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Record 1 - 10 of 4752 [Total 476 Pages]
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This CD reissue features some typical pop/jazz from keyboardist/arranger/composer Bob James. James often uses his musicians as a prop, adding some coloring by having short solos by Grover Washington, Jr.'s soprano (whose two appearances are easily this set's high points), and guitarists Hiram Bullock and Bruce Dunlap. An oversized rhythm section, a large horn section, and strings fail to uplift the pleasant but lightweight music much. James plays well enough but no real chances are taken on t... |
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H Diki Mas Nychta: Live |
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H to He, Who Am the Only One
The foreboding crawl of the Hammond organ is what made Van Der Graaf Generator one of the darkest and most engrossing of all the early progressive bands. On H to He Who Am the Only One, the brooding tones of synthesizer and oscillator along with Peter Hammil's distinct and overly ominous voice make it one of this British band's best efforts. Kicking off with the prog classic "Killer," an eight minute synthesized feast of menacing tones and threatening lyrics, the album slowly becomes shadowed... |
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H.A.P.P.Y. Radio |
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H.I.M./The Dylan Group |
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H.M.S. Fable
Shack is led by Michael Head, who fronted the Pale Fountains in the mid-'80s after his mind was blown by Liverpool's incredible Echo & the Bunnymen and Teardrop Explodes. Head and his brother John know their way around highly-developed '60s-to-'80s pop. Get past what used to be called side one; it's often wonderful, but it's lesser. For instance, the one clunker, "Pull Together," is like uncharacteristically-bad Oasis. "Lend's Some Dough" is fun Mersey bounce pop like the La's, and the two U.... |
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H.P. Lovecraft
With the exception of a couple of badly dated tracks, this is one of the best second-division psychedelic albums, with strong material that shows the immediately identifiable Edwards-Michaels vocal tandem at its best. According to the LP notes, the songs were largely inspired by novelist H.P. Lovecraft's "macabre tales and poems of Earth populated by another race." It's more haunting than gloomy, though, with deft touches of folk, jazz, and horns. |
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H.P. Lovecraft II
Much more progressive than their first effort, the album also showed the band losing touch with some of their most obvious strengths, most notably their disciplined arrangements and incisive songwriting. The arrangements are more swirling and far denser on this follow-up. Unsurprisingly, the more concise, dual harmony numbers that bear the closest resemblance to the first album work best, especially "At the Mountains of Madness." |
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H.R. Is a Dirty Guitar Player
Although Roberts isn't given terribly much room to burn on these 12 airplay sized cuts - all are three minutes, or less, which was about all Capitol chose to tolerate in those days - burn he does in this stimulating, soulful quartet session. Freely mixing recent hits ("Watermelon Man," "If Ever I Would Leave You"), big band standards ("Satin Doll," "Li'l Darlin'"), bossa novas ("One Note Samba") and several originals, Roberts and his silky toned guitar are always fluid, tasty and swinging, pe... |
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H2O
Private Eyes solidified Hall & Oates' status as one of the most popular acts in America in the early '80s, and with 1982's H2O, they capitalized on its success, delivering an album that turned out to bigger than its predecessor, as it climbed higher on the charts and launched three Top Ten singles with "Maneater," "One on One," and "Family Man." Bigger isn't necessarily better, though, and in comparison to the glistening pop of Private Eyes, H2O pales somewhat, coming across as a little too s... |
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