A huge talent, but got to less attention
598751
Hi. I'm A huge Billy Yates fan for years. His first album is a must. The songs goes straigt to your heart and you gonna love it, even if you isn't a hardcore country fan.

Go and buy it!!!!
2052099
Like others, I thought that this CD was a big come-down from her earlier work, specifically, the live in Paris recordings.  However, without putting too fine a point on it, my impression when listening to it a second time (of a total of two), was that my lack of enthusiasm might have been driven more by the selections, with the exception of the title song, or the instrumenation / recording (had to concentrate to hear her piano work) than from Diana, herself.

She's a great! talent, get her Live in Paris DVD to be wowed!
1065878
In THE ART OF YOUTH, author Nicholas Delbanco examines the lives of three talented artists -  writer Stephen Crane, painter Dora Carrington, and musician George Gershwin - all who died by the age of 38. He also includes an autobiographical chapter about himself, apparently considering himself to have been a child prodigy as well, but this chapter does not seem to belong to the book, since he is not as noteworthy as these three artists, and he clearly did not die young.

I was not very familiar with Stephen Crane, but previously knew about Carrington from watching the film Carrington starring Emma Thompson. I had long appreciated Gershwin's music - and been intrigued by him also because we share the same birthday and a similar ancestry. Having personally experienced the peak of my own creative success when I was a teenager, I was hoping that the author Delbanco would have insights to share about early but truncated creativity. However, he only pointed out half a dozen of the obvious characteristics that these three artists had in common such as creative energy, ambition, early support, and a self-absorption combined with an outward focus.

Stephen Crane started writing poetry at the age of four, and published his second and most famous novel, Red Badge of Courage, when he was only 23. He wrote ceaselessly but did not take care of himself physically, suffered from a GI disease and died of a brain tumor when he was only 28.

Dora Carrington was a portrait and landscape painter. While DelBanco focuses on the creative outpouring of Crane and Gershwin, he appears to assume that since Carrington was female, that her relationships should be the focus rather than her creative work. Indeed, her love affairs and friendships are intriguing and unusual - especially her lifelong platonic love affair with her live-in companion, homosexual Lytton Strachey. But DelBanco could have shown Carrington the same respect he showed the two men by fully acquainting the reader with her work. Although I've watched the film about her and read this brief biography, I still know little about approach to painting or her specific works of art.

George Gershwin was born to a poor Russian Jewish family, originally named Gershowitz. His father's unstable work history led the family to be constantly moving, but his parent encouraged the musical talents of their children. From an early age, Gershwin was obsessed with music - hearing, playing, performing, composing. At the age of 23, he composed Rhapsody in Blue, followed by American in Paris and Porgy and Bess. Gershwin enjoyed immense popularity. When he died of a brain tumor at the age of 38, there was a national outpouring of grief and many memorial concerts.

Although I was pleased to learn about these three artists, I found the author's approach to them dry and tedious. Delbanco takes a distancing, external perspective on these three artists, presenting facts about their lives, but not providing any sense of their inner selves or revealing enough about their personalities to bring them to life on the page. The book is short but because it is not at all emotionally engaging or intellectually stimulating, it did not hold my interest. I rate it three stars.
3200858
Many of the accolades that this album received justly manifest that "The Hour of Bewilderbeast" contains magnificent moments. 'The Shining' and 'Disillusionment' are two such moments where Damon Gough, a.k.a. Badly Drawn Boy, weaves gorgeous musical tapestries.
However, these moments are hardly sustained throughout the album. Additionally, the fact that "The Hour of Bewilderbeast" is long-winded only magnifies this fact further. There are a few songs of filler, and the album would be much stronger without their presence. 'This Song' and 'Body Rap' are two examples.
What is truly evident from this debut is that Gough is capable of great things. It is certainly one of the more original albums to have come out in the past few years. However, it seems surprising that "The Hour of Bewilderbeast" grabbed so many awards in a year that was one of the best in ages for the album as a genre, but then it really goes to show how political the whole process is. Is it really better than "Kid A," "Figure 8," "Thirteen Tales from Urban Bohemia," and "The Sophtware Slump?" This is only to name a few....
Nevertheless, this album is a fine one and may very well prove to be a hint of things to come. Recommended for listeners who like ecclectic styles, but not so for those who believe an album should be perfected.
1117808
Ok folks, I thought I`d just be fair here:
First, I simply can`t understand why there is so many people outthere that are so extremely fond of this signer. Her voice sound very mature for her age, and she looks pretty average, too - at 14 or so, she allready looked like a young woman. While she had a distant (she looked already ruther mature than) foretaste of a child prodigy at her very first debut on this album, she eventually grow out of this status few years later. What could, *could* make her a slight point of interest, was the fact that she allready at 12 attempted to sing professional arias and songs thus being a child prodigy, is now no more. She growed up, and being in her 17`s, she doesn`t look like a child anylonger. Her voice and especially her technique, however, seem to be unchanged and that is, in my opinion, one of her gratest disadvantages up to date. Without a slightest exaggeration, her voice have a great portion of terrible shrillness, often forced and nasal notes, that are mostly harsh and unpleasant to the ear. While it`s true that it have some sort of mysterious freshness and purety about it, though ruther distant, it is at the same time obvious that her technique seem incomplete, her style outdated and weard - her voice, with few and infrequent notes of beauty and melowness, is mostly violently penetrating and uneven. It`s enourmous luminosity and harshness is striking to the extreme - and it gives more pain to the ears, ruther than satisfaction. To summoraze it all, I want to conclude saying that while I find the voice of Charlotte Church to be ruther curious and beautiful, at the same time, I find her technique poor at best and terrible in general - if she doesn`t change her technique, she may never have a right to claim that she sings in a true classic style. No way.
Cheers.
2511627
Sometimes you have to wonder how many great artists just never get heard by the general public? Even after the tracks of this album were laid down so well, it still took 27 years to get out and get heard.  Other reviewers have commented on the brilliance of Paul Pena's musicianship (he's incredible), so I won't.  I can't help but think about the influence Paul's music would have had on young musicians growing up over the last 3 decades.  This CD is technically beautiful, warm, bright, uplifting and has the driving spirit lacking in so much of todays mass produced pabulum.  Buy this CD and along with the rest of us you can realize that you are playing a small part in getting Paul Pena into his rightful spot as one of the truly great talents of his generation. Then maybe, finally, his music will get airplay all over and everyone can bask in its warm light. Hopefully we won't have to wait another 27 years for his next album.
3061021
I remember a music critic once said that Traffic was a band with too much talent to burn. This is the album that made Dave Mason lives up to his potential. It's the follow-up to Alone Together that his fans have been waiting for. In some ways, it's sad that he has to spend so much time to come up with such a gem. On the other hand, he couldn't have written such mature lyrics after he made Alone Together.

