Speak

Track Listings

1. In the Event

2. Necessary Pain

3. Thrown Away

4. Dogs of Peace

5. Do You Know

6. I Wanna Know

7. Truth

8. Pray to God

9. Burning Bush

10. When I Believe It

Tracks:

Headlock
Goodnight and Go
Have You Got It In You?
Loose Ends
Hide and Seek
Clear The Area
Daylight Robbery
The Walk
Just For Now
I Am In Love With You
Closing In
The Moment I Said It

Amazon.com

If the voice sounds familiar, that may be because a couple of tracks have been featured on The O.C., while Frou Frou's "Let Go" appeared in Garden State. (Frou Frou is a collaboration between Heap and producer Guy Sigsworth.) Her sophomore release, after a UK-only debut, is a fine showcase for the singer/songwriter's swooping vocals. Her style, which incorporates layers of multi-tracking, lies somewhere between Sinead O'Connor's banshee howl and Jem's more delicate musings. There's more of a groove to her ouvre, however. At times, she almost sounds like Norway's Annie--by way of Kate Bush. The overall effect is plush and luxurious, if occasionally generic (a more stripped-down approach would really allow that instrument to shine). The one song that doesn't quite fit the electro-pop pattern is the vocoder-saturated "Hide and Seek," in which Heap enters Laurie Anderson territory (specifically 1982's "O Superman"). It's a risk that pays off, although its placement midway through the recording threatens to throw the balance off. (It would have made more sense at the end.) Aside from writing and singing, the multi-talented musician also recorded and produced Speak for Yourself. --Kathleen C. Fennessy

Customer Reviews:

Rich, Passionate, and Fun.......2007-07-09

After listening to "Frou Frou's" "Details" (produced by Guy Sigsworth), I was interested in hearing more Imogen Heap. So I bought "Speak for Yourself" and I loved it. It continues to inspire whenever I listen:

...marvelously expressive and sensual audio experience painted largely with two pallettes of nearly infinite range - electronic instrumentation, and Imogen's incredible voice.

Let me try to describe that voice:

-Her inhales and exhales are an important part of the performance and adds to the sensuality.
-Wonderful layering of harmonic and accent tracks.
-The rhythms are perfectly timed.
-Passionate, erotic, angelic.

And the lyrics are worthy of the sounds.

I always wonder about the people behind the music, including the impact of the producer. Listening to "Speak" (produced by Imogen) seemed to imply that Guy Sigsworth's contribution to "Details" may not have been as sig-nificant (I love puns), or perhaps it was very sig-nificant, and what she learned from him she incorporated into "Speak."

However, I have also since listened to Imogen's "I Megaphone," which is entirely more free spirited and undisciplined, and I did not enjoy it as much. This gave me the impression that Guy Sigsworth's contribution to "Details" and perhaps by inspiration, to "Speak," might have been much bigger than I imagined. Who knows.

I do know this - Imogen Heap is a huge talent, worthy of your time and money, regardless of the production style she's using to express herself.

Terrific, joyful and uplifting.......2007-07-01

I had not heard of this young talent until a friend of mine sent me a You Tube link to a live performance of one her songs. I went to the link and heard her do "Just for now" before a live audience (there are several; the one I heard was "live at Studio 11 103.1FM" . I am a trained musician with a fine ear for what I consider to be greatness. Within 30 seconds of this tune I was simply lifted up into some higher vibration within my self and I just was overwhelmed with tingles of joy. It is rare that I come across someone who makes such effective and deliberate use of her God given gifts. It is such with Imogen Heap. After a tough childhood, she emerged herself in musical education with a special emphasis on technology. This is a young lady with a gift both vocal and on several levels of music. I have yet to pay much attention to her lyrics but I will eventually sit down and get my reading glasses on to see what she has to say. It's that voice and what she knows what to do with it that just grabbed me. Listening to "just for now" even as I write this reminds me of the joyous sounds of African singers such as Miriam Makemba and others. I am reminded of the spontaneous and effusive solo piano work of Keith Jarrett.

Heap is a talent to be reckoned with and I can only expect more wonderful sounds to come. The album I am reviewing here is full of delights on almost every single track. I have listened to it at least 4 times now and it continues to grow in my estimation with each play. What a tremendous joy it is to listen to so much light and harmony. Richly rewarding.

Unique.......2007-06-27

I found Imogean Heap to be wildy unique in contrast to the bland music generated on our radios each day.

Great music!.......2007-06-27

This CD is truly remarkable! Imogen Heap may perhaps be one of the most creative and experimental newer mainstreamish artists out there! Her pieces are unique and each song keeps the listener captivated and listening. My personal favorite on the CD is Hide and Seek, which is a nonmetric piece with a lot of flow and musicality. Her lyrics are slightly melancholy and nostalgic and her voice is truly unique in the sense that I have heard no one like her yet. She seems to sing from her soul and holds herself as some sort of enigma. I really loved this album because it is so different from anything I've heard which makes it satisfying as well. It will really diversify your CD collection. However, if you are a very traditionalist type of music appreciator, I wouldn't necessarily recommend her. She pushes the musical envelope and dares the listener to step out of their comfort zone. She is trying something new and unconventional and I believe she is succeeding at it. For those of you willing to experiment with new artists or looking for a breath of fresh air, here it is. I highly recommend the purchase of this album.

