5 comments about Obligatory Villagers.

1. Ms. McKay has both a tremendous amount of talent and energy. Her voice is rather ordinary, but her musicianship is wonderful. Her lyric writing is sometimes brilliant and sometimes amateurish. often all within the same song.
   
   Obligatory Villagers is to my ear probably her best CD so far with less low spots and excess than her previous CDs. But I think and know she can do better.
   
   My view is that Ms. McKay needs someone like a modern day Norman Ganz to harness her immense talent into something that all can enjoy. Right now there is a lot of quirky stuff and brilliance mixed with material that's just plain dopey. It's music for audiophiles.
   
   I don't think Columbia was the right place for her, but this do it yourself approach she's using now desperately needs an editor. She needs to find an outside ear she trusts to help her refine her sound and approach. I hope that this happens eventually.



2. Nellie McKay has received a lot of positive press, but the further west you get of, say, Greenwich Village, the less well known she is. So I bought this c.d., way out west, with some degree of anticipation.
   
   And the anticipation was fulfilled, and then some, on the opening number, "Mother of Pearl." Is this a slap at feminism, or a slap at those who would slap at feminism? Judging by the tag line, "I'm Dennis Kucinich, and I approve this message," I'm guessing the latter. Whichever, it's sharply written and nicely pulled off.
   
   From there, IMO, the c.d. goes downhill.
   
   The problems are twofold, essentially: production; and pastiche.
   
   Production-wise, with Nellie McKay, it's all about the lyrics, and too many times you can't clearly hear them. Plus, she sings flat once too often for my taste - painfully so on the d-flat of the word "there" (after "danger") on "Testify," but also throughout the otherwise-catchy "Zombie." I was going to defend Ms. McKay at the expense of the producer, except that I see she co-produced the c.d.
   
   But when I say "pastiche," I mean a maddening mish-mash of themes, both musical and lyrical. Take "Identity Theft," for example, supposedly this c.d.'s "masterpiece." What's it about? Is Nellie saying that we lose our identity when we go to college? Or is she saying we kill our own identities with shameless self-promotion, in search of those damned 15 minutes? Or, is the truth of the matter that one night she got especially blottoed, ranted into the tape recorder in a free-association, stream of consciousness mode of thinking, and out of that, essentially unedited, came the lyrics of this song? Just a guess, but I'll put my money on that possibility. Many ideas are fine; but one gestalt, please.
   
   As I listened and re-listened to this c.d., I thought of Frank Zappa. Not everything Zappa did was brilliant, mind you; but Zappa got to the point where he melded his peculiar brand of doo-wop, r & b, Stravinsky and Varese into one distinct voice; and his lyrics, though "subversive," were sharp and pointed. Zappa was a legend; and I'm thinking that Nellie McKay could become a similar kind of legend. But don't kid yourselves, folks; she's not there yet. But certainly, she could get there. RC



3. I never get tired of Nellie McKay. She is a delight with endless range humor, intelligence and glorious music.



4. This is a pleasant enough CD but not as good as the previous ones ' Pretty Little Head' and the superb debut ' Get Away from Me'. Moor of the same really with an eclectic mix of styles as usual. Don;t like the first track much but unlike most CDs it gets better as it goes on. I find it a bit over orchestrated at times and there is a lack of faster tracks this time. Well worth a listen though.
   
   Simon Fyffe



5. I really like this one. I complained a bit about "Pretty Little Head" because it was too much and needed paring. This is short and sweet and it works for me. I love the songs, the orchestration and the players. Nice fat trumpet sound, great sax solos, and a rough and tumble feel that's endearing to me. More than just about any album I've listened to lately, I find myself replaying the songs in my head and liking it. "Testify" is truely awesome and I can't help but love "Zombie."
   
   I also love her singing and the contrast between her and guest singer Bob Dorough - very cool. I gotta say, you don't hear stuff like this anywhere else (or I haven't)..

5 comments about Pretty Little Head.

1. Very, very witty rapid-fire personal and social satire, wrapped in catchy melodies and a vocal style that would win the 1950s and could be great for the occasional retro musical. If one *must* compare to other artists, one might imagine Elvis Costello with a Doris Day style.
   
   But I think one looks at this artist's material thusfar as promising potential rather than perfection in and of itself.
   
   One looks forward to the compositional choices becoming more inviting and more meaningful.
   
   Inviting: When Nora Jones popped onto the scene, her music had something for everyone and very few turn-offs. The lyrics did not require a highly particular sense of humor to appreciate, and the musical style was even-tempered. In contrast, Nellie McKay's choices have resulted in sort of a potpourri, a bit of a jumble -- very musical but idiosyncratically whimsical and very hard to settle into a groove for the entire album. Some individual tunes are similar to the overall style of her albums, which seem to insist on including everything. The cost is what could be a better outcome if a few elements/numbers were better resolved for the context of the overall effect, or left aside for refinement or some later project. In addition, in some cases individual lyrics might be focused to more powerful effect, while mitigating ways in which they might be a turn-off to some listeners.
   
