Rock K Music

Great CD! Great Songs! Great Singer! I would definitely purchase from this seller again.

Love this CD! Couldn't find it anywhere in any store. It arrived in great shape and right on time.

I bought this CD because of the recommendations of other customers. Luckily I was more than pleased to find a great collection of songs with an amazing sound and newness. If you are keen of finding new artists this is a good bet. You won't get dissapointed!

I like the album, but I was disappointed when I recieved the cd. I ordered this album instead of purchasing it from a store because it had a live version of Black Horse & the Cherry Tree, but I didn't have the live version. I am usually pleased with the delivery service by ImportCDs, but not this time.

Watching American Idle (yes I know it's mispelled) last year, I heard 'what's-her'name' sing a song that immediately caught my attention. It was 'Black Horse...'. Following that, the radio stations picked up on that karaoke version and began playing the real song by the real artist. Much better! I was wondering who the singer was. KT Tunstall became known almost overnight. Then the radio stations began playing other tracks from 'Eye to the Telescope' Eye to the Telescope (CD+DVD). They were great! The imported version of this CD also includes studio and live videos on an included DVD. Well worth the extra money. Hope she stays on the music scene for many years. One of the best newcomers I've heard in years.

Don't listen to the other idiots on here. If you actually read the other reviews, you will see that they were all just "Don't Worry, Be Happy" fans who have no idea what a concerto is, don't listen to classical music(nor want to), and simply thought they were getting 60 minutes of improvised voice by Bobby McFerrin. Maybe we ought to have read the track listing? Should we have seen that it was "Mozart" not "McFerrin"?

But as for the album itself it is a beautiful rendition. I even liked it better than most. The improvising is excellent on both musicians parts! It is very invigorating for someone who never gets to hear things like that. McFerrin's interpretation is great. I even liked this better than many other classical conductors. He really seems to keep it at a good tempo, and brings out parts in the orchestra that are often times just kind of drowned out. So, great job on his part. And his improvisations (especially the one at the end with Mr.Corea) are amazing!

Corea's performance is excellent as always. Although I'm used to hearing him as a jazz artist he performs this very well. His time is perfect. His technique and interpretation are again beautiful. And his cadenzas are amazing! It's really something to hear a beautifully performed classical piece, and then an actually improvised cadenza!

I'd recommend this to any classical music lover (though net necessarily a strictly McFerrin lover)! This is something any Mozart fan could appreciate. A brilliant performance!

While I have been a dedicated listener of jazz for over thirty years, my classical ear is still taking shape. I do not always know all of the composers but I do know what sounds fresh and evocative. That Bobby McFerrin sings little and is instead the musical director of these Mozart interpretations only adds to the respect I have for his professional accomplishments. That Chick Corea deftly plays these sonatas with an obvious jazz influence does not betray some of the finest music ever written. Sample this music first. If you choose to buy it, I hope you will enjoy it as much as I have, even after my one hundredth listening.

I guess I fall into the category of listeners who feel somewhat cheated by this album.

Based on their previous collaborations and by the cover art, there is no indication that McFerrin would take such a back seat to primarily conduct while leaving Corea to create the music itself. To address another reviewer's slight, it is not the outdated perception of McFerrin as the guy who sings "Don't Worry Be Happy" that I sought, but rather McFerrin's ephemeral and versatile jazz vocalize melding with Mozart's incredible creations as performed by Corea which drew me to purchase this album. Based on their prior collaborations, the combination of all three seemed ripe for brilliance.

Instead, what I received was basically another recording of Mozart's music pretty much done the way I've always heard Mozart's music. Now - I will be the first to admit that I am not a classical music connoisseur. When Corea is riffing on and improvising around Mozart, I don't know the music well enough to know the difference.

