Reviews Written by hiwthi1958
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April 8, 2007
Rutger Hauer....
Pros: none
Cons: none
A haunting adventure fantasy about a pair of cursed lovers who are transformed into animal shapes during alternate periods of the day. Broderick, who provides comic relief, is appealing as the couple's young friend, and ultimately, their rescuer. Academy Award Nominations: 2, including Best Sound, Best Sound Effects Editing. ...
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April 5, 2007
great masters
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Cons: none
best i ever heard
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April 5, 2007
Hampsterdance Hits
1 of 1 Yahoo! Users found this review helpfulPros: funnnn
Cons: none
Displaying a refreshing honesty that other artists should probably follow, Hampton the Hampster's Hampsterdance Hits is the rare greatest hits collection that knows when to quit. With just six songs to its name three of which are different versions of "The Hampsterdance Song" Hampsterdance Hits keeps it short and simple, reflecting the attention spans of Hampton's fans as well as the fact that the Hampsters' music works best in small doses. The three tracks that aren't "The Hampsterdance Song" work almost as well as Hampton's big hit: "Thank God I'm a Country Boy" carries on the ChipmunksmeetsRednex vibe of "The Hampsterdance Song"; the Hampsters' version of "Dance to the Music" is equally funny and faithful to Sly and the Family Stone's original; and while "Hampster Dance" has the dubious distinction of being the least distinctive song on the album, it does namecheck the rest of the Hampsters (Hado, Dixie and Fuzzy) in Hampton's band. And as for "The Hampsterdance Song" itself, it's here in all its heliumvoiced glory, beginning with the original version and closing the album with two remixes, "The Hampsterdance Song (Extended Mix)" and "The Hampsterdance Song (Club Mix)" (both of which could be heard as witty comments on dance remixes by people a little older than Hampton's intended audience). Hampsterdance Hits also includes two multimedia tracks: videos for "Thank God I'm a Country Boy," and, of course, "The Hampsterdance Song." ...
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Muddy "Mississippi" Waters Live [Deluxe Edition]
by Muddy Waters | MusicPrice: $11.19 to $13.38 Compare PricesApril 5, 2007
Muddy "Mississippi" Waters Live [Deluxe Edition]
Pros: none
Cons: none
In its original edition as a 1979 live album, Muddy "Mississippi" Waters Live was a pleasing but inessential edition to the great bluesman's catalog. The classic versions of most of the numbers from Waters's live set at the time are found on much earlier studio recordings, and there are better Waters live recordings as well. All that taken into account, it's questionable as to whether a two-CD expanded deluxe edition of the release was hungered after by many listeners. But the tapes were out there, and in 2003 here it came, the first CD being just a straight reissue of the 1979 LP, the second disc including no less than an hour of additional music. All of the music on disc two was previously unreleased, and all of it recorded at the same August 1978 shows that yielded the bulk of the original LP. It's the second disc, naturally, that will hold the most interest for Waters fans, and it shares both the assets and shortcomings of the material on disc one. In its favor, these are good performances with good backup musicians, including Johnny Winter, Luther "Guitar Jr." Johnson, and Bob Margolin on guitars; James Cotton on harmonica; and Pinetop Perkins on piano. To its detriment, most of the songs are old chestnuts available in more memorable studio versions and in some cases other live Waters recordings, including "Hoochie Coochie Man," "Got My Mojo Workin'," and "Mannish Boy." There are a few songs that aren't as commonly available by Waters in live variations, like "Champagne and Reefer," performed here prior to its release on King Bee (with Waters stumbling on some of the lyrics); the traditional "Corrina, Corrina"; an "After Hours"/
"Stormy Monday Blues" medley; "Kansas City," on which vocals are shared by Waters and Perkins; and "Trouble No More," which according to Margolin's liner notes "is one of the very few live versions of this song." Still, overall this is fairly far down on the pecking order of Waters albums, live or otherwise. ... -
April 5, 2007
Dance 4 Life
1 of 1 Yahoo! Users found this review helpfulPros: none
Cons: none
Highly regarded by both ~DJ Magazine and ultra-loyal fans, DJ Tiësto, due in part to his legendary six-hour, energetic live sets, has been elevated to mythical status as one of the world's foremost trance DJs. A native of Breda, Netherlands (born Tijs Verwest on January 17, 1969), Tiësto first starting playing out at a well-known club in his hometown called
-the Sprock. Discovered there by the GM of Rotterdam-based Basic Beat Recordings, Tiësto released his first of five mix CDs as a part of the label's Forbidden Paradise series.