   Meaningful: While truly witty satire is not all that common, it is far more common than the power to make advantageous observations. Assassinations of social norms or obscure individual characters, cleverly done, can be amusing, but are typically not elevating or lasting. In listening to Nellie McKay, one gets the feeling that this person is capable of much more -- of evolving subject matter to beneficially address real-world issues and root causes; that this person's near-focus social commentary reveals a natural aptitude for musical activism or elevation, should she choose. In any case, the artists who stay vibrant are those who are willing to re-invent, who take passionate interest in different approaches at different times (Bob Dylan, Sting, David Bowie, etc., etc.) -- who leverage their versatility to create deep wells of their music and/or who seek to elevate the human soul and condition.
   
   I enjoy "Pretty Little Head" and "Get Away From Me" for their own sakes. However I probably would not have bought them if I did not have a sense that I might be investing in a long, rewarding evolution. If these songs are the results of late teen / early-20s angst, then how wonderful might be the results if their source turns herself to deeper matter! Regardless of that, if Nellie McKay continues to evolve, to follow her evolving her musical and intellectual interests, it should be a thrilling ride!
   
   So far, so good!



2. I'm really digging Nellie McKay these days and tonight this album is my favorite. K.D. Lang and Cindi Lauper had been off my radar but their collaborations here are real treats.
   
   The first disc is overall the more sober, less spirited of the two but I really enjoyed "The Big One." "Pink Chandelier" is a woozy delight. And of course "Bee Charmer," with Cindi Lauper stirred me up. Cindi Lauper has always been a guilty pleasure for me. "Girls Just Want to have Fun" coincided with the hormonal zenith of my adolescence. Madonna came on strong, Cindi started wrestling, Cindi got an ulcer, and then began the slow fade. But I never forgot her.
   
   The second disc is very solid. "Pounce" clocks in under a minute but is all hook, it'll become tightly entrenched in your retroperitoneal space before the second yowl. I had a very aversive reaction to the creepy baby-talk histrionics in "Mama and Me" but it is has a peculiar elegance. "Columbia is Bleeding" is potent. And "Lali Est Paresseux" is a carefree treat, although I don't know what the lyrics mean, so I'm hoping it isn't some awful tear-jerker.
   
   Thank you for listening, nighty-night.



3. My dad thought this would be right up my alley since I enjoy various singer-songwriters. Having never heard of Nellie McKay, I gave it a chance, and listened to about the first 30 seconds of each track on both discs. Not only does she sing out of tune over half the time, but the melodies and harmonies are so unimaginative, it's practically unbearable to listen to. My dad told me her songs have great lyrics, and maybe they do, but since you can't understand them 90% of the time, who cares? I'm a musician myself, so maybe I'm harsher than the average critic, but I don't know how anyone in his right mind could listen to a whole song without being bored and without wincing at the obvious pitch problems.



4. I love Nellie MacKay. Clear and simple, you must check her out! She really is wonderful and I LOVE her politics!
   Here's the but part.
   Buy her first album which is the best for that year and really deserves all the praise that one can give. It ranges from hip hop to jazz and over to a country type of thing that just is terrific. Listen to that CD from the begining to end and enjoy.
   Her second CD for me was a disappointment. Many of the songs just didn't seem to be realized enough and I thought the production was just wrong for some of the songs. There was one song on the second CD that I just flat out hated. It's the one where she is crying about her mother... sorry, it was too much for me. I couldn't listen a second time and cut it out of a dupe I was making for the car.
   I've just heard some cuts from the new CD on Fresh Air and they sound great. I'm very tempted to buy the new CD and you should too. Support this artist in any way you can because she has immense promise and at least half the time delivers. Go Nellie!!! May you make musice for as long as you like!



5. I loved Get Away From Me but I'm having a hard time getting in to this one. Is it me or is she singing in totally the wrong key half the time? There are a few good tunes but it's a little dull compared with the first one. The collaborations are a complete waste of time.

5 comments about 20th Century Masters - The Millennium Collection: The Best of Billie Holiday.

1. 20th Century Masters - The Millennium Collection: The Best of Billie Holiday tries its best to give us a CD that can be great for people in all income brackets; but it falls short of being anywhere near a true "best of" collection. The sound quality is very good and the artwork is about par for this CD series. How I wish they added at least one or two more songs!
   
   "Strange Fruit," a powerful song if you listen to the lyrics, starts the CD off with one of Billie's greatest hits. Billie sings this with all her heart and soul and her performance lacks nothing--it's all THAT good. The piano sounds great, too. "Fine And Mellow" gets a somewhat jazzy rendition as a young Billie Holiday belts this bluesy tune out to make this number take off like a jet! Billie never sings a superfluous note, either! In addition, Billie sings "Lover Man" to perfection--and beyond! Awesome--what a chanteuse Billie Holiday truly was!
   
   "Good Morning Heartache" gets the royal treatment from Billie who delivers this flawlessly. I think Billie's rendition of this tune is THE definitive rendition of this timeless torch song. Billie's uncanny sense of timing also enhances the natural beauty of this melancholy ballad. Moreover, "T'ain't Nobody's Bizness If I Do" has great brass and when Billie comes in this number takes flight! I love it.
   
