IPhone 3G used's review (ONLY FOR EPSON 777) 『My Epson-777 printer died for good, after two very usefull years. Now I just found out that EPSON ink cartriges can only be used by one kind of printer and I'm stuck with 5 color and 4 black cartrigdes I cannot return, this is about 200 dlls. Now I change to a HEWLETT PACKARD, with their printers you can use the same kind of ink cartriges on several kind of printers. Hopefully I won't end up with another 200 dlls. waist.』
(Quality but expensive) 『I don't use the printer a lot. My work is largely limited to printing text but I seem to replace the color cartridges every few months. The price here is better than an office supply store but still expensive. The color is beautiful, near photo quality on photo paper. The printer will not let you print black and white text if you are out of *color* ink.』
(What You Should Know) 『My printer came with my Home Internet Appliance, so I didn't CHOOSE it. I've tried compatible cartridges, but the color is wierd, so you really have no choice but to buy Epson Genuine Cartridges. I think they personally sell their printers at reasonable prices, and then "GET" you on the ink jet cartridges. As everyone else has stated, you do not get the promised amount of pages per cartridge.』
(Not bad) 『Everyone keeps complaining that the cartridge is expensive and they can't use generic. Sadly, thas becoming the industry standard--you can't blame this one printer. I have to print pages and pages of detailed notes and figures every day and I haven't had to replace the ink more than once so far.
The ink saver setting is very faint.』
(Great Quality...Expensive To Use!) 『You receive the expected wonderful quality from this Epson product, but the price is standard for the name. I would recommend that you look into a Epson printer that offers a generic cartridge to replace the orginal. In the long run it will be more economical to use. The chip in this cartridge makes it impossible to duplicate in a generic line. Generic brands are sometimes more than half price of the orginal Epson brand cartridges.』 『The color ink cartridge for the Epson Stylus Color 777』 『Compatible with the Epson Stylus Color 777 and 777i printers, the T018201 color inkjet cartridge features a quick-drying, acid-free, three-color ink system with superior resistance to bleeding and smudging on all media types.』
Kakaku：1898 saved$18.98
Milestone
Usually ships in 24 hours IPhone 3G used's review (Fine music, muddled presentation) 『This CD brings together two early-'70s Milestone releases in one CD. While the music on each is worthwhile, the original decision on packaging "In Pursuit of Blackness" muddles this otherwise welcome project.
"In Pursuit of Blackness" joined together live and studio material from two Henderson bands. The two live tracks, culled from a 1970 stint at the Lighthouse in California, include Woody Shaw on trumpet, George Cables on keyboards, and Lenny White and Ron McClure on drums and bass respectively. An entire album, since deleted, "If You're Not Part of the Solution You're Part of the Problem," (surely one of the worst album titles of all time) had previously memorialized this show, and one wishes that Henderson and producer Orin Keepnews had simply released a double album in the first place.
Interspersed between these two cuts is studio material from what had become Henderson's new band, of which only Cables and White were carryovers. The loss of Shaw makes this band, in my opinion, slightly less impressive, but the material is still strong, and Cables continues to make strong contributions. For me, he was one of the few pianists to bring a distinctive sound to the electric keyboard. The problem is that there is no clear direction to the collection of tracks. One is left wanting to hear a complete session from one band or the other.
That said, the live band is terrific, particularly on "Gazelle," and the listener interested in further documentation of this band is directed to unearth the previously cited title (too long to repeat.) Shaw, Henderson, and Cables comprised a great jazz unit, one that blended traditional hard bop with R&B and funk elements to great effect.
The remainder of the CD consists of the entire "Black Is the Color" session, which found Henderson attempting to fuse his diamond-hard, straight-ahead jazz sound with electronics, as was the sometimes unfortunate fashion of the day. The results are mixed but generally satisfying. Henderson's best effort here is the uncomplicated 4-4 blowing session "Vis a Vis," but the very funky "Terra Firma" is also effective. He also tries his hand at flute for a bit of color here and there, the only time, to my knowledge, that he did so on a recording.
