Bump Ahead Review

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(More customer reviews)The problem with pop music--even when it comes to quality bands like this one--is that artists get defined by one big hit song. For Mr. Big, it was the ballad "To Be With You" off their previous album to this one. While that is a great song and album, this effort is about equally as good. The band stayed true to their sound while adding a few nice twists.
This band is not just a ballad band. Take the opening track on the album, the hard-rocking "Colorado Bulldog". Catchy, with a prominent bass line done by the great Billy Sheehan, this song kicks. Nearly as impressive is the next track--the uptempo, melodic "Price You Gotta Pay". The third track is the first ballad--the lovely "Promise Her The Moon", but that is followed by another mid-tempo rocker, the attitude-laced "What's It Gonna Be".
Next comes a cover that on the surface doesn't seem to fit but is actually very nicely done--"Wild World". The emotional way in which Eric Martin delivers it here brings a nice new twist to an old song. This was also the only top 40 charter on this album. Following is a mid-tempo but also melodic track--"Mr. Gone", which is followed by another true rocker in "The Whole World's Gonna Know".
Out of the final four tracks, two of them are ballads. "Nothing But Love" is pretty good, but "Ain't Seen Love Like That", which I remember getting a little radio airplay, is a bit better. The former is the track that gives me my one slight criticism of this album: the "one too many ballads syndrome". Both are still quality songs, though, and they are broken up by the catchy "Tempermental". The last track is another rocker of sorts, "Mr. Big". Further proof that these guys excel on more than ballads.
No one was giving these guys the time of day back when this album came out, as the Pearl Jams and Nirvanas of the world overshadowed all else. Nonetheless, this is a strongly-recommended listen for melodic rock fans and fans of '80s rock. Brief popularity aside, this band is far better than average musically--something that this album demonstrates.

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Japanese only SHM pressing. Includes two bonus tracks. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players.--This text refers to an alternate Audio CD edition.

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**** Live In Phoenix (2008) Review

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(More customer reviews)If you're an old-school kind of fan of FOB, then you might not like this DVD very much. There's too much of the element of really putting on a show in an egotistical way, especially on Pete's part. All the shots of the audience are of the airhead fans who only like FOB because "they're hot" and wear I

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Multi-platinum group Fall Out Boy present their first ever LIVE concert\DVD "**** Live in Phoenix". Taped last June at the Cricket Pavilion in Phoenix for the 2007 Honda Civic Tour, the DVD features over one hour of LIVE music from all three Fall Out Boy albums including the hits, "Saturday," "Sugar We're Going Down," "Dance, Dance," "This Ain't A Scene, It's An Arms Race" and "Me & You." Also featured on the DVD are all eight Fall Out Boy music videos in chronological order, the making of "Me & You"- filmed in Uganda - and plenty of behind-the-scenes footage and out-takes from last summer's Honda Civic Tour.

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Day Trip Review

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(More customer reviews)The late jazz writer Richard Cook described Pat Metheny's enormous audience as a mixture of "progressive-rock listeners, fusion fans, and plain old lovers of guitar heroes". In other words, he manages to cover quite a few stylistic bases, but here's an album that will appeal most to the hard-core jazz listeners among Metheny's many fans.
'Metheny hooks up with his regular partners, Christian McBride on double bass and Antonio Sanchez on drums. As you'd expect for musicians who have played hundreds of dates together they're very comfortable in each other's company, with McBride's marvellously deep, rich bass really shining throughout'(BBC).
'In its early stages, "Day Trip" seems to fall into some familiar postbop traps (too much technique, overwrought themes) but it soon settles into some jubilant improvising from all three, on the kind of bluesy grooves, Latin swingers and inviting ballads that suggest Wes Montgomery has returned to life and found the hippest 21st-century world-music partners he could' (Guardian).
He dazzles on 10 new originals.
"Let's Move" is fast and boppish, "At Last You're Here" is a fine ballad, bound to become a classic - as might his bluesy "Calvin's Keys" and a bittersweet acoustic lament for flood-battered New Orleans, "Is This America?"
For technique, taste and originality, Pat's still the man.
He is alternately pastorally lyrical and hard-swinging, reminding us of his origins in the music of Wes Montgomery and Jim Hall respectively.
Apart from the unmemorable nature of some of the compositions, this is delightful stuff.
The Incredible Jazz Guitar of Wes Montgomery
Hallmarks: The Best of Jim Hall