Classical performances strike me as the equivalent of various cover bands playing the same songs over and over again for centuries. Detracting nothing from the brilliance that was Mozart's work, I simply do not appreciate that, as described in the liner notes, there's usually a break where musicians readjust and cough before starting the next segment. Corea moving through without a break is simply defying well ingrained expectations held by the initiated, not really creating something beautiful that can stand on its own to capture the visceral emotion that music can sometimes do. Sure there was more energy behind it than normally exists simply because the orchestra was caught off guard. I guess if that is enough, then this album may be perfectly suited for you.

I'm not taking anything away from Corea's performance or McFerrin's conducting - certainly a more discerning ear attached to a person who knows Mozart's work in and out could make a strong argument for the subtle innovation in this interpretation. It was simply lost on me and probably would be on any casual classical music listener.

If that makes me an unsophisticated brute, then so be it. But I didn't pay to just hear another orchestra perform the same music orchestras have been performing for centuries. I paid to hear McFerrin integrate his vocal talents as a prominent instrument amidst what Corea does so well with conventional instrumentation. Nothing in the exterior presentation of the packaging indicated such an opportunity would be limited to a mere 2 minutes or so. Perhaps that slight of hand was done on purpose to boost sales. After all, how many McFerrin fans would pay to hear him conduct? Either way, I was disappointed.

If you're looking for the cool piece from the old Audi commercial, it's the first part of the 466 -- Allegro. Apparently you have to buy the whole piece to get it on iTunes. Very pretty.

Mozart with a jazz twist - here and there. Chick does a beautiful job playing Mozart. He definitely makes the music his own, and his jazzy cadenzas are remarkable! Add the McFerrin preludes and you have something quite unique, a beautiful blend of jazz and classical music. Very enjoyable.

Contrary to most of the other reviewers I find this album more interesting than the previous Songs from the West Coast. Granted there are no super-hits but every single song is of a consistently high quality and the whole album is extremely listenable. It sticks to a somewhat reflective atmosphere with Elton's voice dominating and creating character.

It would be wrong to call this the culmination of his career, but it certainly sounds like a particular, more mature stage of it. There is no denying Elton's musical experience and it shows through here. The album's contrast to his early song hits provides a satisfying continuation of his career.

Elton at his soulful best! His voice and piano playing is beyond beautiful. It amazes me beyond words how Bernie Taupin never ceases to write such wonderful lyrics and Elton adding his perfect touch with his vocals and music to Taupin's lyrics.
I can listen to this cd over and over again - just like I do w/Elton's classics!!

I highly recommend this! We saw Elton in concert when this first came out and we really liked the music. This is one of his best CD's in years!

When I heard this album for the first time, I thought inmediately that it wasn't a masterpiece, but some tracks were very catchy. Nothing on the album is bad, that's clear. Of course that could be a better album with a memorable song, and that's what this work lacks. But that doesn't mean it's not a worthy album. "Turn the lights out when you leave" is perhaps the best song in this collection, and "They call her the cat" is another good song. Finally "Answer in the sky" is a tipically elton-ish tune. The other songs are also good, but not great.

I really love this album. I think it's the best since Made In England.
The first time I listened to it I thought it was not a great album, but after listen to it some more times I saw I was wrong...So wrong, because it's wonderfull.
There are a lot of gospel musci in it, I guess.
a must have to any Elton fan or not

once everyone who listens to this album is trying to find it, they will know where to go. Turn left and jackamo street and you will see barry. He might turn out to be radioactive. Next get home to the last house. We all make mistakes but the bigger the teddy bear, the more vietnamese food it will eat you know? I think we should be happy that this album doesn't contain any milk or other products that could possibly cause the o-zone layer to fall to peices. No, I will not get married to a rooster just to help you bake a cake. Thanks for your osterich.