You may find the somewhat dated moog synthesizer effects of "Black Is the Color" and the confused programming of "In Pursuit of Blackness" a bit disconcerting, but the stellar playing of Henderson, the superb taste of George Cables, and the all-too-brief taste of Woody Shaw's always bright trumpet sound still make this CD a generally worthwhile purchase.』
(Get it if you are a Joe Henderson fan) 『This is an eclectic selection of Joe Henderson work during the period of 1970-72. At first listen there is the tiny sound of early 70s fusion--the electric piano and bass--but it works well 'cause Joe is there to lead with the tenor. Truth be told, the following is offered because it's difficult to tell who worked what ablums just from the title and the timepiece (it's hoped other jazz fans do the same). On this album: Tracks 1,3,5 have Peter Yellen (sax, flute and bass clarinet), Curtis Fuller (trombone, of course), George Cables (p), Stanley Clarke (b), and Lenny White (d); tracks 2,4 include Woody Shaw (trumphet--and a hero of the era and beyond!), Cables (electric p), Ron McClure (b), White (d), Tony Waters (percussion); titles 6-10 George Wadenius (guitar), Cables (b), Dave Holland (b), Ron Carter (electric b), David Horowitz (synthesizer), Ralph McDonald (percussion), Airto (percussion), and Jack DeJonhette (d and electric piano).
The recording is nicely done. The compositions run from what are now standards (with the seminal fusion treatment), such as "Invitation," to what was then new Joe Henderson material. If you like Joe Henderson, no matter what the era, this is a must have.』
Usually ships in 24 hours IPhone 3G used's review (Not their best album) 『As Glad albums go, this is not what I would call the most exciting one ever.
Not that it's bad. If you're a Glad fan, it's certainly worth buying. It's worth buying for the title song alone, as far as I'm concerned, and there are a couple of other pretty good ones on here too. So yeah, add it to your Glad collection.
But if you don't own much Glad music already, this is not the album to start with.
For one thing, it does not contain _any_ of the a capella music that dominates most of their best work of the last two decades. Pure and Holy Passion at least has the (excellent) bonus cut track, but this album has no acapella music whatsoever.
Even if you are ambivalent about a capella, this isn't Glad's best band album either. Captured in Time, for instance, has a higher percentage of really good songs. This one seems like it is pretty much just another album for Glad.
Lest this review sound too negative, I should point out that it _is_ still a Glad album, and they _are_ very talented musicians, and the album _is_ good. It's just not _as_ good as some of their other work.』
(What music!) 『Never before has Glad so well mixed their vocals together. Here, in this monumentous abulm. Glad has truly done a spectacular job. Buy this album!』 『Color Outside the Lines finds GLAD reclaiming its long tradition as both an instrumental and vocal band. For close observers of the group, the direction of this recording will come as no surprise. "It's a matter of being true to what we are," says Ed Nalle. "The guys in GLAD have always seen themselves as players and singers. While the a cappella material has expanded our audience and ministry in a great way, we don't want to be one dimensional. We feel like it's important to continue to do what comes naturally, that is, to utilize the gifts God has given us -- instrumental and vocal." For the first time in some years GLAD has collaborated with new producers. Mark Baldwin, a Nashville session guitarist, artist (Brentwood Jazz Quartet), and GLAD alumnus from the early '80's, seemed the perfect candidate to draw the best out of the band in the studio. For his outstanding programming abilities and pop sensibility, the group elected to work with long-time friend and producer, Joe Hogue (Larnelle Harris, DC Talk, Billy and Sarah Gaines ). The result: a collection of the most artful, accessible tunes recorded by the band in a decade.