   "My Man" sounds fresh and new when Billie Holiday performs this with so much sensitivity; and "I Loves You Porgy" from Porgy And Bess shines brightly when Billie Holiday delivers this without a flaw. "Lady Sings The Blues" starts with some awesome brass as a musical flourish to announce the beginning of the ballad; and when Billie comes in she never misses a beat! Billie performs "Lady Sings The Blues" better than any other female singer ever could!
   
   "I've Got My Love To Keep Me Warm" is a pretty upbeat ballad for a gal like Billie who sang so many torch songs; Billie handles this like the pro she always was; and that's grand. The CD also ends strong with Billie Holiday singing "God Bless The Child." "God Bless The Child" shines like silver and gold when the great Billie Holiday sings it; and I'm very impressed.
   
   Overall, this is an excellent although way too brief assortment of Billie Holiday tunes. They could have and should have added at least one more song; and even then they have the nerve to call this a "best of" collection. Diehard fans can easily find great box sets by Billie Holiday for sale on this website; this CD is best suited for the casual fan who just wants a brief smattering of tunes by Billie Holiday.



2. This is the very first jazz record I have ever bought or listened to, and I decided to write my review with the first listen still fresh in my mind. It's not that I was avoiding jazz; I was simply never exposed to it. What can I say, I stand before you unmasked as the Philistine that I am! Certainly then it must seem a bit presumptuous of me, a jazz illiterate if ever there was one, to offer any criticism good or bad. But on the other hand, who can give you the more honest reaction: the man who has studied, weighed and evaluated jazz for four decades, or the man whose ignorance precludes the possibility of bias?
   
   The word 'Diva' gets tossed around a lot these days. It is frequently misapplied to singers like Whitney Houston or Celine Dion, two performers who are unquestionably talented, but not as much as their hype would lead us to believe. Chockingly, it is also used to describe Cher, a woman who this reviewer feels is unfit to Chine Billie's Choes.
   
   Because Billie...ah, Billie, SHE'S a Diva! This woman's voice is hypnotic, a Lucky Strike soaked in honey and absinthe. The songs are unaffected and powerful in a way only authenticity makes possible; Billie makes you FEEL her songs without resorting to histrionics. I am thoroughly convinced the Lady lived the blues long before she got around to singing 'em. The somewhat sparse musical arrangments are an absolute joy to listen to, and lend themselves incredibly well to Billie's voice. The horns almost seem to lead the listener simply by Suggestion, allowing Billie's voice to take center stage while the instruments mould themselves around her smokey lyrics like cognac poured across the rocks. I am completely smitten by this wonderful singer! Unwind in style with the music of a vanished era!



3. When I saw this while browsing at my local record store, I had to buy it. It had all the classics in 1 small package. It was an excellent value at only $8.99! Wow!
   
   This CD (along with many other CDs in the Millennium Collection series) is an excellent value for the new or casual fan of Billie Holiday. It's remastered too so the sound quality is excellent. I loved the CD, especially Don't Explain (my all-time favorite Billie song) and Good Morning Heartache. The CD is WAY better than Ken Burns JAZZ Collection! *Highly recommended!*
   
   If you liked this one, check out these titles from Billie Holiday:
   
   This Is Jazz Volume 32: Billie Holiday Sings Standards
   16 Most Requested Songs
   Swing Brother Swing!
   I'll Get By
   
   I borrowed all of these other CDs from my local library (a great way to expand your digital library of classic jazz for no charge). They were pretty good. But none of these can match 20th Century Masters-Billie Holiday. This is the one Billie Holiday CD I wanted to keep for my own collection. Her voice, her style, her songs are so powerful and beautiful - all of these attributes are wonderfully displayed on this collection. Enjoy!
   
   12 Tracks 41:05 total time~Hip-O/Verve 24.bit remastering.



4. One of the best. A great collection of her hits. While dining or just chilling, its a must have.



5. Although not generously packed with tons of material, this is a thoughtfully-programmed selection of Holiday's later, non-Columbia material. Ten tracks, drawn from various sessions at Decca, Commodore, Clef and Verve, starting with "Strange Fruit" and ending with a 1956 live version of "God Bless The Child." This set is nice in that it avoids the usual emphasis on her difficult-sounding later performances, avoiding the tragedy-laced version of her career in favor of a more positive, musically triumphant telling of the tale. For a budget-line release, it's pretty darn nice.

5 comments about At Last.

1. This is a strong cd. The more you listen, the more it grows on you. I have been a HUGE fan of Cyndi since She's so Unusual hit the air. And go see her whenever I can in concert. One of my most favorite was her rock version of Walk on By she did in Biloxi - just before Katrina hit. It is actually one of my favorite covers and favorite Cyndi covers. Better than the original and even better than the cd/album version. I wish this would come out as a single. The mini cd with Walk on By versions don't even do it justice. Cyndi is awesome in concert, I guess you can't bottle that on a studio cd.



2. Yes Yes Folks. There's Cyndi on the cover dressed in her best, svelte evening garb. They've wisely taken the hemlock out of her martini glass, and they've hidden all the razor blades but...oh....I don't know. I don't like it. She has that certain suicidal look like she's contemplating jumping into the river. Scares me. But, I am sure that if she does jump there will be many out there to jump in and save the lamb. However, if you threw this c.d. in, I am not so sure it would be retreived. In some cases wisdom does dictate.
   