I would have given it a 5-star rating. I couldn't because he's victimized by his legacy with Traffic. To deserve such perfection, some of the tunes can sorely do with Winwood's slash & burn keyboards and the penetrating drums of Capaldi who unfortunately passed away some time ago.

Still, on its own, this is probably one of this year's finer records even if you've never heard of Dave Mason. And that's saying a lot considering some of the mush that record companies have come up.
3797360
I watched this DVD and then I realized what a TRULY talented musician he really had been. I realized the early loss of his presence to us these few more years. It would have been exciting to be a part of the audience of this performance live. It was so good on the DVD.  think we would have enjoyed his musical performances for years to come. It is always hard to let go of great artists.
2586723
INOJ was very popular at Clubs for her music.  She could have been more if the right producer invested into her talent.
3983714
It just amazes me with so many artists trying to sound hip and well again, people don't give them any credit for it, and sometimes even less. It just makes up to be in some people an amazing flop and even a reduction with the voice. That was the case during the late 90's with Rod Stewart. He had a few difficulties, and a very serious bout with throat cancer. As a result, Rod definitely had a problem. Fortunately, he was able to complete his record. Unfortunately it was his last record with Warner Brothers, and he said goodbye. As a result, he wandered until his revival a year later. Still, his voice didn't seem to luster, but the music didn't make that all sense.
The 2001 record, Human, is the last record Rod conjured with Warner Brothers. But, the album didn't look like Rod Stewart was trying to be himself, instead he was being someone else. As a result, the record falters a bit with him experimenting with Dance, Modern R&B, and a little dance into it. Although the record does seem to look like that in the bloom, it very much has its strong points with a few tracks to Rod's credit to the mix, that stands with his original voice, including I Can't Deny It, the only track to be issued as a single, To Be With You, and Soul On Soul. Unfortunately, other tracks like Human, and Smitten and Loveless. Although the record is great as a formal reference for Rod Stewart's die hard fanatics, some might not want this record.
It comes as no surprise that people will want to pass up Human by Rod Stewart, in exchange for his revival It Had To Be You: The Great American Songbook Volume 1, or the sequel. Still, Rod Stewart is just one of those talents that never seems to die. I don't think this record may seem worth it to a lot of people, but it is at least worth a listen to.
3768970
You can tell a lot about a person from their reaction to first hearing this album.
1239646
Kurt Elling gets a lot of love from critics. He's blessed with a rich and powerful voice and an undeniable abundance of musical talent. He also has a unique personal style that -- and I know I'm in the minority here -- I find profoundly irritating. Elling likes to sloooow songs down, extending every note and adding some of his own. What one reviewer called Elling's "rigorous restructuring of intervals and cadences," I see as "hey, look at me!" showiness.

Fortunately, Elling is not always heavy-handed with his material. Yes, his overly deliberate version of Earth, Wind, and Fire's "After the Love Has Gone" destroys the melody and emphasizes the song's weak, sentimental lyrics, and his snail's-pace cover of the Beatles' "Norwegian Wood" gives this light, wistful song a ponderous weight. Still, his oddly-inflected, loungey version of Joe Jackson's "Steppin' Out", and his reverent rendition of Stevie Wonder's "Golden Lady" are more moderate in tempo and much more enjoyable. The remaining tracks fall somewhere in the middle.