For those who missed out the first time around in 2001, The Glow, Pt. 2 is Phil Elvrum's magnum opus as far as his The Microphones project is concerned (currently he's Mount Eerie). His approach for this album is a complex simplicity that few singer-songwriters get right: diary-style lyrics that silence everything around you, supple acoustic guitar and ornate orchestration that pour shame into those who didn't try harder during sound recording classes. Panned guitars, field recordings, room noise and all manner of "kitchen-sink" instruments are all manipulated and made subservient to Elvrum's words and concepts ("Something" and "Something (cont.)" also stands as one of the greatest sad-and-gorgeous to noisy-and-ominous interludes ever recorded). For those who already own it: you get a splendid bonus disc of "other songs" and "destroyed versions" Elvrum wrote during that time. Rarely has being so lonely, cold and heartbroken felt and sounded so wonderful.

*WARNING* one flaw with this reissue: the case. while i love paper cases (and think that record companies should put an end to the ugly, useless, breakable plastic cases), this one is especially flimsy. So flimsy in fact, when i finally was able to get my hands on this beautiful record (i discovered it more than a year ago, but it was only available used on amazon), and tried squeezing the sides of the sleeve, and i was horrified to hear and feel and gentle ripping noise. there's a gash on the cover now. if and when you get it, be very, very careful! the material is much more fragile than it first feels.

otherwise, beautiful record. i'm no poet, so i'll leave it at that. i highly recommend it to anyone who loves folk indie.

I can't believe it has been seven years since The Glow Pt. 2 was first released (and six years since I first heard it). Now, listening to the 2008 reissue with 20 additional tracks (available on 2 CDs or 3 LPs), the most amazing thing about revisiting it is not that it still stands up, but that it still seems very ahead of its time, even today. (The extra tunes are interesting in context, but not vital to the casual listener.)

The Glow Pt. 2 has long been described as Phil Elverum's masterpiece, and I have to still agree. Its songs flow together wonderfully whether you listen to them individually or in mind of the improvised concept (tied together sonically by the tugboat sounds played underneath throughout -- they're very clear during the quiet spots).

And listening with headphones enhances the experience. In fact, I would have to say that the sonic depth is so amazing that headphones are vital to experiencing the full majesty of The Glow Pt. 2. And Elvrum's sweet, high voice adds to the effect. On no other album have I felt as if the music entered through my ears and swam around for a while, not quite able to escape.

This is all because Elvrum (later Elverum) was not afraid of experimentation. Each song has its own distinctive sound. The dual acoustic-guitar sound at the front of "The Moon" has to be heard to be believed. (For the origin of that sound, listen to "The Pull" from It Was Hot, We Stayed in the Water.) And his creativity is always surprising. What seems at first like noise, after a few listens unfolds itself like a blooming bud to reveal all its layers. Only after repeated listens do you come to appreciate the imagination -- one would almost say "genius" -- involved in the making of The Glow Pt. 2.

But even such a personal record cannot be done alone -- not and remain faithful to its analog roots. Several of Elvrum's friends helped out. Most noticeable are the angelic voices of Khaela Maricich (of The Blow) and Mirah on a few tracks. I became a Mirah-phile through my research on this album. In fact, over the past six years, I have become rather well versed in the K catalog -- from Little Wings to Tender Forever, from Beat Happening to Old Time Relijun -- and it all started with this album.

For a while, Elvrum seemed to embrace his soundscaping abilities, agreeing to produce albums for his friends (Mirah's C'mon Miracle and Jason Anderson's New England come first to mind), but after the release of the more ambitious (but less accessible) Mount Eerie, things took a different turn. He changed the name of his band to the name of that album, and the music became more stripped down and even indie-er than ever before once he opened his own label, P.W. Elverum and Sun. (For example, one of the first Mount Eerie releases, Eleven Old Songs from Mount Eerie, merely contained Elverum's vocals accompanied by an old Casio keyboard.) The last we heard from "the Microphones" was a live album that managed to consist of all new material (Live in Japan February 19th, 21st, and 22nd, 2003) and a 7" single containing a couple of daily-life-oriented protest songs ("Don't Smoke" and "Get Off the Internet").