   As I'm sure you guessed by now, I am not exactly thrilled with this. Basically, it's another case whereby they have a current singer do the standards and ballads of yesteryear, that were done far better then and really shouldn't be re-attempted. 99.9% of the time, the original is always the best. But, perhaps I can be proven wrong. (Hah! Just try!).
   
   Getting back to Cyndi, she also looks rather pale in the picture. It's like she was bitten by a vampire. It's like she has no zip. As far as energy goes, Rip Van Winkle could probably sing these songs with more zest (and probably stay on key better). It's actually quite sad because I do like her and she's done alot of good things. This is not one of them.
   
   There is alot of drudgery on display with the arrangements. Uninspired, anemic, burnt toast come to mind. Ditto for the band. To be kind, Cyndi's vocals miss the mark alot and, I think, she probably went along with this because they convinced her that "it was the thing to do". She goes through the motions here - but there just doesn't seem to be any investment on her part. It's like sleep-walking but, unfortunately for her, she's awake doing this. I think.
   
   She does "At Last" (so-so. Sparse piano and lacking the power to carry it off), "Walk On By" (weak arrangement and no life), "Stay" (with calypso arrangement. Please Mr. Tallyman), "La Vie En Rose" (bland. definitely not on de-vine), "Unchained Melody" (Insipid. The only way I'd listen is chained to my castle dungeon wall), "Don't Let Me Be Misunderstood" (lumbering. And, we're sorry Cyndi. Too late. This will forever be misunderstood). I could go on and recite all the songs but why put you through further torture? At least I am merciful here. Like a lighthouse amidst turbulent musical waters, I guide my people to safety!
   
   While listening to this, I had visions of Dumbo the flying elephant picking me up and whisking me away to the magic kingdom. I should be so lucky. But, anyway, it really is not my intent to be unkind. And, if I must be critical (which I must here), I, at least try to do it with a little humor.
   
   I am being kind with the 2 stars. I hate to give it a 1. Maybe this is a 1 1/2. Does it really matter at this point? I am sure there will be those who disagree. But, if one is really honest here, there is no way this even approaches a 4 or 5 star. 3, maybe, if you've had too much brandy. But, don't forget, it's still here the morning after! ;)
   
   Proceed with great caution.
   
   "Either she jumps or I jump!" -------- Metamorpho
   



3. This is some of Cyndi's finest work! It is evident on this CD that she has one of the best and most versatile voices in the industry! I love Cyndi Lauper and any fan should definately have this album in their collection.



4. Just got this CD and I can't say enough good about it! The eclectic mix reminds me of Joe Cocker's cover album called Heart & Soul.
   
   The arrangements are mostly great (it's produced by Russ Titelman--did a lot of great Clapton production in recent years). Nice to hear many of these songs in a fresh way, by an able vocalist. It's good because (as the liner notes state) these are songs she grew up with and obviously likes a lot.



5. Listening to the car radio one day, "At Last" came on unannounced. My first thought was "Why would anybody cover a timeless classic?". A few seconds later I understood why- it was better than the Etta James original! I was astonished when it was back-announced as Cyndi Lauper. I had known her only from her first 2 albums back in the 80s, and thought she had disappeared. Her early pop work, while catchy and fun, didn't show her vocal range, or her ability to re-interpret songs so well. There is a wide variety of material on this album, and all of it is outstanding. If only I'd known about it earlier!

1 comments about Very Best of Edith Piaf.

1. I've heard Edith Piaf off and on through the years and pretty much cast a deaf ear. Her music seemed too remote from the African-American tradition of American Popular Song, whose composers and exponents--Berlin, Kern, Arlen, Gershwin, Rodgers, Crosby, Mercer--created a unique art as a result, primarily, of being drawn to "black" music. (Make no mistake about it: the distinctiveness of "classic" American popular song, or the so-called Great American Songbook, is not its European but its African-American indebtedness.) But the recent attention Piaf has received (I haven't seen the movie) led me to the realization I didn't even have a recording by her. This new two-disc release of 36 tunes (where did Amazon come up with 40?) seemed like the best bet to get to know her better (but don't expect any written documentation whatsoever). By the end of the first disc I was no longer noticing, let alone bothered by, that French Chanteuse style with the fast-moving vibrato that used to turn me off right away. The woman's spirit simply cuts through any superficial analysis of style, or consideration of cultural differences.
   
   Perhaps hearing Shirley Horn's version of Hymne a L'Amour (from "Here's to Life") is what helped bridge the cultural distance for me, but the present remarkable collection leaves no doubt that this petite powerhouse was packed with plenty, plenty soul. What she offers is universal--on a level with Billie and Judy, maybe better in some respects. There's not simply talent, strength, vulnerability, tragedy, passion, great energy and (unrelenting) intensity here--but unmistakable courage, and not limited to the singer but as a prerequisite to living life.
   
   She may lack Lady Day's playfulness and understated subtlety (which sadly was reduced to bathetic spectacle during the last 5-6 years); she doesn't encompass all of vaudeville and play to the back row like Judy (who really didn't swing much more than the Little Sparrow), but she possesses more than smallness combined with power (otherwise, Kay Starr should be considered of the same magnitude). With every note that she sings she celebrates life--a frequent downer, as she acknowledges--like few other singers who come to mind. She sings as much "blues" as Billie (listen to J'ai Danse Avec L'amour); the drama of Garland is present in every song--at times, close to an authoritative, narrative recitative but elsewhere a soaring, lyrical line (Chante Moi) or contemporary lieder (L'etranger). The clarity of her diction is enough to spur you to bone up on your French.
   