Not copy protected any more!.......2007-06-24

My CD received is absolutely not copy protected. I believe Sony has made a change with regards to this.

Great CD, one of the best I've ever bought.Imogen Heap is very talented.

Average customer rating:

Speak No Evil...
the Miles effect
What This Album Means To Me
Sustained Beauty
Flawless

Speak No Evil
Wayne Shorter
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000I8UH
Release Date: 1999-03-23

Tracks:

Witch Hunt
Fee-Fi-Fo-Fum
Dance Cadaverous
Speak No Evil
Infant Eyes
Wild Flower
Dance Cadaverous (Alternate Take)

Amazon.com

Wayne Shorter's compositions helped define a new jazz style in the mid-'60s, merging some of the concentrated muscular force of hard bop with surprising intervals and often spacious melodies suspended over the beat. The result was a new kind of "cool," a mixture of restraint and freedom that created a striking contrast between Shorter's airy themes and his taut tenor solos and which invited creative play among the soloists and rhythm section. The band on this 1964 session is a quintessential Blue Note group of the period, combining Shorter's most frequent and effective collaborators. Trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter, and drummer Elvin Jones merge their talents to create music that's at once secure and free flowing, sometimes managing to suggest tension and calm at the same time. --Stuart Broomer

Album Description

24 bit digitally remastered Japanese reissue of classic Blue Note album in a miniaturized LP sleeve limited to the initial pressing only, and with the original artwork intact. Contains all six tracks from the original 1964 issue. 1999 release.

Album Details

Japanese Version Featuring A Limited Edition LP Style Slipcase. 24Bit Remastered.

Customer Reviews:

Speak No Evil..........2007-06-15

I can't anymore to what already has been said. This work
(Wayne's 3rd Blue-Note Album) is simply outstanding. It's
a complete modern jazz work. As this is my first Wayne Shorter
album, I have nothing to compare it to! So, this gives
me an excuse to purchase another disk. But, what to buy?
I know, I'll pick up the following:

1. "Night Dreamer" (Wayne's 1st Blue Note Album)
2. "JuJu" (Wayne's 2nd Blue Note Album)

Then, I can perform comparisons! Stay tuned...Oh yes, this album
rates five stars!!

the Miles effect.......2007-04-20

Along with key sidemen Freddie Hubbard (t), Herbie Hancock (p), Ron Carter (b) and Elvin Jones (d), Wayne Shorter produced this classic in 1964 and it was released that following year by Blue Note. Known for both the compositional ingenuity that went into this record as well as for the improvisational nature of the music at hand, this seminal recording has influenced countless musicians that followed. This particular reissue is part of the Rudy Van Gelder Edition series, and as such has received 24-bit digital remastering that improves upon the integrity of the sound here greatly.

This is music that followed Shorter having joined Miles Davis in the summer of 1964, and as such shows Wayne becoming more innovative and daring as a composer. I cannot recommend this album enough to everyone. If you enjoy the music of `Speak No Evil' then you will also thoroughly enjoy the albums `Juju', `Soothsayer' and `Adam's Apple'. Out of all the Wayne Shorter projects produced during his Blue Note years, `Speak No Evil' is the definitely the best place to start.