But, though Elverum is currently serving a different muse than the one who led him to create The Glow Pt. 2 (and I don't fault him for that -- you've got to follow your bliss, and he does it to the hilt), it's nevertheless great to be able to go back in time, so to speak, and recapture the days when a guy with a vision, immense creativity, and some friends combined to make the first great album of the 21st century.

by different I mean it's not the original UK. I was fortunate enough to catch the original lineup in New York's Central Park not long after the first album was released. It really isn't fair to compare this band or album with the original band. Standing on its own merits I like this album a lot. Terry Bozzio and Bill Bruford are two completely different drummers.
John Wetton and Eddie Jobson are ace musicians. Jobson does a super job on keys and violin. This particular 3 piece format works for me. I like how they handled the songs without a guitarist. Caesar's Place Blues is especially entertaining. If you don't compare this UK to the original UK then there's a chance you will enjoy this CD. This surely isn't the worst music you'll ever hear!!
[...]

With the departure of Allan Holdsworth and Bill Bruford, it appeared as if another 1970s supergroup concept was over before actually kicking into high gear (releasing one self-titled album and touring to promote it).

But John Wetton and Eddie Jobson soldiered on as a power trio - with Terry Bozzio on drums - releasing a studio album, Danger Money, and this live set, which was recorded in June 1979 at two venues in Tokyo, Japan, and released in September 1979.

Jobson's keyboard work is outstanding - remarkably filling in musical spaces of several instruments - and Wetton handles the vocal chores and bass playing with customary aplomb.

Besides a handful of radio broadcasts, the only mobile recordings of the band are the master tapes for this release. Mostly seen as a bridge to Wetton's work with another supergroup, Asia, and Bozzio's creation of Missing Persons, the album shows a band not near the peak of its creative powers, but delivering solid performances before appreciative and knowledgeable audiences.

U.K. are a legendary progressive rock band. Led by John Wetton and Eddie Jobson, the group produced two studio records that are simply amazing. And in 1979, the group released their live record, 'Night After Night,' documenting the group's shows in Japan in June of that year.

The shows opens with 'Night After Night,' a song that does not appear on any studio record. It's a great song, and it starts with crowd yelling 'U.K.! U.K.! U.K.!' repeatedly until Jobson's legendary keyboard line comes in.

With the departure of guitarist Allan Holdsworth, Jobson's violin gets plenty of time on this record. Holdsworth and drummer Bill Bruford left after the tour of their self-titled debut ended. Bruford was replaced by Frank Zappa's drummer Terry Bozzio; Holdsworth was not replaced.

Bozzio is a great drummer, and this set is great proof. Listen to 'In The Dead Of Night,' 'Time To Kill,' and 'Presto Vivace.' Those are Bozzio's best drumming songs.

Sadly, after this record was released, U.K. went on hiatus and never returned to the studio again as U.K. Bozzio formed Missing Persons with his then-wife Dale; John Wetton formed Asia with Yes guitarist Steve Howe; and Jobson joined Jethro Tull for one record in 1980 titled 'A.'

But if you like great live records, 'Night After Night' is highly recommended. One of my favorite live records. ENJOY!!!

As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.

The U.K. live record "Night After Night" has been criticized because of Allan Holdsworth (Guitar) and Bill Bruford (Drums) not being present on the material. When Allan left the group, they did not replace the guitar. As for Bruford not being present, it seems unfair that anybody would knock the presence of Terry Bozio. Terry cut his teeth with Frank Zappa and he could make a three-chord rock song seem extraordinary or make your eyes widen to golf balls handling the most complex piece of progressive rock.

The impartial downfall is the material isn't consistent. There are tracks and passages that contain the more watered down progressive sound and not the first class Caravan ELP, Genesis (W/Gabriel), Gentle Giant, Steve Hillage, King Crimson, Nektar, Soft Machine, and early Yes to name several.

It would have been beneficial if any of the nine tracks were made up of compositions from the member's previous works. We must deal with the hand we have so.... Night After Night, Nothing To Lose, and Caesar's Palace Blues, are decent enough songs but lack the surprise directions musicians of this caliber will normally take us through. Caesar's Palace Blues lyrics are almost intentionally funny!