   [Postscript on Piaf's "self-destructiveness." I see much reference to this, including harsh judgments of Piaf (at least it's a change of pace from fixating on Billie, Judy, Cole Porter, Larry Hart, Charlie Parker, Lester Young, Bud Powell, Chet Baker, and a hundred other artists I could list in a couple of heartbeats--in another review I addressed Frank Rosolino's horrible and horrifying end). 1st, it's Hollywood (in this case, the French film industry) that elects to take this route; 2nd, it's the sensational stuff out of which box office hits are made. But why do we have a magnetic attraction to such artists? Is it because their personal pain makes ours feel lessened by contrast? Or because knowing that others have gone through what we have, and yet bravely carried on while "singing in their chains," is an inspiring model to us all?
   
   This collection omits the "Piaf anthem"--Je Ne Regrette Rien (maybe it's one of the "missing 4" on my 36-tune edition of this supposedly 40-song collection). The song's title is quite a statement--coming from a woman who died of cancer after 3 serious automobile accidents. But it's a song, for Pete's sake, not the defiant rejoinder of an unrepentant Epicurean to those who would judge her for "wasting" her life. All the same, about the absence of Je Ne Regrette Rien, I have no regrets. Any collection of Sinatra songs that included the tedious and mediocre "My Way" while proclaiming itself as representative of Sinatra the artist would deserve to be instantly discredited. As someone once said, "That's life!" ]

5 comments about Yes, Virginia....

1. My pal Patrick told me I would love this album and I wanted to run out and buy it but everytime I saw it, it was too frickin' expensive (I have a strange no over $10 rule when I go uber shopping) so I never bought it, though I did get a download of "Sing" and really liked it.
   
   But then Dresden Dolls were tapped to do the True Colors tour last year with my gals Cyndi Lauper and a gal I like to call Debbie Harry so I thought I should check them out and before I even did, a new video for their song "Shores Of California" came out and I was officially hooked.
   
   I bought the album and haven't stopped listening to it. In fact every song is just as good if not better than the one that proceeded it. Full of sarcastic humor and tongue in cheek (I think) attitudes, there's a full blown piano pounding on almost every song and the incredible vocals of lead singer Amanda Power, the songs just blow into existance and stay there. The best cuts are "Shores Of California" , "Sing", "Backstabber", "First Orgasm" - though I must say every single song is excellant.



2. This has to be one of the most unique acts that are currently running. It is difficult to catagorize the cabaret style/rock music that they play. Amanda and Brian play keyboards and piano only, but they have never sounded to rich and alive than with the Dresden Dolls.
   
   I orginally saw this group while I went to Cyndi Lauper's True Colors Tour, and have grown into a large fan of this group. Challenging to listen to at times, but their style is unique, and definately original. The tracks have a rich diversity of styles to hard rock in Backstabber, and something soft and melodic in Mrs. O.
   
   I would highly recommend adding this to your collection if you like something unique that you aren't likely to hear elsewhere.



3. I really, really, love this band. I just recently discovered them on Amazon and am so happy I did! If you are a Tori Amos, Fiona Apple, PJ Harvey, Regina Spektor fan and like music of that genre you will love this group. Both members are incredibly unique and the lyrics are simply incredible. Buy this you won't regret the purchase, I can't stop playing their albums (also check out their self titled debut). I can't wait to see them play live!



4. I won't get deep into this review, but I have to say this was a little disappointing after their first album was so amazing to me. This one just seems like another dip in the well. They don't take any risks this time out, and some of the songs are actually a bit droning and dull.
   
   I still LIKE this CD, but it's not among my favorites. I hope the Dresden Dolls keep making music, but I also hope they step out of the formulaic rut they've gotten themselves into. They need to expand their musical repertoire a bit if they want to remain interesting and relevant on their next release.
   
   I suggest you borrow this one first, and give it a listen before dropping the cash on it right away.



5. I bought this album when it was first released quite some time ago and I've never managed to shelve it since it always manages to stay in the "frequently listened to" pile at the side of my computer. There have been quite a number of reviews commenting on The Doll's unique and "edgy" style so I won't get into that but I think to truly appreciate what Amanda is trying to reach in the listener one has to look below the to be expected lyrics about sex and other "shock topics" to the underlying meaning within meanings so to speak, to reach the true heart of this album : a vast and unending sense of loneliness. The type of void that eats away at people and will never be repaired. If the first album was a tribute to the folks who walk around with their scars both physical and literal on the outside then this is a tribute to the grater majority who carefully cover them up.
   
   1. Sex Changes - Amanda's at it again carefully crafting double meanings into her lyrics the way only she can. On first listen this easily comes of as a song about the feelings and experiences that go on before a preop sex change. However the more you listen you realize the message in it is universal to almost any sexual activity ~ "Of course its what's inside that matters and of course I love you, but . . .". The number of sexual insecurities and problems that could be linked to this song are endless.
   