Through all the recent changes the band's sense of purpose behind all their work in the studio and on the road remains clear. "The music we do is entertaining, but our ministry's confrontational," says Ed Nalle. "We feel called to explain to people who the Jesus is that we're singing about, and that His ministry among us demands a response. We tell people about sin, about the consequences of sin, and that Jesus came so that we could avoid those consequences and have a joyful, abundant life. We entertain, and we challenge, and that's what we're going to continue to do."』
Kakaku：998 saved$9.98
Concord Records
Usually ships in 24 hours IPhone 3G used's review ("Latin Jazz with a Latin Vibe!") 『"A LATIN VIBE! Spotlighting awe-inspiring performances by vibraphone virtuosos, this collection features the percussive-yet-melodic sound of the vibes in Latin Jazz. With A Latin Vibe!, mallets are made for more than just hitting drums!" This quote from the back cover of the first installment in a series of six collections entitled - THE COLORS OF LATIN JAZZ! This powerful and moving collection brings together, the talents of Latin artists who perform and record todays ever growing popular music.
The entire CD is superb and flawless. A compilation that meets the standards and exceeds in listening pleasure, a must have for your collection of rare and hard-to-find collectibles - THE COLORS OF LATIN JAZZ - fits the bill!
Total Time: 58:05 on 12 Tracks/ Concord Records - CCD 5300 2 (2000)』
Kakaku：1798 saved$17.98
Telarc
Usually ships in 24 hours IPhone 3G used's review ("Beautiful Hollywood" review.) 『I think that this is a great selection of music soundtracks in the early to mid 1990's. It is very restful music.』
(Hooray for Hollywood) 『I bought this CD to go with an Academy Awards/Hollywood Walk-of-Fame theme party at work. It was the perfect accompaniment and mood setter.
It was February and a group of us decorated the lounge with black, gold, and silver tableclothes and balloon bouquets, and scattered around clap boards and faux film strip on the tables, along with movie trivia cards and black and gold wrapped mints. I made a walk-of-fame star for every employee and taped them on the walls around the room. We also laid down a red carpet from the entrance of the room to about the center with the decorated tables flanking both sides. We sat up the snack table with a sign that said, "Studio Commissary" and went with theme snacks like "James Bonbons with Halle Berry sauce," and "The Queen's scones." Each week we took a quarter of the walk-of-fame stars and posted them on the bulletin board for the staff to write peer compliments under. At the end of the week these stars were taken down and the next set of stars was posted.
This CD really set the mood for employees as they entered the lounge for the first time on that first day after it was decorated, and during the party at the end of the month. The month ended with an Academy Award party with an Oscar going to each employee for outstanding effort in whatever category (best dressed, best supporting staff member, most animated story teller, most pleasant entercom voice, most punctual, best sense of humor, most artistic, etc.), and they were given their stars with the peer compliments attached to the back. Everyone commented on how special they felt and how neat the theme was. Good morale booster.
This CD would also be perfect for the ambiance at your own Academy Awards party at home. Print out those ballots, cast your votes, pop some popcorn and pass around the Juji fruits, and let's watch the Oscars!』
(Kunzel does it yet again!) 『Kunzel&The Cincinnati Pops do a great job everytime, and this is no exception. I'm telling you, if you ever thought that purely intrumental/orchestral was unattractive, this will change your mind. Never a disappointment!』
(Movie Music) 『If you love that music from all those movies you've seen, then this is the CD you want! It is fantastic!! I want more!! I hope Erich Kunzel will come out with some music from older movies and maybe some TV programs. Listening to his music is better than watching the movie.』
(More than Beautiful!!) 『This is the absolute best CD they ever put together! And that is saying a lot as we are very picky about what music we like. This is the kind of music that makes you 'feel' deeply. It encourages you to dream big and love living! Forget the grooves, drums and bangs and listen to something incredibly beatiful! You won't be sorry for the money invested in this one bit of sanity in such a hectic world.』
IPhone 3G used's review (what I thought of the cd) 『The best song in the album was the title "Coat of Many Colors" Other than that selection there wasn't much more of enjoy ment there.