There are those moments your ears don't wander an inch from the speakers. Time To Kill has passages that sound like Emerson, Lake, & Palmer's "Tarkus", Alaska and Presto Vivace are adventurous enough. Ed Jobson does an often-unappreciated job throughout the festivities. His keyboard sound and complexity is very tasty.

If you are willing to accept this won't be the best work of the individual members there is nothing wrong with having a vinyl copy and a CD to listen to,it won't be night after night.

Enjoy the music and be well,
Craig Fenton
Author of the Jefferson Airplane book "Take Me To A Circus Tent"

Sure, these are very talented musicians and yes, there is some amazing musical sequences in this cd, but these moments are rare !
Rendes vous 6:02, Nothing to lose and As long as you want me here are poor.
There is just two good tracks and they are "Night after Night" and "In the dead of night", the rest is just below expectations. This cd won't make history.

Wow, this is the best of Relient K! I would recommend this cd becuse it has a lot of the best Relient K songs like: College Kids, Trademark, Over Thinking and more.

My son thinks this is the best Relient K CD out there! All of the songs are outstanding. I highly recomend this CD!

When I first heard this album I fell in love with it right away. It is an amazing album. It is a very energetic album. They have fun and funny lyrics, but also they have some more serious songs like "Getting Into You". If you liked any of RK's other albums you'll love this album I guarantee it. If you like relient and suggest you try out these other bands also: Hawk Nelson, Eleventyseven, Mae, Sherwood

Two years later and Relient K is ready to bring game. Songs focus on girls, God, and life's various challenges. While pop culture still pops up sporadically--Jefferson Airplane, Britney Spears, 80's-- all referenced, they're clearly backdrops to more mature themes like moving forward in life.

Songs about the "complex infrastructure known as the female mind" are given droll twists--
ever give an emotional girl a mood ring? The band also found their forte--punk songs with wordplay. The best example would be "Mood Rings" with lines like, "If it's drama you want, then look no further. They're like the real world, meets boy meets world, meets days of our lives."

And the classic--"And it just figures that we'll never figure them out, first she's Jekyll then she's Hyde ... at least she makes a lovely pair."
The highlight is "Jefferson Aero Plane," where the strengths of the band are united in an idiosyncratic song that takes wordplay up a few notches, provides stellar vocals, and one of the best melodies of the past five years. While the lyrics are cryptic at best, it's infectiously catchy, and one to remember, as genius flows a waterfall.

The tunes are fantastic as the guitar solos are brilliant and catchy in "Over Thinking." Overall, Two Lefts... is one for the CD collection. While imperfect, the album carries exceptional songs and is a worthy chapter in the band's legacy. As for entertainment, listen to the hidden track after "Jefferson Aero Plane," rest assured, you will not be bored.

By the way, the Gold Edition isn't all that much different, except for one music video, and that's really it. But there could be a sound quality difference, which I wouldn't know, without having the original album.

im not kidding.. im currently 19 and remember this album coming out as a kid. its my FAVORITE album of all time.. this is NOT an exaggeration. Maybe i'm crazy but i do NOT care! A big fan of her other three albums as well, Blue Planet, Be Still, and In The Pink. This album made me a huge collector of her work as well as for the deleted tracks for all her albums.. I am a MAJOR fan because of this album.. get it.. the experience is BREATH TAKING!