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Amazon.com Our job is to be deeply in the moment, says Pat Metheny. Day Trip, the first release from Metheny's current trio lineup, featuring bassist Christian McBride and drummer Antonio Sanchez, vividly depicts the group at one particularly inspired moment. As Metheny explains, We did it the old-school way. We'd been touring for about four or five years at different times and then went in and recorded, rather than making a record and touring behind it. We worked like gangbusters and finished in a day, so the title Day Trip fit. Besides, this is kind of a trip band; they take you on a journey. The Day Trip sessions were recorded at Manhattan’s Right Track studio in late October 2005 and sequenced into a ten-song set earlier this year. The album is being released in conjunction with a national tour the trio will embark upon in February 2008. Metheny already reconvened the group this fall for an enthusiastically received series of small market dates at colleges and theatres; the trio ended its preliminary run with four concerts in South Africa. Reviews from the daily U.S. press along the way have been a compendium of superlatives. The Buffalo News declared, Metheny is sharing his musical soul with the two finest musicians of their generation. The Times Union of Albany concurred: Christian McBride on stand-up bass and drummer Antonio Sanchez wove their way into Metheny’s music... and played with a telepathic virtuosity. And the Louisville Courier Journal summed up the nightly reaction to the trio’s sets: It was a collaborative tour de force that earned a standing ovation. Christian is an amazing musician and Antonio is the drummer of this generation, says Metheny. 35 year-old bassist McBride had played alongside Roy Hargrove, Freddie Hubbard and others, before stepping up to lead his own group; 36 year-old drummer Sanchez is a member of The Pat Metheny Group. On Day Trip, Metheny offers plenty of excitement in his solos and the trio cranks up the funk on "The Red One", (a version of which was previously released on Metheny’s collaboration with John Scofield "I Can See Your House From Here"). However they generally eschew flash for a more easy-going groove; McBride calls it a softer, more traditional sound. Perhaps most eloquent among these tracks is the elegiac, folk-like melody of "Is This America?" (Katrina 2005). 2007 was an exceptional year for Metheny.
Pat Metheny PhotosMore from Pat Metheny

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Shobaleader One: d'Demonstrator Review

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(More customer reviews)With the awkwardly titled "Shobaleader One: d'Demonstrator," Tom Jenkinson fully commits to a refinement of the sound he hinted at with portions of 2008's "Just a Souvenir." The big revelation: Squarepusher can write lush, sexy pop songs, and not just every now and then. Here's essentially an entire album of insanely catchy electro-pop without the jazz fusion interludes he's historically been fond of. SO:d reflects a purity of vision that rivals that of "Go Plastic," though musically it inhabits a different universe. Those were willfully dense, abrasive, and thoroughly difficult pieces. These are SONGS.
The album's lead track, "Plug Me In," and "Abstract Lover" are both retro-futuristic slow jamz that should have R&B artists on their knees at Tom's doorstep begging for him to produce. "Synchronize our soul . . baby, that's how we roll . . " he and his vocoder purr in the former. That's as good a description for these two tracks as any . . "synchronized soul." What does that mean? I don't know, but it sounds right.
"Megazine" is getting the most notice, partially because of the video featuring the hoodie-and-LED-mask clad Shobaleader One "band." I wouldn't be surprised if "Megazine" becomes 'Pusher's best-known track ever, as it's a hurtling Daft Punk-style rave up that will have the faceless Frenchmen embarassed they ever released "Robot Rock." It's as catchy as "My Red Hot Car" without the salacious lyrics, and works equally well in the club or through headphones in your bedroom. Even thinking about this track will get your head bobbin'.
"Into the Blue" is a dreamy pop confection that reminded me instantly of Frou Frou's "Let Go." It, more than any other track here, gets more and more addictive with repeated listens. Tom again shows off an impeccable ear for hooks and little background details that keep the track fresh even after dozens of listens. "Into the Blue" follows a classic pop structure, yet is much more complex and nuanced than "A Real Woman," from "Just a Souvenir," for example. If any of the current "It" singers covered this, it would be a monster hit.
The lightest track here is the lush "Frisco Wave," but that's hardly a criticism. It's one of the few tracks here with no lyrics, but Tom still makes prudent use of the vocoder by adding some impossibly beautiful backing vocals to the tail end of what was already a very warm and appealing concoction.
The hidden gem here . . at least the track that snuck up on me . . is "Endless Night." This is what's so great about Squarepusher; this track shouldn't make sense, as Tom spins some lite funk, glassy synths, a hint of speed metal, and squelchy electronica into a true composition. Yet, it's somehow natural. It doesn't feel at all like Tom's showing off.
SO:d started out immensely playful, but ends on a note of menace. "Cryptic Motion" exaggerates the funk of "Endless Night," brings back the robotic vocals, and layers on 80's-style synths that manage to sound both cheesy and creepy at the same time. The closing track, "Maximum Planck," evokes pure dread with its slow, chugging guitar (think Soundgarden's "4th of July") and only shards of melody, until at the 3:50 mark it explodes into 60 seconds of "Steinbolt" style thrash. "Steinbolt" is one of my favorite tracks from "Ultravisitor," but it eventually collapses into confounding avant-noise excess. Here, the cacaphony is brief before Tom takes us in for a gentle landing with some gothic keyboard washes and acoustic guitar. This is a brilliant, unpredictable track to wrap up what was, for the most part, a beautiful but somewhat easy ride.
All in all, an outstanding effort. This is the type of album that works as a cohesive piece, yet each track stands proudly alone. Several are stunners. This might be the one that expands TJ's audience past the die-hards, and it should keep the die-hards breathlessly anticipating his next move. I don't know how many reinventions Tom has in him, but I'm on board.