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(Here she is...) 『Entertainers that endure for forty years or more will inevitably take on multiple personas, endear their willing fans, and, simultaneously, alienate an equal or greater amount of unwilling or vicarious detractors. Many innocents doggedly chase this evasive limelight to find that it dishes out more scorn than praise. Only the strong survive, and Dolly Parton, who has received an enormous share of scorn, has proven her titanic strength and longevity in the face of such adversity. Of course she also has a monumental fan base that strain at every chance to see or hear their larger than life Queen of Country. But Dolly Parton the cultural icon often invokes contradictory binocular images: the "Just Because I'm a Woman" late 1960s feminist versus the self-deprecating glitzy painted lady proudly displaying cleavage the size of supernovae; the brash and unavoidable pop movie crossover mega-superstar versus the demure but astonishingly innovative songwriter who comprised the female part of country music's most famous pair on "The Porter Wagoner Show." Today these dual roles seem hard to reconcile, but Parton has played them masterfully for decades. Not only that, it seems incomprehensible that she ever held a mere supporting role, as she did to Wagoner, but her excellent 1971 album "Coat of Many Colors" helped her to finally burst out on her own when 1974 arrived.
Way back in 1971, Parton's career was on the upswing. By this time she had already released numerous albums stretching all the way back to 1963. A greatest hits album, sans Wagoner, appeared in 1970 along with her first number one country hit, "Joshua." Parton, probably feeling a little dizzy at the peak of fame and groping for footing, turned to her childhood for inspiration. She swears that the story depicted in "Coat of Many Colors" actually happened. The miniscule handwriting included in the CD booklet, made somewhat illegible by today's coaster-sized packaging, tells the entire story - Parton signed the tale with flourishes as full as her celebrity bosom. Bouncing along with a steady unwavering rhythm, the song itself has become a country standard. Parton's voice remains solemnly subdued throughout, almost in reverence or awe of the pride instilled in the patchwork coat her mother made her. The song also finds a source of pride in family, regardless of poverty: "And oh I couldnt understand it / For I felt I was rich / And I told them of the love / My momma sewed in every stitch" and "One is only poor only if they choose to be."
Unfortunately, mother turns a little evil in the second song, "Traveling Man." Here "mama" runs off with the "traveling man" that her daughter had dibs on. Parton plays the shafted offspring bemoaning "Mama, you know you oughtn't a'done that / You just like my daddy / He run off before I ever knowed him / You done run-off with my traveling man / And I really don't think I ever knowed you either." "Traveling Man" adds a new dimension to country music's "cheatin'" theme: this time the cheater is the accuser's own mother! Defiant strings and a driving honky tonk beat give this #20 hit a humorous, playful tone.
The beautiful and folksy "My Blue Tears" mourns lost love. Parton's voice appropriately flutters upward on the second "fly." This song revels in bluegrass instrumentation and riffs. It could fit on any of Parton's most recent releases in which she comes full circle back to her musical roots.
"Coat of Many Colors" also harbors some shocking scenes for 1971. "If I Lose My Mind" deals with abuse and with what then passed as perversion. Mother becomes good again. Less jarring, "The Way I See You" subtly explores the sensual side of love. In "She Never Met a Man (She Didn't Like)" a woman tries to convince her lover that he's fallen for a promiscuous flirt. Mixed with these amorous tragedies are philosophical musings, "The Mystery of the Mystery," a paen to nature, "Early Morning Breeze," and a call for world peace, "A Better Place to Live." "Here I am" boldly pronounces steadfast love and commitment to another. Parton sings it as if she realizes that she's finally come into her own. She was right. "Coat of Many Colors" remains her most praised and acclaimed album. Rolling Stone even declared it number 299 on its list of "500 Greatest Albums Ever."
Parton's personal touch and soaring vocals, the themes the album explores, and the poingant story from her youth make this album a timeless country music classic. Anyone with doubts about Dolly Paton should spin this disc and perhaps reevaluate the dual but complementary personas she created that have boosted her to the level of American pop culture icon. Here she is, indeed.』
(1972 Country Music Association Nominee ALBUM OF THE YEAR) 『One of the greatest albums of Dolly Parton's legendary career, COAT OF MANY COLORS is a stunning work of art starting with the magnificent oil painting of Dolly as a child on the cover. The title song, despite only charting in the back of the top ten, is perhaps her most famous and certainly greatest song she has ever written. Amazingly, this anthem to motherhood is followed by the racy TRAVELIN' MAN, where mommy becomes a rival for the no good traveling salesman who wanders into their neck of the woods (this song was another hit for Dolly the following year in a new version with a sassier, more comic production that is admittedly superior to the rather straight reading here in both Dolly's vocals and the track's production). Another hit for Dolly, albeit not a major one, was the lovely MY BLUE TEARS, sung Skeeter Davis-style in double-track harmony.