   2. Backstabber - This song is more personal on a literal level but the frustration and amusement come off to those who aren't in on Amanda's personal struggle. The song is directed to some unknown figure whom supposedly badmouthed The Dresden Dolls and yet still enjoys a sticky sweet popularity proving that justice is sometimes never quite served.
   
   3. Modern Moonlight - A commentary on commercialism taking an ever growing place in our society. Not original but Amanda's acceptance that even her whining about the subject in her song is hypocritical since she too loves communicating is something worth giving a nod to. The almost slow stalking sound conjured up to represent industries plans for invasion "we're gonna take your cities one by one" in the middle of the song sent shivers down my arms.
   
   4. My Alcoholic Friends - An upbeat song from the pov of an alcoholic who swings between denial and acceptance of their condition as if it were the only logical option. The lyrics betray how lost the singer is at times in their addiction as shown by the lyrics where he/she wakes up not knowing "the date, the season or the city or who is waking up beside me - but at least the ceiling's very pretty". What a binge! Half way through the singer falters in their attempt to blame it on their "friends" but at the end the denial once again picks up in full speed.
   
   5. Delilah - Many reviewers have expressed a need to skip over this song since it comes off as too slow after 4 tracks of fastly driven songs and while I admit it took me awhile to settle down and listen to this one they are sorely missing out on one what could easily be the most beautiful song on the entire album. The friend of a woman who continues to stay with an abusive boyfriend chronicles first her ever growing worry, frustration and eventual hatred of the situation as the actions of the abused and abuser become more and more predictable until the singer seems to have acquiesced, quite bitterly, to the fact that she can change nothing and is now just in it for the ride as much as anyone else, belting out "lets see how fast this thing can go".
   
   6. Dirty Business - This is the track that really defies explanation or review. The girl in the song is a cocktail of venom.
   
   7. First Orgasm - I'd want to say I like this song but I don't - I LOVE this song. It details the singer waking up and making coffee before going to sit and masturbate in front of the computer on a cold morning. Throughout the song we're treated to an existentialist view of self pleasuring as the lyrics simultaneously chronicle both the act its self as well as small, unimportant happenings around her while its going on. You get the impression that masturbation is just something to do and get out of the way - short perfunctory and incredibly lonely- and this is reinforced by the singers admittance of "I am to busy to have friends a lover would just complicate my plans" before in a completely startling turn of events we are treated to a complete audio *break down* of the singer as the existentialism gives way to the utter neediness inside in the final repeated confession "I could last at least one week without someone to hold me" sung in long, pleading aching tones.
   
   8. Mrs O - A nod to the albums title. This is not a song about Nazi sympathizers as some reviews have stated but rather about the simple need adults have to protect children from the world of adults. Check out the heartbreakingly childish lyrics "hair dryers aimed heaven words" as if a group of children outside with a blow dryer could chase away winter. We have all experienced this phenomenon, the day we find out Santa is no longer real and Amanda does a stand up job of capturing this in a song.
   
   9. Shores of California - A catchy tune about the deteriorating relationships between young boys and girls in modern day society and about all the things we've built around ourselves from dating services to soap operas to help cope with the growing emptiness and confusion.
   
   10. Necessary Evil - This has got to be one of the most broad and spot on social commentaries in the whole album.
   
   11. Mandy Goes to Med School - These are the butchers with gloves, the inexperienced med students, back alley abortionists that you hope you will never have to meet or go to for help but will probably end up at the mercy of wither you have to go looking for their black van parked behind buildings due to desperation and lack of funds or in the hospital since cruelty is something that is found everywhere. The doctors from hell would be a good description as they take an almost ghoul like detached and humorous look at the fates of their patients. What a morbid kicker - this song is nothing but good creepy fun.
   
   12. Me And The Mini Bar - Two lovers were supposed to spend the night together but the man ends up leaving. Alone in a hotel room the woman stoutly refuses to admit to failure and decides to go on with her plans for the evening anyway's stating "that is the type of girl I am". The feeling of someone spiraling as fast as they can into a night of heavy drinking rather than admitting to loss.
   
   13. Sing - While this was the other single its appropriate that it closes the album. The Dolls have always expressed a great interest in seeing their fans really try and express themselves creatively - even if it means clawing through years of rigid art lessons than generally do more to chase away creativity to encourage it. Here Amanda simply invites the singer with growing degrees of frustration to let go of their inhibitions and *sing* no matter what its about - listing topics from everything to the bar janitor to Darfur's Janja Weed. Amanda says it clear and simple in the lines "There is this thing keeping everyone's lungs and lips locked - it is called FEAR and its seeing a great renaissance".
   
   So often we approach albums in a monotonous way - dealing with the lyrics on face value. But Amanda expresses quite clearly on her first album a distaste for "sappy songs about sex and cheating" and no where on Yes Virgina should we think for a moment she's given up on that. Yes, it easy to brush off the lyrics based on impressions made on the first listen but upon multiple listening's we begin to realize the vast and unending folds she has carefully crafted into the lyrics making her one of the few artists who has stuck unflinchingly with their vision through the thick and thin of record sales with a determination that should be applauded. Yes Virginia is a gem plain and simple - quit reading and buy now.

