All Or Nothing at All -
All or Nothing at Allconcentrates on Sinatra moving from apprenticeship (Harry James,
... more
1939, Tommy Dorsey, 1940-42) to solo stardom (the Columbia years, 1943-1952), although we are spared the nadir of his Columbia fortunes by the set cutting off in 1950. On the way, we are also treated to a whole CD of radio transcriptions (1943-50), thereby giving a convincing demonstration of just why he made such an impact over the airwaves during the 1940s. Sinatra came out of the swing big bands but his early style owed little to the raucous, often hard-swinging music of the period: he excelled on ballads, and from the first tracks (including the title track, with Harry James, from summer 1939) that's what he's given to deliver. Dorsey, with his self-bestowed moniker "the sentimental gentleman of jazz", was hardly going to disturb that pattern, and by the time Sinatra went solo (the famous a cappella recordings of 1943 designed to circumvent a particularly long-winded and vexing recording strike) was making 'em swoon in every aisle (andonevery isle). Thus this proper box shows Sinatra in a showbiz light, the core of the material eked from his Columbia treasures of the 1940s, which were more often than not draped in the lush string arrangements of Axel Stordahl. Many believe Sinatra's voice to have been at its peak during his Columbia years, and if you can live with the lushness of the arrangements you will probably end up agreeing. Sinatra's performances are timeless. All this material has relatively recently been made available on CD in a gigantic and lavish Columbia box (made of wood) containing some 12 CDs and a small book, while the RCA material with Dorsey is similarly available complete in a 5-CD box and selections on many individual CD titles. This is a convenient snapshot of a vast amount of material and, while the transfers do not equal those of RCA and Columbia, they're serviceable enough and considerably cheaper.--Keith Shadwick
1939, Tommy Dorsey, 1940-42) to solo stardom (the Columbia years, 1943-1952), although we are spared the nadir of his Columbia fortunes by the set cutting off in 1950. On the way, we are also treated to a whole CD of radio transcriptions (1943-50), thereby giving a convincing demonstration of just why he made such an impact over the airwaves during the 1940s. Sinatra came out of the swing big bands but his early style owed little to the raucous, often hard-swinging music of the period: he excelled on ballads, and from the first tracks (including the title track, with Harry James, from summer 1939) that's what he's given to deliver. Dorsey, with his self-bestowed moniker "the sentimental gentleman of jazz", was hardly going to disturb that pattern, and by the time Sinatra went solo (the famous a cappella recordings of 1943 designed to circumvent a particularly long-winded and vexing recording strike) was making 'em swoon in every aisle (and on every isle). Thus this proper box shows Sinatra in a showbiz light, the core of the material eked from his Columbia treasures of the 1940s, which were more often than not draped in the lush string arrangements of Axel Stordahl. Many believe Sinatra's voice to have been at its peak during his Columbia years, and if you can live with the lushness of the arrangements you will probably end up agreeing. Sinatra's performances are timeless. All this material has relatively recently been made available on CD in a gigantic and lavish Columbia box (made of wood) containing some 12 CDs and a small book, while the RCA material with Dorsey is similarly available complete in a 5-CD box and selections on many individual CD titles. This is a convenient snapshot of a vast amount of material and, while the transfers do not equal those of RCA and Columbia, they're serviceable enough and considerably cheaper. --Keith Shadwick
were ebbing to premature close. It's a story which has been told, twisted and embellished ad nauseum. Die-hard fans are bemused that her later work, with her voice reflecting the accumulated scars of addiction and misuse, should be so highly regarded. They prefer to listen to the prodigious output of her early recording career which started as early as 1935, and which reveals her talent as a vocal musician in all its youthful glory. But as biographer Donald Clarke's accompanying notes suggest, the decline of her voice actually heightened her ability as an interpreter of lyrics and it's this quality which makes these sessions so compulsive to listen to. In fact, they originally comprised two classic albums,Songs for Distingue LoversandBody and Soul, made for Norman Granz's pioneering Verve label. True, the material is heavily biased towards the torch song, but there are a number of light pop standards ("Moonlight In Vermont" and "April In Paris") which make it absolutely clear that Holiday was never, even at this late stage, a one-dimensional tragedienne. --Piers Ford
were ebbing to premature close. It's a story which has been told, twisted and embellished ad nauseum. Die-hard fans are bemused that her later work, with her voice reflecting the accumulated scars of addiction and misuse, should be so highly regarded. They prefer to listen to the prodigious output of her early recording career which started as early as 1935, and which reveals her talent as a vocal musician in all its youthful glory. But as biographer Donald Clarke's accompanying notes suggest, the decline of her voice actually heightened her ability as an interpreter of lyrics and it's this quality which makes these sessions so compulsive to listen to. In fact, they originally comprised two classic albums, Songs for Distingue Lovers and Body and Soul, made for Norman Granz's pioneering Verve label. True, the material is heavily biased towards the torch song, but there are a number of light pop standards ("Moonlight In Vermont" and "April In Paris") which make it absolutely clear that Holiday was never, even at this late stage, a one-dimensional tragedienne. --Piers Ford
Advantages: Its the Subways, It doesnt get much better. Disadvantages: It will leave you wanting more.
...The Subways return with their second album after a short break. Is it better than the first album? After listening to it for a couple of months I still cant make my mind up on this.
This really is a matter of opinion as it can be looked at from so many ways, mucically the band has evolved, there is no denying this!
There are many darker songs on this album due to the breakup of Billy (Guitarist) and Charlotte (Bassist) of the band. The album is not as happy as the first, which can be expected considering the circumstances. Most of the songs in the first album "Young for Eternity" are about love and youth where as "All or Nothing" is much more mature and focuses on much darker subjects.
For anybody looking for something which simply defines the rock and roll genre this is it. Listen to this album and you will be buying tickets...
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Ciao members have rated this review on average somewhat helpful
.... When he first heard/recoreded/wrote them. Also a page crediting the albums the racks were taken from.
Collaborations on the album include The Way You Make Me Feel - with Bryan Adams, We've Got Tonight - with Lulu and Last Thing On My Mind -
with LeAnn Rimes.
I really like this album. I sit with my headphones on CD playing away in my laptop singing my head off. (For some reason hubby doesnt want to hear it?) Here are some of the Songs and lyrics. Some are very dodgy...but if you can just get past the "Its Ronan!" stage in your mind and listen unbiased you'd be suprised its a great album.
*1. When You Say Nothing At All
A personal favourite of mine and played at my recent wedding. A romantic ballard which is popular worldwide. The wording is very cleverly written by Richard Curtis and was recorded by Ronan as a soundtrack from...
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Advantages: Laid back, tunefu, great vocals Disadvantages: Some people may find it a bit boring
...,
Every time my lips touch your face,
There's nothing like loving you"
CAN'T LET GO
****************
The beat is back here and again this is a slightly funkier song but no so much as Talkin' To Me. All the songs are very romantic and the music reflects that with sweet melodies and almost floaty vocals, without sounding sickly sweet.
It's about finding the one and not letting them go because you feel like wouldn't be able to go on if you ever let it slip away.
"I never knew each touch,
Between us would feel like the first time"
NEED YOU TONIGHT
************************
This starts off with a beat and Amerie speaking in a kind of sexy whispery voice over the top of it. This song is definately the most hip hop feeling beat based track on the album. It doesn't really have any music other than the beat but Amerie's vocal give...
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