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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: Wonderful, emotional punk rock with awesome lyrics Disadvantages: Too short
...This is Alkaline Trio's second full length album, released in 2000. This album is more rocky and more heavy than their previous release, Goddamnit.
The album opens with the heavy, funky Keep 'Em Coming. Excellent lyrics as always from Matt Skiba (14 hours ahead/A head that's heavier than lead/I've got toothpicks in my eyes/A smile more yellow than the skies). This is a real sing-along one.
Madam Me is more typical punky Alkaline Trio with awesome lyrics again (Warmer than p*ss, have you ever felt like this?). Nothing more to say about this one. Sounds like some of the stuff on their later release From Here To Infirmary.
One of the unique things about Alkaline Trio is that their bass player, Dan Andriano, can do lead vocals too. You've Got So Far To Go is the first of his songs on this album. This is a quieter, yet fairly upbeat track...
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Ciao members have rated this review on average helpful
Advantages: a true avant garde jazz trio Disadvantages: maybe too avant garde in some instances
...When we talk about modern jazz piano trios names like brad mehldau and esbjorn svensson quickly emerge to our minds. But no matter how good the former musicians and their trios are, nevertheless they still have a strong influence by artists like bill evans, keith jarrett and even Chick Corea. In the case of the Bad plus however, we can talk about a new powerful almost punk attitude towards piano trios. Imagine the virtuosity of jazz musicians combined with avant grade innovation and high volumed tunes, all combind in one. The original compositions sound so fresh, with all the rhythmic and harmonic complexity combined in a unique way. Trashy beats and excellent piano unisons create a some kind of trancedental atmosphere. And how about a cover of Nirvana's "smells like teen spirit" for jazz trio? Really interesting....
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Ciao members have rated this review on average somewhat helpful
Advantages: Good album overall, catchy! Disadvantages: Can become repetitive.
...Despite the uninspiring cover art, this is one of my favourite Alkaline Trio CDs - I've heard all of them, and this one, despite not being the best overall, has a lot of my favourite Alkaline Trio songs on it, and the first 2 singles they released - "Stupid Kid" and "Private Eye".
Alkaline Trio can be classified as pop-punk, alternative, emo - anything, depending on your definition. If you like bands such as Taking Back Sunday, The Starting Line, MXPX, Hot Water Music, Sugarcult and anything else with that style, you'll probably be a fan of Alkaline Trio.
"Private Eye" is the first song on the album, and is probably one of my most-liked songs by Alkaline Trio. I've been a fan of Alkaline Trio since I heard this song. It's catchy, fairly upbeat (compared to a lot of their songs) and a good song overall. You will most likely find...
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Ciao members have rated this review on average helpful
helpful 12.08.2006
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