England-born singer-songwriter Donna Lewis hit the international charts in 1996 with her global smash single "I Love You Always Forever," one of the classic pop hits of the 1990s. Though many unknowing characters believe this to be her one and only significant piece of work (often writing her off as a one timer and nothing else), the millions and millions who purchased her debut album Now In A Minute know that's completely wrong, and evidence of this misunderstanding is prolific throughout this fantastic singsong listen. Sure, the aforementioned sensation of a single "I Love You Always Forever" is by far the highlight and biggest standout of the record (its beautifully light, whispered vocals and sensual synth-infused syncopated drum beat make for a perfect, pulsating ear candied confection) but there's more to Miss Lewis than just that. "Without Love" was the second single and, although it didn't garner the history-making number of airplay spins on radio at the time that its predecessor achieved, remained an impressive, more upbeat listen nonetheless. Songs like the delightfully happy treat "Love & Affection" (although I'm almost sure I've heard it someplace before being played on radio) could have easily been released as a third single due to its catchy hook-chorus, but unfortunately it didn't reach single-worthy status, but would have undoubtedly helped push Now In A Minute and its performer into new heights and continued airplay. The soft-spoken and lyrically fantasy-driven track "Agenais" is perfectly suited for Lewis' subtle, breathy and somewhat Jewel-esque vocal coo, and--like the majority of the material here--is dreamy and enchanting to hear; "Mother," an ode to (what else) mothers everywhere, is another standout with its lullaby-influenced introduction, and its composer sings her breathy best. Sure, not everyone will groove to Donna's voice (which never exceeds anything more than a girlish breathy whisper) and the style of music presented here (big on the synths and lilting vocal effects, small on the driving rock of the period when it was released), but if you're open-minded I doubt you'll find any more complaints with this record. Although Donna Lewis might only be known for the No. 1 "I Love You Always Forever," there's so much more to her that will impress any pop or rock fan. So take a minute and get Now In A Minute; clearly, you won't be disappointed.

The first time I heard this CD I was unsure of whether I liked Donna Lewis's style of singing. I liked "I Love You Always Forever," but hearing a similar sound for 11 songs was initially disconcerting. I have come to appreciate this album with time and enjoy it a lot. Donna Lewis's voice is intimate and sensual on this CD, making each and every song a personal experience.

This CD begins with "Without Love." This song is moderately fast. Because of the way her voice is modified the words are hard to understand, but the vocal seems to be more for effect than understanding. The lyrics are included in you want to follow along. The most fascinating thing about this song is the various vocal effects she uses, such as the quick increase in scale at the end of some words.

The next song is a tribute to "Mother." The song is sincere and grateful. Donna makes this song personal to those of us who love our mother, or some other figure in that role, as much as she makes it personal to her. The musical effects verge on being gimmicks, but in the context of the song they are very charming. This song was released as a single and reached #41 in the U.S. and #39 in the U.K.

The next song was a huge hit. "I Love You Always Forever" capitalizes on Donna Lewis's vocal style. This love song is made sensual, intimate and personal by Donna. The song whispers to your heart and makes you believe. This nicely crafted 1996 single was at #2 in the U.S. for nine weeks, reached #1 on the U.S. Hot 100 Airplay Chart and remained there for 13 consecutive weeks; hit #3 in Australia, and #5 in the U.K.

Donna Lewis has crafted a poetic song with "Nothing Ever Changes." This marvelous and melancholy song is a lamentation about love lost. I am unable to tell whether this simple song is about a love who has moved on to someone else, or whether it is about a lover who has died. In either case, she is clearly nostalgic and sad about the loss. This simple, yet gorgeous, song makes a nice companion song to the song "Forever Autumn" by Justin Hayward.

The song "Simone" is even simpler than the previous song. This song is also melancholy. This song has several very nice touches. There are strings, a Prophet synthesizer and a mellotron. This deeply introspective song is a joy to hear time if you like this kind of song.

The pace and sensuality speed up in the song "Love and Affection." The lyrics of this song are blatant regarding how she hunted and conquered her intended lover. The song is faster than the previous couple of songs. This song is performed well, but I think I prefer the more melancholy songs on this CD.

"Agenais" is all beauty and fantasy. The instruments are sparse, consisting of keyboards, bass, cello and strings. The vocals are layered with whispers and sharp comments to back the leading vocal. Fans of Enya will probably find this song very enjoyable. The lyrics are a self-contained fantasy about floating to Agenais. I am unable to adequately describe this marvelous song with its subtle whimsical feel.