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This is by far the most accessible record Squarepusher (aka Tom Jenkinson) has ever made. This was not the original intent, but the result is clear. This record will change the way people view Squarepusher. Having been known as a leader and innovator in Drum 'n Bass and various forms of up tempo electronic music for 15 years, Jenkinson was always able to push the boundaries of the genre, but on ''Shobaleader One: d'Demonstrator'', he is pushing so far beyond his previous releases it is easy to hear why it might take a few listens to register that this is indeed a Squarepusher record. Vocals? R&B rhythms? Heavy synths? These and other un-Squarepusher like elements form what could even be described as 'baby makin' music'. Jenkinson's vast knowledge of rhythm and harmony help to make these songs much more than nu-soul R&B, they are truly an entity unto themselves.

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Thunder Review

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(More customer reviews)I pre-ordered this album a while ago and received it yesterday. I absolutely recommend it to every fan of Stanley, Marcus and Victor. This is to my opinion the Jazz album of year. S,M & V show here why they are the best at what they are doing. There is no showing off as pretends one of the reviewers; S, M & V just have uncommon technical skills with their instrument. There are Great compositions, great arrangements and great a sound; in summary, this is great music! The leading and supporting roles are appropriately shared. I find the first song of the album ("Maestros de las Frecuencias Bajas") outstanding. The rhythm used in "Mongoose Walk" is similar to what can be found in some of Richard Bona's albums, a typical central African rhythm: this was perhaps a little salute to Richard. "Los Tres Hermanos" and "Milano" just melt you down, Waooooo!! The harmonies from the basses don't make you feel like you are missing the presence of an electric guitar. The re-arrangement of "Tutu" is outstanding: Stanley's line on the acoustic bass is awesome. Butterscotch does a cool vocal beat box in "Pendulum".
This album is simply GREAT!!!


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SMV is a bass supergroup formed in 2008. The group's name comes from the initials of each of its members, Stanley Clarke, Marcus Miller, and Victor Wooten. SMV's debut release is the "Thunder" album. Marcus Miller (bass clarinet, synthesizer, electric bass); Stanley Clarke (acoustic bass, electric bass) and Victor Wooten (electric bass).

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The Police: Certifiable - Live In Buenos Aires (2-DVD + 2-CD Set) Review