The conservative crowd charmed by the old-fashioned values in the title song probably got through for a major loop with IF I LOSE MY MIND, one of the most risque songs ever in country music in which Dolly escapes the clutches of a husband into kinky sex ("He made me watch him make love to another woman and tried to make me love another man.") And years before she went pop, Dolly's HERE I AM was clearly an attempt to have the country queen sing soul music with an arrangement more at home on a typical Aretha Franklin album than a Tammy Wynette one.
This album earned Dolly a CMA nomination for ALBUM OF THE YEAR in 1972. There are very few country albums from the era now available on CD in exact reproductions today. That alone should tell you COAT OF MANY COLORS was and is something special.』
(Classic Dolly) 『Short but sweet, COAT OF MANY COLORS is one of Dolly Parton's finest albums. She had some success in the 60s on Porter Wagoner's show, but no huge solo success. That is until this album. The title track is a signature song for Parton. No other song in her catalog speaks volumes like this one. Just a simple, beautiful song about how she grew up poor. It also contains other classics like "My Blue Tears" and "Travelin Man". The album shows her diversity as an artist. A must have!』
(Perfect example of Parton's earlier work) 『Parton's years under the tutelage (and to a large extent, control) of Porter Wagoner were rich in good material and performances, even if they didn't produce the sort of enormous popular acclaim she would later find. 1971's "Coat of Many Colors" is a perfect example of the brilliant work Parton was recording during these years, including the gospel inflections of the signature title tune, the bluegrass harmonies of "My Blue Tears," and the more outre subject matter of "If I Lose My Mind" and "She Never Met a Man (She Didn't Like)."
The title track attests to Parton's brilliance as a songwriter, capturing the emotional turmoil of childhood through the discovery of an adult's nostalgic memory. Parton's voice holds both a little girl's confusion and a woman's knowingness, underlined by acoustic guitar, a light shuffle beat, and touches of gospel organ and background harmonies. It's breathtaking to hear songwriting, singing and production mesh so fully. Throughout the rest of the album Parton's songs, augmented by a trio of tunes from Wagoner, tell human stories in a language that seems effortlessly plainspoken. The productions remain light and supportive, spanning weepy steel and fiddle ("The Mystery of the Mystery"), twangy electric guitar and a funky swamp beat ("Traveling Man"), and 70s soul ("Here I am").
Buddha's reissue presents a crisp remastering of the album's original ten tracks. Parton's original handwritten liner notes are reproduced in reduced form, necessitating a magnifying glass for most readers. Robyn Flans newly penned notes provide a few short paragraphs of career background, but haven't the room to make much of a dent in explaining the album and its songs. Ironically, the reissue credits for the Buddha staff fill an entire column, while a personnel listing for the original players is missing. And that's a shame, because the studio pickers give welcome, understated performances that support Parton's songwriting without drowning her finely crafted words in countrypolitan dross.
With most of Parton's albums from this era out of print, those wishing to dig deeper than greatest hits compilations will find this a welcome addition to their collections. For those just discovering Parton's early years, this is (despite its brevity - the entire disc clocks in at just over 27 minutes) as good an introduction as you'll find.』
『Three decades after Dolly Parton began exploiting (and mythologizing) her hardscrabble East Tennessee childhood, the best of her autobiographical songs, "Coat of Many Colors," which threads the Biblical story of Joseph into her own, remains a moving testimony to mountain pride and ingenuity. It may also be one of the truest pieces of Americana, but the 1971 album on which it appears, long out of print until this 1999 CD reissue, is a real eye-opener, and not just about how deep-dish country used to be. Along with the hit "Traveling Man," a maternal twist on the old farmer's daughter saw, Parton explores such gothic topics as whoring ("She Never Met a Man (She Didn't Like)"), sexual voyeurism ("If I Lose My Mind"), and good old-fashioned lust ("The Way I See You"). Whew! No wonder she left country for the pop crowd!--Alanna Nash』
IPhone 3G used's review (SUPERIOR-SOUNDING JAPAN 2008 REMASTER NOW AVAILABLE) 『 In 2008, WEA Japan released the entire WB Tower Of Power catalog in remastered form. All of the albums benefit from new mastering, and are worthwhile acquisitions for fans. Even this live album sounds better than the US CD, which is just an old, LP-EQ'd master transfered to CD, as are all of the TOP WB albums.