The song "Fools Paradise" is relatively different from the music it follows. I think it is the dominant drums that stand out and tend to drive the song as much or more than Donna's voice. The song is quite serviceable, but it is weaker than most of the other songs on this CD.

I admit to enjoying fantasy songs. "Lights of Life" is a fantasy song. Lost in the freezing fog, surrounded by snow, prepared to give up hope; silence is an enemy, and then lights and rescue and life begins again. The Prophet synthesizer provides much of the backing for layered vocals.

"Silent World" is a beautiful love song. Capture all the beauty of a love lost, lost because the other is now gone from this world, put it to words and music and you have captured the essence of this song. This song is all Donna. She sings and plays the piano and that is all. That is all that is necessary.

The final track is a remix of "I Love You Always Forever." The remix is subtitled "Philly Remix." This remix has a heavy beat that detracts from the beauty of Donna's voice. This remix is over-orchestrated in comparison to the original. The only reason to have this version on the CD is to fill out some of the time.

This album reached #31 in the U.S., achieving platinum status (one million sales). The album has sold another million copies outside the U.S. Her music is indeed mellow and I consider this music to be easy listening or light pop. It is beautiful music in a class nearly all its own.

Donna Lewis is from Wales. Her voice is lovely and controlled, and fans of artists such as The Cranberries, Enya, and Clannad should consider listening to Donna Lewis. She has a dynamic voice, but sings in a breathy style that is unique in my limited experience. The effect is intimate and sensuous. Many times people say that the singer sounds as though they are singing to them; Donna Lewis really does.

As the 90s pop vocal album this was presented as, it was a failure. Probably because Donna comes from a more reserved place than the bombastic scale runs and attitude required to make it as a star in that arena. She's much more connected to 80s pop, a time when tuneful songwriting was enough to make a star, and there was more space for atmospheric keyboard tones. She seems to also take some influence from the shoegaze sound of the early 90s. Nothing Ever Changes especially reminds me of My Bloody Valentine. It's a timeless pure kind of music, completely removed from trends. As relevent today as it was in 1996 or would have been in 1986.

Every song is very enjoyable. I am surprised that Donna Lewis is not a superstar.

I love this movie and the music! It is all awesome. What makes the music so great are the bands and songwriters. You get to hear music from Henry Mancini, South, U.N.K.L.E, Roque Banos Dean Martin and others. You have to love and appreciate the BritFilm quality and very diverse music score that outlines Sexy Beast as one of the best indie flicks of the UK in all accounts! Cheers Dirk-David

This movie has an ecclectic soundtrack which is a compilation of classic Henry Mancini songs mixed with U.N.K.L.E.tracks. What a great concept and makes for great listening when in your PMS manic deppresion moods.But............It is laced with movie clip audio. Like Pulp Fiction and many other incredible unique soundtracks this is one of them....sucks huh? Get it anyway. Its still good tunes.

I saw the movie, and went and bought the CD. The dialogue with the soundtrack is perfect and maintains the movie all the more.
The soundtrack is a mix of different music, but it is mostly the burning intense UNKLE tracks of industrial-techno that hooked me.
Some how this soundtrack fits perfectly next to my copy of the soundtrack for A CLOCKWORK ORANGE. It is somehow very similar.

Jeez, If you think somethings wrong with people who enjoy this horrible movie soundtrack then I think you should stick to movies with sequals. Or maybe go back to reviewing Tupperware!
Great film...Great Soundtrack!!!!

People who liked this movie...well...they need help. The soundtrack was utterly tragic. The music in the movie was great but the good stuff does not appear on the soundtrack...and they ruined it with disgusting dialogue from the film. If they produce a score from the movie without the dialogue it would be worth buying. Save your money.

This is my favorite Dan Hicks CD from 1969. It's a clever scaled down version of the album and is my prized possession! Like Jerry Garcia "I'm Old & In the Way", but the road goes on forever and the party never ends!

