All Or Nothing at All
All or Nothing at All concentrates on Sinatra moving from apprenticeship (Harry James,
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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
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 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
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: Some good songs, lyrically sharp Disadvantages: Inferior to Blondie throughout
...For many people, Blondie and Debbie (Deborah?) Harry are one and the same. Those 'many people' are hopelessly incorrect. As the infamous posters advertising the band in the mid-70's read: 'Blondie is the name of a band'. Debbie Harry was the frontwoman and mouthpiece for the band (and one the key songwriters, let's not forget), but Blondie was, and is, a team effort. There is nothing more frustrating as a Blondie fan than hearing someone say 'Blondie's a good singer, I like her', on inanities such as this. Still, it is a mark of how spectacularly blurred the lines became between Harry and her Blondie persona. Blondie, you see, was a character she put on when fronting Blondie, if that doesn't sound so performance arty.
So it may come as a surprise to many people to learn that Debbie Harry has had a (semi-successful) career outside...
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Ciao members have rated this review on average very helpful
Advantages: He appeals to all ages. Disadvantages: The songs are really similar.
...James Morrison's album Undiscovered is my favourite album at the moment by far. Love every song on it! All my friends love his music too and it appeals to all ages. The songs are all quite similar but his voice makes up for it. He's been described as the new James Blunt which I think is rubbish as his voice is nothing like James Blunt. Which for me is a good thing. He has an amazing voice and each of the songs on his album are really great. I think the reason I like James Morrison is because he's different from every other artist out there. He has a really original and unique sound and the Undiscovered album proves it. Hope I helped you out a bit. =D...
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Ciao members have rated this review on average somewhat helpful
Advantages: Really Good Songs Disadvantages: NOT Enough Songs!
...on the 3rd floor - Tom Fletcher, Danny Jones
4. That Girl - Tom Fletcher and James Bourne
5. Hypnotised – Tom Fletcher, Danny Jones, Harry Judd and Dougie Poynter
6. Saturday Night – Tom Fletcher, Danny Jones, Harry Judd and Dougie Poynter
7. Met This girl – Tom Fletcher, Danny Jones, Harry Judd and Dougie Poynter
8. She left me - Tom Fletcher and James Bourne
9. Down by the lake - Tom Fletcher and James Bourne
10. Unsaid Things – Tom Fletcher, Danny Jones, Harry Judd and Dougie Poynter and James Bourne
11. Surfer Babe - Tom Fletcher and James Bourne
12. Not Alone - Danny Jones
13. Broccoli - Tom Fletcher and James Bourne
14. Get over you - Tom Fletcher, Danny Jones, Harry Judd and Dougie Poynter
( Hidden Track).
This is a really good album to get especially if you are one of those who love your air guitar! Or even a real one...
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Ciao members have rated this review on average not helpful
not helpful 21.08.2004
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