What This Album Means To Me.......2007-01-13

This dynamic quintet marks one of the peaks in jazz creation and interplay in it's musical history. With an allstar cast of Wayne Shorter, Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones, the music was destined to be nothing less than amazing from the start. But amazing players is not all it takes to make an album worth a spot on the jazz timeline. The day of recording it was obvious that everybody was on. Fueled by the lyrically sad and revolutionary compositions of Shorter, their creative drive was explosive. Being a drummer this album has taught me a huge chunk of what I know about the concepts of swing and interplay. This music has nothing to do with showing off or proving something to one's audience. The fantastic thing about Shorter is his ability to say exactly what he wants and yet the music comes across in a way that's "medicine for your ears" according to Herbie Hancock. Shorter was the only person to bring music to Miles that never had to be changed because it was perfect and this album shows exactly that; a solemn soul creating something far beyond music.
Witchhunt is a dynamic opening to the cd. The rhythmic explosion at the intro already tells the audience with in it's first few seconds of sound that the album's a classic. It's interesting to note how the intro is a great example of call and response, a somewhat foreshadowing of the interplay to come in the solos. Elvin's swing into the head is driving and powerful. All the tunes and solos on this cd are examples of Wayne's ability to use space. Witchhunt is no exception with a bouncy rhythm of 8th notes for two bars followed by space for two bars. The horns are somewhat behind the beat, defining their unique concept of swing. Wayne understood what the rhythm section was there for. It wasn't to make himself sound good, but to make the music sound good. The intense B section contrasts the mellow and bouncy A and is another great example of how Wayne incorporated call and response in ways beyond just leaving space after a phrase. The end of the B section then mellows down with some 8th note phrasing somewhat reminiscent of the A. Wayne's solo begins with an epic fill by Elvin and then the subtle interplay begins. If you're to tune out the rhythm section it almost sounds like Wayne is soloing over a ballad. His enigmatic way to keep his cool over a "medium up" song is incredible. His phrasing and style make his rests seem longer and spacier than they are which is also very masterfully accomplished by the rhythm section. They knew how to make two bars feel like an eternity, something that is hard to explain in simple music terminology. He has a subtle way of referencing the head into his solo without using it too much. Hubbard begins his solo with some high pitched dynamic phrasing. Freddie is a lot more ahead of the beat than Wayne, another interesting form of call and response that keeps your ear wanting more. Hancock's solo opens with a simple 3 note motif. His solo is not very related to the head but still is innovative and exciting, proving his inate ability to write music on the spot. Coming back into the head the drums are more intense than they were at the beginning. Freddie slips a little at the end, but is almost not even worth mentioning as the song is incredible.
Fee Fi Fo Fum opens with a syncopated and mysterious piano intro. The head itself is very spacey and mellow with the current of swing under it. One of the most amazing pieces of this album is Freddie's solo intro on this track. It's virtually indescribable along with the rest of his solo which built off his great topic sentence. The solo is fairly short, but still says so much. Shorter's solo is very behind the beat and very rarely has anything faster than quarter notes. Later in his solo he busts out some lines that are almost straight. These lead into some very bluesy licks and his climax into Herbie's solo. Herbie's solo plays off Wayne's blues motifs and incorporates his own style until he builds tension with a triplet line back into the head. The first note of the head is played in such a way that it seems like they used some kind of effect, but it's all simply in how well they played it. The ending is predictable and releaving.
Dance Cadaverous is a somewhat "up" waltz, but is more like a mysterious and haunting lullaby. The piano comping over the head is another one of my favorite parts of this cd. It's this amazingly awkward and muddy feeling that if heard by itself would simply be weird, but Herbie knew how to use his out of the box mind to add the spice to Shorter's music. The piano solo begins behind the beat and very beautiful. Herbie rapidly builds tension and releases it into a flurry of notes leading into the downbeat. The energy subtly increases into Shorter's solo in which he seems like he's grasping onto something. Shorter's uncanny ability to use his life experience to bring out the human and raw emotion in something as obscure as a complex waltz is truly stunning. His solo then builds back into the mysterious head where Herbie's comping is again exactly what the composition needed. The strong ending is great and a perfect end to a perfect song.
Speak No Evil, the title track, is a "medium up" swing song with such subtle things done during the head that it's hard to notice. The head itself is a simple 5 note motif that leads into the downbeat from the and of 3. The B section is a quick and large amount of tension that is quickly released. The solos are all over only the A section which makes it very cohesive and swingin'. Shorter's solo is my favorite on this cd. This is the only time he's on top of the beat in any way. This song has some of the most intense interplay i've heard in all my listening experience. Wayne's climax is practically orgasmic and after it happens you can hear one of the musicians say "yea," which is said in the best way possible. The crescendo into Hubbard's solo is strong and then mellows down to be built back up over the intense swing. Freddie has no problem consistently hitting notes that tug at the soul and uses them as a common tension builder throughout the cd. Hancock is also fairly on top of the beat but still maintains a very relaxed feel. He then busts into one of his polyrhythmic tension builders and leads back into the spacey head. The crescendos are so well done between Shorter and Hubbard that it's hard to tell that there are 2 horns. It ends with a fadeout which is appropriate even though I'm not ussually one for fadeouts.
Infant Eyes is the ballad of this cd. Shorter's intro is incredibly soulful and his sense of rubato glides the peace as opposed to making it feel like chunking quarter notes which can get very repetitive in ballads. This song is a perfect example of Wayne Shorter feeding off his painful life experiences to create something wonderful. "Bring It On" Shorter says when discussing life tragedies, "because I want to reep the benefits." With the loss of his wife, parents, and daughter, Wayne Shorter has embraced solitude and used it to breathe tragedy into his horn. This song has a level of authenticity that is far beyond chops, pitch, rhythm, but is simply directly about soul. He references the head in his solo and the discussion between the sax and the piano turn this from a ballad into a beautifully depressing conversation. The ending is very mysterious and poignant.
Wildflower is the final song of this cd with the exception of the alternate take of Dance Cadaverous. Though this song is an "up" waltz it really feels like a lullaby. I commonly find myself humming it while I'm walking around. Shorter begins his solo by quoting the head. He still uses his ability to stay behind the beat to show
the contrast he has with the rhythm section. Freddie's solo also quotes the head and uses his high pitch on ability to stay on top of the beat to portray his message. Hancock uses polyrhythms to lead into realeases on the downbeat, starting his phrases halfway through the measures. He and Elvin synch up on a dotted half note rhythm back into the head. The A section is soft and serene while the B section builds the tension into the ending.
This cd gave me so many new concepts as a musician, but as a listener too. This was one of the first jazz albums I really got into and it was a gateway drug of sorts because it really opened my mind to this world I had never explored. Shorter still remains one of my all time favorite musicians and composers. There's something about his playing that's not just wonderful. It's not just lyrical. It really tugs at your heart in an indescribable way. He understands that music isn't just music. That a rhythm isn't just a rhythm and a note isn't just a note. If you ever find yourself wondering why all the soul in music is gone these days it's because most of it's gone to Wayne. He has no intentions of quitting and neither does my ear, cuz it needs it's daily dose of the Shorter.

