness or its adornments. This album's elegance reflects a willingness to overreach--emotionally as well as in production. Yamagata's voice is full of elliptical slides and slurs; it swoops, croons, rasps, and whispers; it looks for the crack in a lyric in order to reveal the depth behind it. One can hear that same quality in vocalists such as John Martyn, Billie Holiday, the young Rod Stewart, Dinah Washington, Maggie Bell, and Jeff Buckley. That context embodies within it a certain kind of approach, one that fuses grace with grit, and passion with pathos, but also the slow, erotic burn of control and restraint, where heartache becomes the river on which everything is carried; it is given a voice, an unvarnished utterance. In its grain, phrasing is also a vehicle: for something that lies just beyond the scope of actual words pointing down and in, not out. It contains the pastoral languor of a summer afternoon combined with the emotional intensity of a gleaming stiletto opening a vein. The similarity here is in the quality of performance. Listeners can definitely hear traces of her influences, but these are woven into a fabric that serves the song, not the singer.
These tomes are haunted with the poetry of time-worn ghosts: Unrequited love, dislocation, desire, loss, anger, all drift and hover here, but sometimes, these songs offer the acceptance that allows these spirits to move on. There is a striking melodic and lyric balance weighted by the tension held between idealism and the sad, world-weariness of an assaulted, oft-betrayed heart. "Worn Me Down," with its killer U2 hook and deep strings, is the obvious single, but it's far from the best track here. The new version, with organic drums, spacy keyboards, and Salem's lead guitar shimmer, would be an anthem were it not for its lyric honesty. The strummed acoustic guitar that introduces "Meet Me by the Water" carries within it the murky terrain ...
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