I found all of the remastered material to be superior to the Rhino 2CD "What Is Hip?" 1999 compilation set, except, surprisingly, for the material from the 3rd album, which sounds better on the Rhino.
Amazon does a haphazard job of stocking these remasters, so you may have to seek them from Japan-based retailers. Also, Amazon's prices are at least a third higher than buying direct from Japan, although shipping costs will cut into that percentage.
Here are the links for the `08 remasters:
East Bay Grease Bump City Tower Of Power Back To Oakland Urban Renewal In The Slot Live And In Living Color
Again, it's sad that American consumers have to obtain better sounding CD's from another country. WEA, and now WMG, have long maintained a corporate policy of not upgrading their catalog under the "they're-gonna-buy-it-anyway-so-why-waste-profits" philosophy, no matter that rival Sony has made a lucative business model out of remastering nearly the entire Columbia records catalog. Although this internal policy was mandated by the WEA regimes of the past, Edgar Bronfman, the current WMG chief, has maintained the status quo.
So, Tower Of Power now joins fellow WEA artists Jackson Browne, Ry Cooder, The Doobie Brothers, Tower Of Power, Neil Young, Van Dyke Parks, Little Feat, Van Morrison, America, Annie Haslam, Everything But The Girl, Roberta Flack, Todd Rundgren, Cold Blood and Paul Butterfield, just to name a few, whose catalogs either partially or wholly exist in better audio in Japan than here in the U.S.
It's a pathetic and frustrating situation.』
(ANOTHER WARNING ON MP3 DOWNLOAD!!!) 『I also purchased the mp3 download and it is NOT THE ORIGINAL VERSIONS OF 2 SONGS!! Sparkling in the Sand and Knock Yourself Out are from the "East Bay Grease" CD. They are NOT EVEN LIVE VERSIONS, no less from Live and in Living Color. These certainly ought to be pulled from the site for purchase, or fix the horrid error.』
(BE WARNED MP3 VERSION IS NOT SAME!!!) 『The track "Knock Yourself Out", a classic by the way, is 23:08 in the CD version... I downloaded the MP3 version from Amazon downloads and the "Knock Yourself Out" track is a different version, not as good, and only 7:12 in length...I dunno why, but BE WARNED!』
(It doesn't get much better than this...) 『Raised on rock, I played guitar in a metal band for a while. After hearing this, I was amazed. There is something missing in today's music, and that's the ability to groove. These guys have it mastered. Highly suggested for any real music lover. Great stuff.』
(My favorite CD) 『This CD is AWESOME! Tower of power is the best live band. I've seen them live, and they are awesome. Lenny Pickett's 10 minute solo is amazing! I think this is Tower of Power's best CD.』
Kakaku：1698 saved$16.98
Koch Records
Usually ships in 1 to 2 months IPhone 3G used's review (I don't do LSD anymore) 『I read the other reviews. I don't know what these people were listening too but, this CD dose'nt hold a candle to the first one....not even close. I wore the grooves off his first CD. If I still lived in the drug infested 60's this might be OK. That's it ...just OK. Oh, I'll listen to it now or then, I am a fan but.....if Ian ever reads these reviews....shut up and play that guitar!!!』
(The Best Balance for Ian Moore So Far) 『I think Ian strikes the best balance here, out of any of his recordings, between guitar heroics (featured prominently on his earlier two albums) and songwriting (perhaps overemphasized at the expense of the music on his later release, "Luminaria").