Sustained Beauty.......2006-08-25

In the early to mid-sixties, Wayne Shorter, both before and during his tenure with Miles Davis, created some of the most indelible compositions in the jazz lexicon. The genius of the composer, who created "Speak No Evil" "Night Dreamer," "Juju," and "Adam's Apple," all recorded during this time,is beyond description. Using many of the same personnel (usually Herbie Hancock in the piano chair, who was also central to the harmonic voicings of the ensemble playing-Reggie Workman or Ron Carter on bass, Elvin Jones or Joe Chambers on drums, Freddie Hubbard or Lee Morgan on trumpet) probably accounts for the "unity" of sound on these albums, but even more central are the songs written by Wayne Shorter-"Infant Eyes" from Speak No Evil," "Footprints" from "Adam's Apple," "House of Jade" from "Juju," the title track from "Night Dreamer" or "Oriental Folk Song" just for starters.

As another writer mentioned, this is "cool jazz," but much different form what came to be known as "West Coast cool." The tunes unfurl at an even pace, and the beauty of the music is such that it sometimes seems to stop momentarily, just so the beauty could be sustained a little longer. These are the records that (no disrespect to Coltrane, Hawkins, Webster, or any of the great tenor players) cement Wayne Shorter as my favorite tenor player, and one of the greatest musicians of the 20th (and now 21st) century.

Obviously, anyone who likes "Speak No Evil" should check out "Adam's Apple," "Juju," "Night Dreamer," or Miles" "Nefertiti," to which Shorter contributes another classic composition in the same vein as the others, "Fall."

Flawless.......2006-04-11

Exploiting simple melodies to gorgeous effect and engaging in brilliant harmonic interplay with trumpeter Freddie Hubbard, Wayne Shorter crafted one classic LP after another on Blue Note in 1964, culminating in this Christmas Eve set, easily his strongest, with "JuJu" a close second. Every composition here shows tremendous growth and while the pieces are shorter than some of the more explorative works he would undertake later in the 70's with keyboardist Joe Zawinul (somebody please release "Odyssey Of Iska" on CD!!!!) the overall feel of this work is easy flowing and expansive, relaxed but not languid or slow and sprawling but not too drawn out. The 8 minute title cut is a standout for it's unforgettable melody and stellar soloing by all members of the quintet. Both mellow and lively, this entire set is essential for any fan of "real" jazz. Perfect.

Average customer rating:

Excellent Score -- Very Unique
One of the few good things about this wretched film
The score elevates the film
Good Soundtrack!
Nice...but a little overrated,

The Village

Manufacturer: Hollywood Records
ProductGroup: Music
Binding: Audio CD

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The Village (Widescreen Vista Series)

ASIN: B0002IQJSC
Release Date: 2004-07-27

Tracks:

Noah Visits
What Are You Asking Me?
The Bad Color
Those We Don't Speak Of
Will You Help Me?
I Cannot See His Color
Rituals
The Gravel Road
Race To Resting Rock
The Forbidden Line
The Vote
It Is Not Real
The Shed Not To Be Used

Amazon.com

In the wake of his Sixth Sense triumph, young director M. Night Shyamalan shrewdly marketed himself as a marquee draw, a thriller auteur in the vein of Hitchcock and DePalma. In the process he's also run headlong into one of Hollywood's truest adages: There's no such thing as a sure thing. But while his tale of an isolated hamlet ringed by mysterious, threatening 'others' met with tepid reviews and disappointing box office, it also underscored another filmmaking truism: So-so films can still be blessed with magnificent musical scores. This hauntingly beautiful, yet thoroughly contemporary orchestral soundtrack by James Newton-Howard distinguishes itself at every turn, becoming a clear standout in the ongoing collaboration between the composer and Shyamalan. While similar fusions of minimalist and post-modern musical influences can sometimes seem not much more than hollow intellectual exercises, Newton-Howard inhabits his hypnotic arpeggios and droning rhythms here with an evocative undercurrent of the mysterious and mystical. The composer leans heavily on solo violin to conjure a mock folk tradition of indistinct origins, wedding it to a contemporary classical sense that's as seamless as it is distinguished. -- Jerry McCulley

Customer Reviews:

Excellent Score -- Very Unique.......2007-02-22

I have long been a film-score aficionado. My favorite composers are Hans Zimmer, James Horner, Jerry Goldsmith, John Williams -- only the best of the best. I had always known about James Newton Howard and his work, and always respected his unique abilities and talents.