5 comments about Black Coffee.

1. Black Coffee is an incredibly fine CD by the incomparable Peggy Lee. Peggy's voice never sounded better; and she masterfully handles these songs with panache. The quality of the sound is rather good; and I love that artwork!
   
   The album starts with the title track, "Black Coffee." This jazzy little tune shines brighter than gold when Peggy sings it with passion, heart and soul. I'm very impressed with the horn arrangement in the background while Peggy sings this perfectly. I predict that you will enjoy "Black Coffee" very much. Listen also for "I've Got You Under My Skin." This second number has a faster tempo that is also rather jazzy--and elegant. Peggy bats this straight out of the ballpark and she changes tempo and keys effortlessly. "I've Got You Under My Skin" is a very romantic classic jazz vocal that really lets Peggy show off her remarkable singing abilities!
   
   "My Heart belongs To Daddy" was always one of my favorite songs; and here Peggy doesn't let us down! Peggy delivers this with style and her delivery of this song is enhanced even further by her excellent diction and timing. She never misses a beat, either! "It Ain't Necessarily So" slows down the pace a bit but Peggy never stops sounding like she was born to sing this type of number! "It Ain't Necessarily So" shines bright when Peggy sings it. "A Woman Alone With The Blues" sounds like the tune you might hear in an elegant lounge or nightclub; Peggy infuses this with so much emotion and she's able to use her voice to convey every subtle nuance of the lyrics.
   
   "When The World Was Young" puts Peggy right into the spotlight--where she always belonged. The piano arrangement is quite pretty; and I also like "Love Me Or Leave Me." This fine jazzy number gets the royal treatment from Peggy who sings this like a true chanteuse. The album ends with Peggy performing "There's A Small Hotel;" this song is about Peggy's character dreaming of her honeymoon with her sweetheart after their wedding.
   
   Black Coffee is an excellent album for fans of Peggy Lee; and people who love classic jazz vocals will not be disappointed. This is also an excellent starter CD for people just coming to know the true greatness of Peggy Lee's artistry.



2. I had forgotten how wonderful Peggy Lee's voice and timing were. After seeing "Bernard and Doris" on HBO and hearing her songs, I just had to find her again. Her voice is as smooth as silk on this album that sounds as if it were recorded just yesterday. If you don't have it, it is a must have for those who love Peggy Lee!



3. Excellent CD. Peggy Lee in top form. Bought it for my husband who's a huge Peggy Lee fan. The songs are timeless and her voice is at its silkiest. Very jazzy and bluesy music, which we like a lot.



4. I first bought this album in the late fifties. I thought it was great then, and I have not changed that opinion one bit. It is one of my all-time favorites, it never palls, for musicianship, excitement, intimacy, great swing.......It has been called one of the greatest vocal jazz albums and I would absolutely agree with that. The only problem - Miss Lee's other albums don't sound so great alongside this one. A must for any vocal jazz lover, indeed any lover of popular music.



5. I will admit: These are not the best charts of standards I've ever heard. Nor are these the finest back-up musicians I've ever heard. But none of that matters. This is a must-have for any serious vocal jazz collection, because nobody but nobody ever sang more intimately than Peggy Lee.
   
   By that, I don't mean sexually intimately. (Though, I will admit, the way she sings "black coffee" on the title track makes me want to grab her and console her, then see what further liberties are available!) I mean, the way she sings a phrase such as to let you in on her little secret, in a manner that makes you proud to be part of her club.
   
   Consider how she sings "She says" when describing how Moses got fished out of the water in "It Ain't Necessarily So"; or "I got my mink" or "used to be...me" in "When the World Was Young"; or the word "thrill" in "You're My Thrill"; or the way she plays with the word "daddy" in "My Heart Belongs to Daddy." Peggy Lee and Lena Horne were both like this in the good old days; and for all the great contemporary female jazz singers, none seem to be able to emulate that intimate quality of these two. No wonder Sinatra was so ga-ga over her!
   
   There is a two-c.d. release of Peggy Lee's with this album name. Don't be confused; this is the c.d. you want. RC

5 comments about Ultra-Lounge: Tiki Sampler.

1. Hold on to your fedora and don't spill your martini, this is going to be wild man. If you dream of the old, dirty Vegas, the era of the Polynesian bar, of a time when American hot-rods roamed the country and your gas was pumped buy a guy in a paper hat, then this album is for you.
   
   There are only two down sides to this sampling. First, it's on CD and not vinyl. This is a positive in that it'll never wear out, but there is a certain amount of authenticity given up for the sake of convenience. For most, it's well worth it. You'll just have to pick up the old records yourself.
   
   The other down side is that you'll want to play this a lot, which means your friends will be amused at first, but on the third or fourth time they hear the Mel Torme's version of "Happy Together" they may very well crack and beat you senseless.



2. My daughter is a big fan of this kind of music and anything tiki. This was a Christmas present for her and she loves it. Great quality and prompt service from Amazon. Thanks!



3. The entire ultra-lounge series is excellent. However, all of the CD's in this collection only add up to a small tantilizing taste of the huge back catalog of vintage easy listening albums from the 50's & 60's - not to mention the Hawaiian LP's which are surpisingly underrepresented on the Tiki Sample and in the Ultra-Lounge series as a whole. Common Captiol/EMI, start releasing some of these vintage albums in their complete form!!!!!!!!!!