Coupled by quick success and his accelerated work ethic, Tiësto soon partnered with Arny Bink and, in late 1997, started Black Hole Recordings as a private label for his productions and mixes which became the birthplace for both his Space Age and revered Magik series (volume seven hit during the summer of 2001). In addition to these acclaimed series, Black Hole also brought the world the first mix compilations from artists such as Ferry Corsten, Johan Gielen, and Armin Van Buuren, and introduced yet another prized series called In Trance We Trust.
Relentless global touring ensued and, in three short years, the world outside Holland took notice with Nettwerk finally signing him to a stateside deal. Summerbreeze marked Tiësto's U.S. debut, a mix album that showcased his remix of Delerium's "Silence" (featuring Sarah McLachlan), an epic 11 1/2 minute tour de force of throbbing beats cascading within a swirl of sweeping synthesized sounds, all of which cocooned round McLachlan's majestically angelic voice; a call from heaven heard from shore to shore to shore. Aside from reverberating throughout dance clubs everywhere, the remix was massive, spending four weeks in the Top Ten in the U.K., peaking at number three on the ~Billboard dance charts, and continues to remain one of the most influential tracks of the progressive dance era.
With this swell of immediate notoriety, he instantly became one of the most sought after producers/remixers and catapulted a stylized musical fashion, that of weaving threads of ethereal female vocals deep within the ebbs and flows of a tidal wave of pulsating electronic rhythms. As this anointed purveyor of exuberant layered soundscapes, Tiësto has churned out female-fueled remixes that span the gamut, including tracks by Chicane, Leigh Nash of Sixpence None the Richer (on Delerium "Innocente"), and Faithless. And there's more to come. A thorough sonic search in MP3 land unearths several tasty treats of re-workings of SuReal "You Take My Breath Away," Kosheen on their club smash "Hide U," Dave Matthews Band "The Space Between," and a blistering exploration on the theme from A Clockwork Orange.
Clockwork it seems to be as Tiësto's star continues to shine bright. November 2001 saw the release of In My Memory (Nettwerk), his first artist album that mixes original compositions-turned club anthems ("Flight 643") with more commercial fare, as evidenced on the title track with vocals by Mandalay's Nicola Hitchcock. April 2002 kept his catalog expanding with the release of the third installment of Tiësto's hypnotically elegant, Ibiza-influenced and aptly named mix compilation entitled In Search of Sunrise. ~ Robert Evanoff, All Music Guide
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April 4, 2007
Les Uns et les autres (1984)
Pros: none
Cons: none
This is the original three-hour version of the Claude Lelouch (A MAN AND A WOMAN) classic that was later trimmed and released in America under the title BOLERO. A broad drama that uses music and harsh political climates to span three generations of world history, LES UNS ET LES AUTRES is filmmaking at its most epic. Incorporating original music from composers Michel Legrand and Francis Lai, as well as recognizable contributions from Beethoven and Ravel, Lelouch's film is also brought to sparkling life by the impassioned performances from his star-studded cast (including James Caan, Fanny Ardant, and Geraldine Chaplin). ...