It was with this score that he really caught my attention. The central theme of the film is a love story, and the characters just happen to be caught up in a nightmarish scenario. The score reflects this perfectly; some of the pieces are classically romantic, quiet pieces, while others are thunderous and frightening to reflect the danger and terror portrayed in the film.

James Newton Howard's later works, like "King Kong" (2005) and his co-score with Hans Zimmer on "Batman Begins" (2005) continued to show that he is rightly considered one of Hollywood's A-list composers for big films.

One of the few good things about this wretched film.......2006-11-05

I admit I absolutely hated "The Village". The film started out rather good. The build up in suspense was flawlessly executed but then the second half of the film totally went downhill for me. One of the few things I enjoyed about "The Village" is the film score by James Newton Howard. The combination of the orchestral film score and dark cinematography was perfect. Both complimented each other. Violinist Hilary Hahn was what really gravitated me to the music. A lot of film scores have a terrible tendency to be loud and bombastic (like John Williams and Hans Zimmer) but James Howard Newton's score is subtle and never overwhelming to a person's ears.

The score elevates the film.......2006-08-09

'The Village' was panned pretty harshly in critical circles, but whatever you think of the film, James Newton Howard's score for it is a beautiful piece of work. It lends a haunting, lyrical quality to the film, and it is wonderful to listen to by itself, whether or not you like or have even seen the movie.

While there are a couple pieces in the score that are a little more high-octane in terms of suspense, most of the music is very low-key. Still suspenseful, even spooky at times, but in a very understated and thoughtful way. In some ways similar to Howard's score for 'Signs', which also used repeated rhythms and themes throughout in different ways, the music for 'The Village' differs from the standard "scary movie" score by having pieces which establish a real emotional depth and presence. 'The Village' is a film about love and loss, and much of the music expresses those themes perfectly.

A big part of how the music gets to the depths of emotion is the solo violin performances of Hilary Hahn, present to some extent in almost every piece. From the opening strains of "Noah Visits," the first piece on the CD, her violin speaks the language of the heart and draws the listener into a beautiful world of haunting music, inescapable and compelling. I am amazed by her versatility here. From the fast rhythmic notes of "The Gravel Road" to the high strains of "I Cannot See His Color" to the final, bittersweet tones of "The Vote," Hahn's violin creates a steady thread through the whole score, unifying it and making it unique at the same time. I've listened to several of Hahn's classical performances as well, but I have to say that of what I've heard, her performance for 'The Village' may be her most unique and most compelling yet.

The combination of James Newton Howard's compositions and Hilary Hahn's lush performance have created some beautiful music for 'The Village'. Whether you love the movie or hate it, or even if you're just looking for some rich orchestral music with a beautiful violin performance, this score is well worth owning and listening to many times over.

Good Soundtrack!.......2006-08-03

I'll admit I bought this soundtrack for the music that played during the rescue scene when Phoenix grabbed Howard's hand---that part alone was worth the buy--beautiful music. Anyway, if you like scary music, there's plenty of that on here, but I usually skip those. So let's get down to it---how many tracks do I play over and over and never get sick of them? Numbers 9, 8, and 4's second half-- it switches from scary to the scene mentioned above. Those three are hauntingly beautiful. Numbers 1 and 5 are also very pretty if you are in a very relaxed state. The rest I don't really listen to simply because they're scary. But, if I can find a cd with at least 3 songs I really like, I consider it worth buying...so I recommend this soundtrack. Plug--- recommend the movie even more, even though the music is scarier than the movie itself. That movie has the best chic flic moment I've seen (guess which scene I'm talking about). Also, "Good afternoon Lucius..."--- that part is hilarious!

Nice...but a little overrated,.......2006-06-08

I'm a sucker for film scores. I can't get enough of em'. I've listened to a lot, and based on the reviews James N. Howard's score was getting for "The Village", I decided to buy it.
I have mixed feelings--the music is definitely very pretty, very soothing (or agressive when needed), but I never really felt like I was listening to anything but just 'another' score here. There really isn't anything especially beautiful or stand-out, and I have heard orchestral scores from independent films (see 2002's "Stranded", a low-budget sci-fi film made for only about four million clams that boasts one of the most gorgeous scores you will ever hear)that are more memorable and evocative.
This, I hate to say it, just kinda felt "blah" to me.
Not bad.
Just...kinda..."Blah".

Average customer rating:

Moore's maturity shines through every aspect of this release

Speak to Me
Geoff Moore
Manufacturer: Rocketown Records
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

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ASIN: B000NOKAOO
Release Date: 2007-04-03

Tracks:

Speak To Me
Your Day
When I Get Where Im Going
Captured
Every Single One
She Knows My Name
Thats What Love Will Do
This Is My fathers World
So Long, Farewell (The Blessing)
Erase

Customer Reviews:

Moore's maturity shines through every aspect of this release.......2007-05-01

Veteran music artists are sometimes overlooked in favor of newer ones. It's a mistake to not consider the experience of someone like Geoff Moore, who has been making music since 1984. Much of it was with his rock band The Distance. In 1999 he went solo with the release of Geoff Moore, and the last time we heard from him was 2002's A Beautiful Sound.