I only wish I'd discovered Dan Hicks a long time ago. Thanks to "Austin City Limits", where I happened to see the group, I now have most all of His albums. This one is a favorite of mine.I have enjoyed his transition to the later albums as well.He ranks at the top of my favorite artists.

This 1969 recording has been released on CD several times, but always utilizing the 40-year-old LP-EQ'd masters, which just sounded terrible. The prospect of it actually being remastered, being more of a cult favorite than Top 40 material, were slim.

However, magically, this has occurred. A 2007 Japan mini-sleeve DSD-processed remaster has been made available by Sony. It sounds SO much better than this CD or any previous release.

You have to give Sony kudos for doing this, and for the mastering attention they have given to the rest of their catalog. If this recording had been on Polygram, MCA or especially Warner, it never would have received this type of care.

The only major artist on Sony that I can think of who hasn't had catalog-wide remastering is Springsteen, and you have to imagine that lapse isn't Sony's choice. Just think of all the major albums on Warner alone that they've never bothered themselves to master properly... Oy.

Meanwhile, I'm sitting here listening to an enhanced "I Scare Myself" and marveling at the additional detail Sony has wrung from the master. It's a wonderful thing.

If you love this album, the DSD is the version to purchase. And the `sleeve itself brings back a lot of vinyl memories.

WHAT IS A JAPAN "MINI-LP-SLEEVE" CD?

Have you ever lamented the loss of one of the 20th Century's great art forms, the 12" vinyl LP jacket? Then "mini-LP-sleeve" CD's may be for you.

Mini-sleeve CDs are manufactured in Japan under license. The disc is packaged inside a 135MM X 135MM cardboard precision-miniature replica of the original classic vinyl-LP album. Also, anything contained in the original LP, such as gatefolds, booklets, lyric sheets, posters, printed LP sleeves, stickers, embosses, special LP cover paper/inks/textures and/or die cuts, are precisely replicated and included. An English-language lyric sheet is always included, even if the original LP did not have printed lyrics.

Then, there's the sonic quality: Often (but not always), mini-sleeves have dedicated remastering (20-Bit, 24-Bit, DSD, K2/K2HD, and/or HDCD), and can often (but not always) be superior to the audio on the same title anywhere else in the world. There also may be bonus tracks unavailable elsewhere.

Each Japan mini-sleeve has an "obi" ("oh-bee"), a removable Japan-language promotional strip. The obi lists the Japan street date of that particular release, the catalog number, the mastering info, and often the original album's release date. Bonus tracks are only listed on the obi, maintaining the integrity of the original LP artwork. The obi's are collectable, and should not be discarded.

All mini-sleeve releases are limited edition, but re-pressings/re-issues are becoming more common (again, not always). The enthusiasm of mini-sleeve collecting must be tempered, however, with avoiding fake mini-sleeves manufactured in Russia and distributed throughout the world, primarily on eBay. They are inferior in quality, worthless in collectable value, a total waste of money, and should be avoided at all costs.

Is that one of the best song titles ever? For years I thought of this album as being flatter sounding, less alive and full than the 'Where's the Money'lp that has several of these songs on it done live. Upon revisiting it about 20 years ago I realised this is another classic album. Sure, the production could have made the sound a bit more lively. But the songs, particularly 'How Can I Miss You...' and 'I Scare Myself' are so strong, even the less than jumpin' overall sound they attain on the live lp, that this album, their first, is still very much worth getting. Where else can you find this pure musical sound of violin/smarty pants lyrics/harmony/strong song writing/bluegrass/swing/hint 'o jazz/hint 'o rock combo? Nowhere. chrisbct@hotmail.com

A remarkable lyricist, Dan Hicks has managed to combine ornate jazz licks with the smooth sound of accoustic instrumentation. His use of the girl vocalists is particularly subtle... Jazz people can close their eyes and imagine them in place of trumpets in a typical "Big Band". Smoothe and flowing are the best words to describe Dan Hicks & His Hot Licks...