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Record 1 - 10 of 3195 [Total 320 Pages]
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O
Tilly and the Wall's third album, O, is no great departure in sound or level of energy from their previous two; however, there is an unfortunate dip in overall quality that can be traced to two factors. First is the disappearance of Derek Pressnall's vocals. For some reason, he provides backing vocals on a couple songs, sings co-lead on "Cacophony," and only steps to the forefront on the album's highlight, "Alligator Skin." Coincidence? Probably not, since a huge part of what made Tilly and t... |
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O
Magnificently packaged in a CD-sized hardcover book filled with personal artwork, lyrics, and photos, Damien Rice's debut full-length, O, is nothing less than a work of genius, a perfect cross between Ryan Adams and David Gray and a true contender for one of the best albums of 2003. This Irish singer/songwriter works with impassioned folk songs that move from stripped-down to grandly orchestrated in a heartbeat. The production is reminiscent of Songs of Leonard Cohen -- simple guitars, vocals... |
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O
It may well be true that the stage show of O is more lavish, creative, and spectacular than its older sister Mystere, but music has little to do with its overall appeal. One gets the feeling that the musical score took a backseat to the visual effects in the show -- and without any visual effects, the soundtrack is not very exciting. It is slow, pretty, and unremarkable. Highs and lows are minimal. Benoit Jutras used a light touch with the musical pyrotechnics and dramatic soundscapes that li... |
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O Amante |
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O Amor E Meu Pais |
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O Amor Em Paz Novita |
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O Amor, o Sorriso e a Flor
The most essential albums recorded by João Gilberto are his first three, Chega de Saudade (1959), O Amor, O Sorriso e a Flor (1960), and João Gilberto (1961). All three remain extremely up-to-date and share in common a superb standard of quality in compositions, arrangements (mostly designed by Tom Jobim), and Gilberto's performances at the guitar and voice. The second LP recorded by João Gilberto, O Amor, O Sorriso e a Flor, included the "Samba de Uma Nota Só" ("One Note Samba") by Tom Jobim... |
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O Bem Do Amor |
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O Bidú
First released in 1967, O Bidú is Jorge Ben's fifth full-length album. It is in many ways a typical album for Ben in the '60s, full of sweet, sincere, and mainly upbeat songs, with the music mixing samba with elements of bossa nova, swing, pop, and soul. Compared to many other works by Ben, the string and horn sections are used very sparsely. The tone of the album is set right from the start with the catchy opening track "Amor de Carnaval," one of the best songs Ben has ever written. "Frases,... |
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O Cair Da Tarde
Ney Matogrosso has been developing an important career in MPB. Beginning as a pop artist in 1973 supported by his exotic counter tenor voice and scandalous sexual ambivalence, in 1985 he decided to create a work within the good tradition of MPB, yielding the album Pescador de Pérolas. Since then, he has more and more delved in the generous waters of Brazilian music and its masters. This one brings Villa-Lobos and Tom Jobim. Not the symphonic Villa-Lobos, but his chamber pieces, which evidence... |
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