Seasoned artists reflect a maturity that can only come with time. That alone makes Speak to Me worth checking out.

Despite the use of some cover songs, Moore's wisdom is reflected in the songs that he helped write and in his choice of music. He is a singer-songwriter at the height of his powers. An organic, roots-rock sound (reminiscent of Bruce Springsteen and Bob Seeger) works well with lyrics that reflect a lifetime of walking with God. These songs touch on many aspects of the Christian life. There's the brokenness and passion of the title song and the world-weary hope of heaven in "When I Get Where I'm Going," which includes guest vocalist Christy Nockels.

"Your Day" may be the best of all. An echoing guitar leads a melodic adult contemporary sound marked by lyrics that are full of confident expectation and faith. "If I find victory or pain / If it's in sunshine or driving rain / I will trust you and do the next thing." Moore admits that the last phrase comes from a favorite thought from Oswald Chambers, "When faced with uncertainty and unsure what to do next, he (Chambers) encourages us to `trust God and do the next thing.'" This is the ultimate start-your-day song.

Over the years a number of artists have recorded songs about our obligation to the poor. Petra's "Hollow Eyes," Michael Card's "Distressing Disguise," and the Randy Stonehill/Phil Keaggy classic, "Who Will Save the Children," are a few that come to mind. We can add to the list "Every Single One," another poignant reminder: "In a world away from luxury / Is where I found prosperity / Where greater love laid down His life / For the orphan and the widowed wife." It springs from the many years that Geoff has worked with Compassion International. The song is graced with beautiful violin playing. A more electric and programmed version is included as a hidden track.

Moore does excellent covers of two familiar songs: "He Knows My Name," a duet with Kendall Payne, and an acoustic "This Is My Father's World."

"So Long, Farewell (The Blessing)" is a raw and musically raucous goodbye song. That same spirit of musical abandon comes through on the chorus of the title song. Loud and furious, they lack some of the distinction heard elsewhere on the recording.

The album closes with the tender and beautiful "Erase," a plea to be more like Christ. "Erase all the distance between us / replace all the space with Your presence."

Moore's maturity shines through every aspect of this release. His first Rocketown Records recording shows that experience is worth a lot.

Average customer rating:

Sargent D takes on the world
give this 5 stars or die
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Speak English or Die
S.O.D.: Stormtroopers of Death
Manufacturer: Megaforce
ProductGroup: Music
Binding: Audio CD

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U.S.A. for M.O.D.
Suicidal Tendencies
How Will I Laugh Tomorrow When I Can't Even Smile Today
Join the Army

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Release Date: 2000-02-22

Tracks:

March Of The S.O.D.
Sargent 'D' & The S.O.D.
Kill Yourself
Milano Mosh
Speak English Or Die
United Forces
Chromatic Death
Pi Alpha Nu
Anti-Procrastination Song
What's That Noise
Freddy Kreuger
Milk
Pre-Menstrual Princess Blues
Pussy Whipped
Fist Banging Mania
No Turning Back
Fuck The Middle East
Douche Crew
Hey Gordy!
The Ballad Of Jimi Hendrix
Diamonds And Rust (Extended Version)
Identity
Go (S.O.D. Live In Tokyo)
March Of The S.O.D./Sargent 'D'
Kill Yourself
Milano Mosh
Speak English Or Die
Fuck The Middle East/Douche Crew
Not/Momo/Taint/The Camel Boy/Diamonds And Rust/Anti-Procrastination Song
Milk
United Forces
Bonus Track 1
Bonus Track 2

Customer Reviews:

Sargent D takes on the world.......2007-03-24

S.O.D., started in 1985 by Anthrax guitarist Scott Ian, holds a place of significance as being one of the first bands to bridge thrash and hardcore together. S.O.D. presents us with an album full of crude humor juxtaposed with speed and flailing riffs. They didn't quite receive much exposure to the community because the media denounced S.O.D. for the content of the music and was also on the constant defensive with other hardcore bands around. (I remember a particularly nasty incident that occurred at one of the concerts I was present at.) Although S.O.D. wasn't quite the widespread sensation, they maintained true to their nature through the entire spread of their career.

Favorites:
"Kill Yourself"
"Speak English or Die" (this is killer live)
"Anti-Procrastination Song" (hilarious)
"Milk"

give this 5 stars or die.......2006-08-04

Yes, this makes some people mad, and no it really wasnt intended. MAN, though, some great riffs and speed metal here. Songs like Sargent D Of SOD, Fist Banging Mania, and Freddy Kreuger will have you head banging.PS: if you like early Anthrax like i do, GET THIS!

If you like this album, you might also like..........2006-07-14

If you like this album, especially its political message, you might also like Skrewdriver. Although you won't be able to get Skrewdriver on Amazon.com or at Wal-Mart, you can easily get it from independent sites on line. They were the band that literally started the right wing skinhead genre in the 1980s. If you like the lyrics on Speak English or Die, try Skrewdriver's Hail the New Dawn, Blood or Honour, or The Strong Survive. In fact, any of the 20 plus albums from Skrewdriver or any of their side projects are excellent. For far right 80s and early 90s music, besides SOD and MOD, try Skrewdriver!