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(More customer reviews)The Bad: The packaging is weak because the discs keep sliding out.
With that out of the way this CD/DVD package is a miracle of great mixing and whatever post production fixes they did. I saw them twice on the '07-'08 tours and own bootlegs of them playing in various countries on this tour. This package sounds better than anything I ever saw live or heard in a bootleg format. They also play their set list better on this DVD package than they ever did from what I heard. It was recorded live in Buenos Aires over two days so the editors had some brilliant performances to choose from.
This piece of product is everything a TRUE Police fan would want them to sound like. They're not arrogant, ambitious and faux punk-rock-reggae guys hungry to make it anymore. They're mature, famous, top-notch musicians, playing excellent songs.
The overall sounds, guitar tones, bass, drum sounds and mixing is top of the food chain. The video coverage and shot composition is superb. Purists who still think it's 1983 may not dig all the song modifications such as the lowered keys, modulations and new-fangled textures, but they can bite me. Sting isn't 27 anymore and he sings those old songs with the honesty of a guy in his 50's the way he should.
Summers got raked over the coals on guitar forums for playing too much outside stuff during his solos on this tour. It was like he forgot what a pentatonic scale was. He was also hitting a lot of clams (bad notes) and sounded under rehearsed. In this package he brings it all together and wails with precision, great ideas and wild abandon. His patented shimmering chord textures are ungodly. Whoever helped him design his pedal board needs to get The Nobel Prize. He fades in perfect synth parts over muted guitar lines and gets great dirty tones. He's a joy to listen to on this package. He is a true guitar innovator. It doesn't even matter that he rarely played his trademark Telecaster. The Strat/Whammy combo gives him a lot more expression and he expresses a lot on these discs.
Copeland has calmed down in his maturity and refrains from rushing, speeding up, or over playing like the old days. I miss the old Copeland. It's what made The Police such a rhythmic force of nature. He still replicates a few of his signature reggae/ska/rock fills but he's much more in service of the singer these days. He plays wonderfully but I miss the tension and shameless virtuosity he use to create. The days when Summers would scream at him on stage to, "Slow down!" are long gone. Today he sounds like a normal drummer imitating Stewart Copeland on Xanax. His current style of drumming works much better musically and it's not like Sting is demanding him to "rawk" harder either. It's a different band. Sting lost the rawk long ago as well. This is a smooth rawkin' band.
Sting is a Golden God. His voice is in rare form. He hits all the high notes (Thanks to some lowered keys.), holds them forever, improvises vocal passages and plays perfect bass. He actually sings high parts while improvising funky melodic lines at the same time. He plays bass like a songwriter; tasteful and always in service of the song. His bass tones are rich, full and never muddy. His ideas for filling out some of the songs with Taurus pedals and pre-recorded backing tracks works like a dream. It compliments the songs while still maintaining the spaciousness that is part of the Police sound. It all works!
If you're a true Police fan you deserve to pleasure yourself with this package. The accompanying documentary of the behind the scenes rehearsal stuff is great. If you missed the tour, it's ok. This package sounds a lot better than actually being there. It's The Police the way they deserve to be heard.


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DVD 1: 109 minute concert presented in surround and stereo.
DVD 2: Bonus features: "Better Than Therapy," directed by Jordan Copeland, 50 minutes of exclusive content detailing the Police's historic reunion tour with interviews with the band and crew. Also contains two photo galleries of the Police on tour, one by guitarist Andy Summers and one by Danny Clinch. Includes 2-CD set as well.
2-CD Set Track listing:
CD 1:
1. Message In A Bottle
2. Synchronicity II
3. Walking On The Moon
4. Voices Inside My Head/When The World Is Running Down
5. Don't Stand So Close To Me
6. Driven To Tears
7. Hole In My Life
8. Truth Hits Everybody
9. Every Little Thing She Does Is Magic
10. Wrapped Around Your Finger
CD 2:
1. De Do Do Do, De Da Da Da
2. Invisible Sun
3. Walking In Your Footsteps
4. Can't Stand Losing You/Reggatta De Blanc
5. Roxanne
6. King of Pain
7. So Lonely
8. Every Breath You Take
9. Next To You

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Bela Fleck and the Flecktones - Live at the Quick Review

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(More customer reviews)I would deduct a star for the lackluster quality of the video production and editing, but this disc doesn't deserve less than 5 stars.
This band has gone so far beyond its component parts, its roots and influences, that they are shining a big bright spotlight into the future. It's a future where any genre, any sound, any ethnicity, any technology become simply part of an overarching musical language that the Flecktones have mastered and speak fluently.
This snapshot of the band is a complete and satisfying experience, musically transcendant and sonically gorgeous (excellent 5.1 surround), even though is barely scratches the surface of what these musicians have done and continue to do. Nobody who appreciates this band should be without this DVD.
It's too bad there weren't enough cameras. It's too bad the director never figured out how to point a camera at Future Man. It's too bad there are so many instances where the video crew couldn't seem to figure out who was soloing. It's too bad the disc has no option to skip the documentary segments between the songs. But these things simply make the video quality average for this sort of production. Fortunately, Bela was the music producer for the project, so it sounds perfect, and all of the performances are complete.
I have a hard time imagining any music lover who wouldn't be stunned and amazed by this DVD.
RichC

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No Description AvailableNo Track Information AvailableMedia Type: DVDArtist: FLECK,BELA & THE FLECKTONESTitle: LIVE AT THE QUICKStreet Release Date: 02/26/2002

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