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April 4, 2007
concert for bangladesh
Pros: none
Cons: none
Hands down, this epochal concert at New York's ~Madison Square Garden -- first issued on three LPs in a handsome orange-colored box -- was the crowning event of George Harrison's public life, a gesture of great goodwill that captured the moment in history and, not incidentally, produced some rousing music as a permanent legacy. Having been moved by his friend Ravi Shankar's appeal to help the homeless Bengali refugees of the 1971 India-Pakistan war, Harrison leaped into action, organizing on short notice what became a bellwether for the spectacular rock roll benefits of the 1980s and beyond. The large, almost unwieldy band was loaded with rock luminaries -- including Beatles alumnus Ringo Starr, Eric Clapton, Badfinger, and two who became stars as a result of their electric performances here, Leon Russell ("Jumpin' Jack Flash"/
"Youngblood") and Billy Preston ("That's The Way God Planned It"). Yet Harrison is in confident command, running through highlights from his recent triumphant All Things Must Pass album in fine voice, secure enough to revisit his Beatles legacy from Abbey Road and the White Album. Though overlooked at the time by impatient rock fans eager to hear the hits, Shankar's opening raga, "Bangla Dhun," is a masterwork on its own terms; the sitar virtuoso is in dazzling form even by his standards and, in retrospect, Shankar, Ali Akbar Khan, and Alla Rakha amount to an Indian supergroup themselves. The high point of the concert is the surprise appearance of Bob Dylan -- at this reclusive time in his life, every Dylan sighting made headlines -- and he read the tea leaves perfectly by performing five of his most powerful, meaningful songs from the '60s. Controversy swirled when the record was released; then-manager Alan Klein imposed a no-discount policy on this expensive set and there were questions as to whether all of the intended receipts reached the refugees. Also, in a deal to allow Dylan's participation, the set was released by Capitol on LP while Dylan's label Columbia handled the tape versions. Yet, in hindsight, the avarice pales beside the concert's magnanimous intentions, at a time when rock musicians truly thought they could help save the world. ... -
April 4, 2007
Tarkan
Pros: none
Cons: none
Come Closer is Tarkan's first Englishlanguage album after several years as a Madonnalevel superstar in his native Turkey. With his wellscrubbed, boyish looks, blueeyedsoul voice and fondness for eargrabbing, gimmicky arrangements a la the Neptunes, Tarkan comes across like a Turkish Justin Timberlake. On the best parts of Come Closer, particularly the first single "Bounce" and the insistently catchy "Why Don't We (Aman Aman)" (which comes complete with a cameo by Wyclef Jean), Tarkan strikes a delicate balance between creamy dancepop goodness and cheesy, overproduced plasticity. A few songs fall too far on the wrong side of that balance, such as the irritating "Start the Fire" (which sounds oddly like a bad ripoff of George Michael's "Faith") and the hyperactive, Black Eyed Peaslike "Don't Leave Me Alone," but on songs like the snaky electrobelly dance "Shikidim" and the dreamy love jam of a title track, Tarkan makes all the right moves. Much as happened when Shakira did the Englishlanguage crossover with Laundry Service, longtime fans and pancultural hipsters might blanch at how thoroughly Americanized this take on commercial dancepop is, but fans of the form will find much to love regardless. ...
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April 4, 2007
Peter Pan
Pros: none
Cons: none
The producers were wise in their choosing of James Newton Howard to compose the score for P.J. Hogan's big screen rendering of J.M. Barrie's famous children's book Peter Pan. The former Elton John keyboardist's work on M. Night Shyamalan's Sixth Sense and Signs showcased his ability to blend suspense and whimsy, and skillfully paint a scene from a child actor's point of view. For Peter Pan, Howard builds the dreamy world of "Neverland" with harps, choirs, and the occasional keyboard flourish, fleshing out the characters with fairy tale precision, and creating a believable realm in the same fashion that John Williams handled the magical world of Harry Potter. The string motifs he chooses for Wendy and Peter are steeped in the bittersweet confusion of sexual awakening, and the eternally youthful Lost Boys are treated with a light hand, hinting at their enviable immortality. "Howard" goes to great lengths to capture the myth of Peter Pan, never dumbing it down. His is a darker take on a story that has spent years in the hands of cartoonists, and it delivers the tale a muchneeded edge. ...
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a great movie
Pros: none
Cons: none
As settlers begin their westward trek into the lands of the Native Americans, a Union Army Civil War officer, eager to experience the last frontier before it vanishes, soon finds himself trapped between two worlds. ...