Legendary! Brutality Meets Humor. .......2006-06-28

I was just floored the first time I heard this as a teenager. The hardcore/thrash crossover mix was unlike anything I had previously encountered. "March of The SOD" has got to have one of the most brutal riffs of all time! Thrash, Death, Black, Hardcore, Punk, Speed, whatever, forget labels. If you're in the mood for sheer brutality mixed with a great dose of humor, this belongs in your collection regardless of your usual tastes!

Great band, Great album........2006-05-23

What more is there to say. Nice heavy chug and funny catchy lyrics. After I heard this I was thinking to myself "I want more!" Beacuse the timing on this album is really short due to thier fast paced style which isn't exactly a bad thing either. If you like metal that doesn't give a crap and makes you want to smash you head against concrete look no further.

Average customer rating:

Love it
It`s nearly up there, but it`s not devilsh enough for a 5 star.
Best yet!
Speak of the Devil
Speak of the Devil

Speak of the Devil
Chris Isaak
Manufacturer: Reprise / Wea
ProductGroup: Music
Binding: Audio CD

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Always Got Tonight
San Francisco Days
Chris Isaak
Silvertone
Forever Blue

ASIN: B00000AG8O
Release Date: 1998-09-22

Tracks:

Please
Flying
Walk Slow
Breaking Apart
This Time
Speak Of The Devil
Like The Way She Moves
Wanderin'
Don't Get So Down On Yourself
Black Flowers
I'm Not Sleepy
Lonely Nights
Talkin' 'Bout A Home
Super Magic 2000

Amazon.com

Chris Isaak rocks? Indeed. Granted, the crooner's latest is no noisy, post-grunge Nirvana (though the chord progression of the opener, "Please," recalls Kurt Cobain's "Heart-Shaped Box"), but Devil does find Isaak loosening up. His gut-busting vocals on the free-for-all title track are as near to reckless as we're ever going to hear him. He's also toughening up, growling around his lower register in the death-inflected "Black Flowers." The backing band Silvertone kicks up its heels as well, most infectiously on the gleefully two-steppin' "I'm Not Sleepy." Of course, Isaak's signature shivery, quivering, and wistful ballads remain. And the singer still has a winning way with an unshakable melody. Armed with guitarist Hershel Yatovitz's poignant picking, only Isaak could turn a tired platitude like "Don't Get So Down on Yourself" into a true tearjerker. --Sue VanHecke

Customer Reviews:

Love it.......2007-05-13

I enjoy his music alot. This CD is a little harder for me to like right away but after listening to it a few times. I get it and enjoy it. It was one of the last CD's I bought of his music. I have all his CD's now.

It`s nearly up there, but it`s not devilsh enough for a 5 star........2006-03-06

Chris Isaak seldom makes a cd that lacks atmosphere. This one has a whole of it, but there are some minor letdown`s to not make this an another masterpiece as his debut album. Track 1 Please is anyway a song in the right direction. His very malesounding voice is pushed forward in the soundpicture, and the song is very atmospheric. Track 2 Flying has much of the same atmospheric temperature, with his voice "wispersinging" into your heart and soul. It goes from high notes to low notes without any problems. Track 3 Walk slow "walkalong" in a very "cool tempo", but has to little variations to make it unforgetable. Track 4 Breaking apart has too much of everything, and it`s very repeating in it`s narrative form. Track 5 This time, is a little gem, with a very enjoyable structure, that make`s you happy. It`s easy to remember, and a song to humm too. Track 6 Speak of the devil, is not devilsh enough, but it has a certain atmosphere too make it a quality listen. Track 7 Like the way she moves, moves not in my direction, but it`s certainly ok, but nothin` special. Track 8 Wanderin it`s one of the weakest tracks on the CD. It never takes off, and you think that you have heard the same theme before on other tracks. Too much cliches in a way. Track 9 Don`t get so down on yourself, has a certain shimmer, but the shimmering is not too bright and light too make it a Isaak classic. Track 10 Black Flowers is a great one, and realy takes control with it`s cold and atmospheric vocal that makes you shiver between "heaven and hell" sometimes here and there. Track 11 I`m not sleepy, is a rocker which rock and roll you back and forward in a good tempo. Track 12 Lonley Nights is a another letdown. It`s too slow, and begins and ends in "neverland". Track 13 Talkin bout home, has a certain sting. The voice and the rythmic section is ok, but that`s what it`s song is all about when it comes down to the point. Track 14 Super Magic 2000, has shoots, birds singing, and a rock & roll classical 50 ths atmosphere. It`s an instrumental with quality, somewhere in David Lynch country". This Cd is anyway nearly up there, but it`s not devilsh enough for a 5 star. Anyway Chris Isaak know`s what he`s dooing. That`s fore sure.

