Following up their excellent debut and a season of intense touring, David Lindley and his crack band (now named El Rayo-X) recorded their second Elektra album. It turns out that they actually bettered the near perfection of the first. Opening with an excellent version of Etta James classic "Something's Got a Hold on Me," this track proves how tight the band had became. Lindley's slide guitar work is impressive as always. As an added bonus, the band's vocal harmonies are extremely tight and a welcome addition.
This album is a budget-priced, abridged version of the David Crosby live album King Biscuit Flower Hour, originally released in 1996 and drawn from a concert held in Philadelphia in 1989…
Guitarist David Torn, bassist Mick Karn, and drummer Terry Bozio play a total of over 20 instruments in this far-reaching musical experiment, released in 1994 on avant- fusion label CMP Records. Led by Torn's scattered almost-melodies, these ten tracks present a tribal jazz ambiance and near-constant guitar and bass noodling that fans of Torn and Karn's prior work will enjoy. Bozio's expressive percussion stylings are up to the drummer's world-class standard, and carry Polytown beyond the new age oblivion similar records inhabit.
Deluxe re-release of David Bowie's hugely influential 1976 album, Station to Station. This 3-CD set includes the complete original album together with the much bootlegged live favourite and previously unreleased Live Nassau Coliseum '76. STATION TO STATION was the soundtrack to Bowie's nightlife. This time around he fashioned himself as the king of slick, the "Thin White Duke/Throwing darts in lover's eyes." This new persona enabled Bowie to show his sensual side and his affection for American soul music–something that would have seemed out of context on previous efforts. The album's smooth vibe is evident in the funky guitar of "Golden Years," and mixed with a dangerous charm and the "side effects of the cocaine" on "Stay." Bowie had miraculously done it again–he picked up a new musical identity, and molded it to perfection.
The music on this disc is just incidentally something remotely 'ambient'. Most of the time it's experimental electronic music, vaguely remembering the avant-garde scene from the late 60's and seventies. At first listen, that is. When you listen more closely, you'll hear that this music perfectly fits the 2006 timeframe. It's clicks, cuts, hums and bleeps, but there's something most other recordings in this field mostly seem to lack: emotion. (It's exactly that in which this music resembles Murcof's 'Remembranza')
Arguably the strongest of the original NWOBHM, barring the exception of Iron Maiden, Saxon has been a beast of many colors since they first emerged in the late 1970s. Part of this can be attributed to their incredible longevity and continual output despite changing trends, though admittedly they ended up embracing a number of them as time droned on…
"Rattle That Lock" is the new solo album by David Gilmour, the voice and guitar of Pink Floyd. This is David's fourth solo album, and the first since 2006's # 1 album "On An Island". The primary lyricist for "Rattle That Lock" is Gilmour s long-term writing partner, Polly Samson, and the album is co-produced by David Gilmour and Roxy Music s Phil Manzanera. The album's striking cover has been art directed by Dave Stansbie. The lead single of this album is the title track, "Rattle That Lock". The song begins with the four notes, created by Michael Boumendil, which precede announcements at French SNCF railway stations which Gilmour recorded on his iphone at Aix station. Samson s lyrics are inspired by Book 2 of John Milton s Paradise Lost, which is also featured in her recent acclaimed novel, The Kindness. The single also features the Liberty Choir and singers Mica Paris and Louise Marshall.
David Gilmour’s solo career hasn’t exactly been creatively restless; this is but the third album by the Pink Floyd guitarist, and first in 18 years. But that seemingly lackadaisical career ethos hasn’t prevented Gilmour from producing some of his finest work here, an album whose soaring, lyrical guitar lines will be familiar to Floyd fans, yet one also blessed by often surprising nuances and delicate musical textures. Gilmour’s Division Bell collaborator Polly Samson is credited with most of the writing, helping conjure a moody, texturally rich "island" that’s as much musical as it is personally and lyrically metaphorical. "Castellorizon," the impressionistic opening instrumental collage, presages much of what’s to come in subtle ways, with Gilmour’s emotionally-charged guitar lines climbing into realms usually staked out by contemporary Jeff Beck.