Again, I know this is a minority view, but too often Elling sounds like someone who thinks the singer is more important than the song. (This was something justly said about Christina Aguilera regarding her performance of the national anthem at Superbowl XLV.) When he lets songs be themselves, however, his natural talents shine through. I wish he would do that more often.
1410215
This man should have been a star back in his day but bad luck in timing pushed his opportunities past his grasp during his short lifetime. He was my uncle and I remember a few times when he and Greg Allman cranked up the shed out back of my grandmothers (his mother) house in Alabama in the 70's. THOSE were the days....his genius guitar mastery will be missed. Im glad his music finally found its way to "The big time"
3513540
As a long-time listener to and collector of American popular music from the early 1900s through the big band era and early 1950s, I have come to the conclusion that there is probably no one as skilled on the clarinet as Artie Shaw.  In addition, his compositions and arrangements are superb.  Being more familiar with his big band performances, I was delighted to have the opportunity to become acquainted with another aspect of this master's work through this collection of small group performances.

However, my enthusiasm was somewhat diminished as I listened.  The first two discs art top-rate Shaw--more or less standard  arrangements of "old" standards but modified to fit a small group.  The elimination of the big sound exposes the essence of a song and makes you realize why it is a great and lasting song.  Very nice, very satisfying.  The remaining three discs, on the other hand, represent Shaw's "experiments" with be-bop and other lesser forms of jazz--the kind where, after about half a minute, you forget what song you are listening to because the musicians are off doing their own thing and making noise that does not reflect any sense of "composition" and does not resemble any recognizable song.  Good musicianship, to be sure, but very unsatisfying.

The liner notes say that Shaw had always been interested in experimenting with other forms of jazz and formed his small group for the purpose of doing just that.  I'll take their word for it, but that does not diminish my disappointment.

Still, I think that the set is worth having--the first two discs to enjoy, and the other three for the historical value of tracing the development of one of the Greats in American music (or as an example of how something really good can go really bad).
1306967
This is what I like to call "Big Ear Music". It takes big ears by the musicians to romp, stomp, and have wonderfully child like playfulness to pull this off with the skillfulness heard here. It also takes "Big Ears" to delve inside these incredible compositions and improvisations. I hear a lot of complex, expertly played big band music. Sadly, I find so much of it to be cerebral at the expense of having enough heart, and it quickly leaves me cold and disinterested. Not this band of merry men. Sadly, I think Sean Bergin passed away a few years ago. Hopefully his music with find many more "Big Ears". As the previous reviewer so noted, "Let's loop this recording!!" Highly recommended!!
2631108
Meat Loaf may of been the headliner, but the groundbreaking BAT OUT OF HELL album ended up doing as much for it's quirky composer. that "songs by Jim Steinman" blurb may of seemed like an act of gold-star tokenism, but it announced in it's own way that there was another "new talent" riding this crest as well. and it was a talent that would flourish, most obviously in the form of hits he would shortly pen for Air Supply ("Making Love Out Of Nothing At All") and Bonnie Tyler ("Holding Out For A Hero," "Total Eclipse Of The Heart").
if only he'd stuck to his strengths. i don't say something like that lightly because i've always admired, even envied, musicians who can write, produce, and arrange as well as perform, actors who can write scripts and direct as well, etc. i like to see artists spread their wings when the can pull it off. but the fact is, Steinman couldn't.
industry legend has it that when Meat Loaf's voice gave out on him, Steinman stepped into the spotlight to keep the album from begin scrapped. certainly a noble sentiment in it's own right, but it backfired. Steinman's thin, reedy voice might've worked out for the sort of songs people like Fabian and Frankie Avalon sing, but it doesn't come anywhere close to the epic grandeur his own compositions cried out for. the singer might as well be Micky Mouse.
it's potenitally killer stuff - quite a few of these songs, after all, would turn up on later Meat Loaf albums - but Steinman just doesn't have the presence to "sell" it.
4305666
I think some of the composers would be amused (if not irritated!!!)to learn, how commercial their music has become. Stravinsky which already noticed this phenomenon said:"we do not need any interpreters! just play the notes!"Still some people spend a period which is 3 times longer than the composers life time, in order to figur out "what did the poet mean". Others play the big star divas on the expense of great masterpieces. The new genaration is in a desperate seek of somthing "new" to say and you will find sexy photos of some of them on cd covers ,which remeind very much the pop industry(or the porn industry!)In such a world Clara Haskil is a unique artist and probably one of the most sincere interprets ever lived. In her playing you will not find ambitious temperament,exhibitionism of sensuality or any kind of ego trips, nor did she sit down with 7 different faximilies and a microscope ,to prove that she does justice to the music more than anybody else(!!!)in fact she DOES'NT try to prove anything. Totally un-ambitious and stays away from sentimentality and mannerism, in her playing you will find purity,inocence, refinement of expression sincerity(to the extent that when she is not inspired she leaves the music to speak for itself rather than destroy it)a very sharp ear and above all simplicity. If you are a patient and  sensitive listener, you will discover behind this mask of simplicity a tragic person, that is with no doubt a great and rare artist. A must for the genuine and mature music lover.