This recording is full of great songs, many of which rock, some don't, but all convey interesting ideas and are sufficiently thought provoking. My favorites are the opener, "Float Away" (perhaps my favorite Ian Moore song), and "Room 229" a quirky tune that succeeds overall despite an absolutely horrific guitar solo. I've recently been spinning "Fickle" a lot.
I was aware of this recording for a while before I bothered to buy it. Then I stumbled - by accident - upon an Ian Moore show at Smith's Old Bar in Atlanta a few years ago and was blown away by the music on this album. Check it out.』
(Hard rock with a lot of soul...) 『This album was a bit different than I expected. I was thinking blues based hard rock and at times it is but it's filled with a lot of soul. Plus in addition to fine guitar he is a much better vocalist than I expected.』
(Exploring All the Colors) 『Ian Moore continues to follow his own sound with his fifth release, "And All the Colors..." on a new label. Moore returns to a slightly more mainstream feel from his "Ian Moore's Got the Green Grass" release, and although this remains a departure from the blues of his self-titled debut, he still is a great singing, guitarist and song-writer.
I was excited to see the appearance of "Leary's Gate" which I had first heard during a show shortly after the release of "Modernday Folklore". The acoustic beginning is slow, almost to the point of stopping, and then he kicks it up with a fast, loud rhythm pulling you into the song. Blues? Not really, but he rocks out before giving us a break in the middle. The adrenalin picks back up with his solo, almost Hendrix style with a lot of whammy and dive-bombs. "Magdelena" is begins as a soft song where Moore's voice takes the center stage through the first chorus with very little backing, and then he adds acoustic guitar filling out the song. The slide solo is cool, and has a bluesy feel to it. Moore picks it up with "Johnny Cash and His Electric Bible". Another song of great rhythm and feel. "Rollercoster" has a great sound. Another best of the songs is "Angelyne," which begins simply and becomes more complex with each layer of sound Moore adds (even a singing saw) building until it reaches a crescendo.
Moore has definitely departed from his roots of a third-generation Texas Blues guitarist, running away from the title of the next SRV. The guitar doesn't take front billing on this album, and he even doesn't take long solos on most of the songs. Instead, he has created cuts relying on his other talents, letting them come to the forefront. The music is good, a departure from his past, but definitely headed towards a bright future.』
(Ian Moore finding his range) 『Somehow, Ian Moore's early public music efforts were Texas country-blues, and he is only now really finding his own voice. I've listened to this a lot for the last year, and it just gets better and better. Thats pretty much my standard for really good music. Its a little hard to label stylistically, since he draws from a wide variety of music, but I'd say he fills the space between Los Lobos and Jeff Buckley. More rock-art than Los Lobos, less fragile than Jeff Buckley. And he's got just a fantastic sense of rock dynamics, like Led Zep or Straitjacket Fits. There are pop songs presented with a murky buzz, like Float Away and Rollercoaster, beautiful ethereal songs - Magdelena and Coming Around, and a rock epic with an Eastern vibe in Leary's Gate. I see some similarities to U2, the Edge-like guitar-scapes, although Ian's are much denser, and check the backing vocals on Magdelena, Love! I am also reminded of Ben Harper on occassion, that South West vibe in amongst the blues rock. Another thing I like about this is that its emotionally evocative without being angst-ridden. So you can enjoy it even if you are in a good mood! Its alternative rock with a bunch of new flavors, and really great song writing, musicianship, and vocals. Spare no effort to see him live, I stumbled across him in Bozeman, and saw him in Seattle, and I feel privileged to have seen shows that great in small bar venues. Catch it before he's filling stadiums! Anyway, if you're getting bored with the standard FM radio fare, and want something a bit more rewarding, then give this a try. The only problem is it'll make most of your CD collection obsolete!』 『Groomed by his former label to be the Texas blues-rock heir apparent to the late Stevie Ray Vaughan, Ian Moore instead severed those ties and gratifyingly veered onto a musical road less traveled. Guitar heroics are still present, though they're no longer Moore's raison d'être. It's tempting to make Hendrix comparisons (especially on "Johnny Cash and His Electric Bible" and the transcendent "Leary's Gate"), but only if it's also noted that Jimi's tastes and influences were historically much broader than the stereotype of him usually allows.Colorsis an adventurous musical melange that, like the brief utopian pop era it evokes, samples freely from a heady variety of influences ranging from blues and soul to folk and classical, seasoned with a sly dedication to melodic song craft. Moore has claimed as musical inspiration the modern synthesis of style and technology fashioned by Los Lobos, the Latin Playboys, and Daniel Lanois. Here he may have just done them all one better.--Jerry McCulley』