4. This is a great CD. Full of tracks that are perfect for almost any occasion: The Beach, Backyard Bar-B- Ques, Vacations or just Relaxing. This is an album that supports drinking and a carefree lifestyle. It supports what I believe in so I support it!



5. I never got the lounge music thing but this collection worked for me because it's the very best one or two tracks from the large amount of lounge CD collections available from Capitol. 23 tracks including Nelson Riddle doing My Three Sons, Peggy Lee doing The Boy From Ipanema, , Mel Torme butchering Happy Together, Les Baxter, Jackie Gleason, Julie London, Lena Horne, Nancy Wilson, and so on. Plus the theme's from The Munster's and Get Smart. Lot's of fun here.

5 comments about Charles Aznavour - Greatest Golden Hits.

1. Although I love the French CDs of Charles Aznavour, these English hits are outstanding as well. Some of the best songs on this CD are "I'll Be There", "I Didn't See the Time Go By," "How Sad Venice Can Be", and Ave Maria. I am amazed at how great he sings in French, English, Spanish and Russian.
   
   Highly recommended!!



2. Was introduced to Charles Aznavour's music back in the 70's . Just got back from Europe where my last stop was Paris. Fell in love with the city and got a hankering for his stuff . Forgot how much I loved his music. His lyrics are so real to life but you really have to take the time and listen.



3. This album has many of his best songs. Well worth the cost. It will be a collector's item.



4. Charles Aznavour's music is beautiful, his songs are soulful, and the way he portrays them is heartfelt. We continue to listen to this album and look forward to enjoying others like it.



5. English version is almost as good as his french, but when he sings in french there is not enough stars.

5 comments about But Beautiful, Standards: Volume 1.

1. I fell in love with this work while vacationing in Mendocino, CA. I went right out to Red Rooster Records and bought it. Exceptional vocals with deep passion. Tom B. "handydandy" totally missed the point in his review. His R&B/Pop genre work can't be compared to the Jazz Standards of this remarkable piece. Though all of his work is exceptional, this work has to be listened to and understand on its own unique footing. The transition from his normal works to this quality of Jazz Standards, especially But, Beautiful, is excellent. Where's Volume 2?



2. Although he's primarily known as an R&B/rocker, I always thought no one could sell a sad song like Boz. His smoky, almost-clogged voice has gotten richer over the years (age? voice lessons?), and this CD's cuts makes it easy to imagine him as some cool 1950s hipster -- black suit, skinny tie -- crooning in some small Harlem night spot.
   
   I'd have given this CD the 5th star, BUT I agree with other reviewers that the band seems a bit too foreground in many places -- ESPECIALLY on the title cut. Boz is easing through the ballad, but the hi-hat sounds like it's from another song entirely! Is it a click track they forgot to erase, or is the drummer eager to get to his next gig, and wants to speed the session along? (Had I better equipment, I'd run the track through a limiter and remix it myself.) But don't let that one track deter you -- perhaps Boz was going for a live, "period" sound -- you know, back in the dark ages when studios only had 2-track tapes? If so, this CD is a success. And, as usual, Boz himself is a delight.



3. Boz Scaggs has been in and out of the limelight over the past four decades. This album is sufficient proof that he deserves a larger share of the limelight today.
   
   Looking forward to Volume 2.



4. This is simply a superb collection. Mr. Scaggs has the depth, confidence, and soul to sing these standards with a pure, truth-scarred ease... as if he has lived these lyrics... He doesn't muck around with these classic melodies or adorn them with shallow "jazzy" embellishments... he doesn't try to "wear" them or "reinvent" them - he simply, deeply IS them! And the cool, sweet, beat, and breezy quartet supporting him in accoustic brilliance through exquisitely calibrated arrangements of heartfelt intelligence. My only, only criticism is: it's been four years, man! Where's volume II ???



5. I'm certainly in the camp of those reviewers who were favorably pleased with this collection of terrific old standards, handled in Scaggs' unique style. But (and maybe this is part of the problem for some other listeners), I wasn't instantly convinced. Scagg's voice is soft, somewhat delicate, and rather unique in timbre. He can't (and doesn't try to) put a muscular, swinging spin to the tunes, but, instead, consistent with his vocal equipment, sings them relatively straight, quiet, and easy, in ballad format. For those of us who a) listen to more traditional jazz singers and/or b) know Scaggs' voice from his pop material, one's first impression may well be jarring. I first listened to the CD a couple of times, and then put is aside for almost a year before I picked it back up again. This second time around, it all came together, and now it is on my regular play list. He's found one really good way to approach these tunes, that fully fits his voice, and is expressive and effective. It's also unique, and, as we know, sometimes uniqueness doesn't work for the listener right away.
   
   I think the band is great. I don't know what to say about comments about the drummer; I like his work. He plays quite a bit on the bell of his cymbal, which gives it a, well, bell-like ringing sound, which I rather like, but it's somewhat different. My system is all tubes and a bit soft at the edges; maybe that's why it doesn't bother me.
   
   Is it too much to wish for a follow-up, or even two?