IPhone 3G used's review (Try before you buy) 『The wide range of reviews of this video made me decide to check it out from my local library and try it before I buy it. I was happy to find that both my baby and I love it. My baby actually watches it - which surprized me, since he usually only watches videos that have lots of babies and children in them (e.g., the "Signing Time" videos are a favorite). He also dances to the music. As for me, I'm thrilled with the musical selections. Most of the other baby videos I've watched seem to recycle the same classical pieces, but this one has refreshingly different music - and very good choices at that. Some reviewers have complained about the sound quality, but I found nothing wrong with the quality of the video I watched.
A few reviewers complained about the educational quality of the video, but I don't think it's important whether or not my baby learns his colors from this, or any other video. I think it's more important to focus on playing with him and giving him lots of different experiences. Videos like this are one way of exposing him to new things, and of feeding his natural love for music, which is why I get them.』
(children's video enthusiast) 『This is a great video! We have all the Baby Einstein's, Baby's First Impressions, Baby Bumblebees. My 4 yr. old still loves this one and will run in the room and dance when I play it for my 11 month old. The music is very nice. The Baby Bumblebee vocublary videos are great for learning new words with real life objects, not the cartoon ones. Both girls also love the Big Comfy Couch videos since they were five months old. I like those too because they teach a lesson in a fun way. Check out the scholastic video collection where popular books are made into cartoons. They are cute and reinforce the books.』
(Disappointed) 『We bought this for our daughter who absolutely loves the Baby Mozart video. Unfortunately this video does not interest her in the least.』
(Classical Baby Video Enthusiast) 『This is a great video for children who love other classical videos like Baby Mozart. HOWEVER, they need to be a little older (5 months + )to really enjoy it. My son loves it at five months when he wasn't able to fully concentrate at three.』
(Beware - not like the other ABC and 123 videos) 『I must admit that this video is well done and uses a great deal of imagination to portray colors. The problem for me is that there are no children (like in the other videos) repeating or even mentioning the colors. THis vidoe is for parents who can sit next to their child and tell him or her constantly what is going on; otherwise, the child does not learn the colors.』 『It's no secret that babies love colorful images and are soothed by beautiful music. NowCelebration of Color, part of the trilogy of videos from the illustrious Babyscapes, offers up this intriguing and stimulating combination. Like the other Babyscapes videos, this is not only wonderful for baby, but lovely for parents and caregivers. Repeated viewings won't be a problem, since the music is not only beautiful but well presented.Celebration of Colorfeatures seven segments and seven classical tunes that combine color, shapes, music, and rudimentary reading (the colors are spelled out slowly, through the CGI images). Babyscapes videos also don't feature any extraneous narration and let the music and images convey the message.Celebration of Coloroffers the following segments: a colorful display of fireworks set to Bach'sBrandenburg Concerto No. 3; the color blue to Beethoven's "Ode to Joy"; red to Beethoven's "Turkish March"; yellow to a Brahms "Hungarian Dance"; green to Mozart'sEine Kleine Nachtmusik; purple to Bach'sBrandenburg Concerto No. 2; and orange to Boccherini's "Minuetto."
Packaging suggests that children up to 5 may still be interested in this enchanting video, but it's doubtful that the interest of children as old as 5--or, in some cases, even 3 and 4 (who may be in preschool and used to more active stimulation)--will be sustained throughout. (Ages 8 months to 4 years)--N.F. Mendoza』