Best yet!.......2005-10-09

Chris Isaak is one of my favorite artists and this CD is his best yet. He has his own unique style and I never get tired of any of his work.

Speak of the Devil.......2005-09-12

This is a great cd. Not quite as good as some of his earlier stuff though. Classic Chris Issac and it was well worth the price I paid for it.

Speak of the Devil.......2005-09-12

Thank You for sending me this cd. I have enjoyed it very much!

Average customer rating:

Black Sabbath Songs Like You've Never Heard Them Before
Great Black Sabbath songs by Ozzy and friends...
Suspiciously Good...
Not bad for a set list learned in a matter of *days*
Some of the best guitar playing ever!

Speak of the Devil
Ozzy Osbourne
Manufacturer: Sony International
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Ultimate Sin
Bark at the Moon
Live & Loud
No Rest for the Wicked (Exp)
Diary of a Madman

ASIN: B0000252Z1
Release Date: 1995-11-27

Tracks:

Symptom of the Universe
Snowblind
Black Sabbath
Fairies Wear Boots
War Pigs
Wizard
N.I.B.
Sweet Leaf
Never Say Die
Sabbath, Bloody Sabbath
Iron Man/Children of the Grave
Paranoid

Customer Reviews:

Black Sabbath Songs Like You've Never Heard Them Before.......2007-05-08

I was skeptical as a young man back in the early 80's when I heard about this live album. I just couldn't imagine Black Sabbath without Tony, Geezer and Bill. I have the utmost respect for them but I have to be honest and say that Brad, Rudy and Tommy blew a fresh wind of life into these classic songs. Really amazing hard-edged sound. Ozzy sounds terrific but it *seems* obvious to me that there was some studio overdubbing. In any case, this is a most entertaining album.

Great Black Sabbath songs by Ozzy and friends..........2007-05-06

Great live album with classics songs from Black Sabbath, performed by Ozzy at his best. Great concert and very good choice of songs on this cd.
A must have for any heavy rock music fans ! Pure classics !

Suspiciously Good..........2007-01-27

This record is on its way to become a true rarity: deleted from the remastered Ozzy catalog, it is now only available as an import item or leftover from the `95 remaster. For years I hesitated about buying this, as I considered it to be something of an oddity, an apocryphal release of sorts, caught right in the no-man's-land: it was an Ozzy solo record, but it contained no solo songs. Instead, it contained only Black Sabbath songs recorded during his US '82 tour at a show in New York, just a few months after Randy Rhoads tragic death.

Being a major Randy fan, I really didn't know what to make of this release, and I was frustrated `cause it wasn't either a true Black Sabbath or Ozzy record, but rather some kind of hybrid. I didn't know it at the time, but there were a lot of reasons that justified this release, at least for Ozzy: first, Ozzy had planned to release a live record featuring Randy, but the idea was scrapped after his untimely death.

Second, Sharon and Ozzy were trying to negotiate his release from his original record deal with Sharon's father, Don Arden, who was racking it up taking the lion's share of the revenue generated by record sales; the contract demanded a final record, and it was decided to give him one full of Sabbath material as a retaliation, knowing full well that such a record could not compete with the potential sales of a brand new studio record.

Third, Ozzy hated the poorly mixed, rush-released "Live at Last" album, which was released in Europe and constituted the only Sabbath live document at the time; and last but not least, Ozzy and Sharon heard that Sabbath were planning to release a live album with their (then) current lineup with Ronnie James Dio, so they thought this was a perfect occasion to annoy them. Finally, after listening to some of it and having my curiosity whet, I decided to get it and therefore complete my Ozzy collection. The end result? A live album that's surprisingly good, sounding way better than "Live at Last", on a par with "Live Evil" and miles ahead of "Reunion" (I can't comment on "Past Lives" since I haven't heard it).

That being said, and especially if you compare this album with other Ozzy live releases (especially "Tribute", which features live recordings only a year or so older), this one sounds a little too good, suspiciously good, at least as far as the vocals are concerned. I'm willing to bet that Ozzy punched-those-in in the studio. But that doesn't really take away from the album, as the rest of the performance sounds quite honest, specially `cause there are noticeable glitches here and there! Remember folks, guitarist Brad Gillis had been in the band for a short time and had to rush-learn and rehearse the material, so very often in the recording, you can hear him having to resort to extensive use of his whammy bar in order to hide mistakes and find his way back in.

But he ultimately pulls off an great job, masterfully backed by Rudy Sarzo on bass and Tommy Aldridge on drums, by far Ozzy's best rhythm section ever. The band, for the most part, sounds tight and strong, making great performances of these Sabbath tracks, which remain for the most part quite respectul to the originals. As Ozzy himself points out, some of these songs, such as "The Wizard" and/or `Symptom of the Universe" were rarities seldom included in Sabbath's set list, so this is a wonderful chance to hear those songs in a live context, "The Wizard" in particular being a highlight (at least it is for me).

Some of the songs have minor changes in their structure, and I think I can hear at least one edit in there, but probably the thing that I was the most surprised of was to hear that Ozzy skipped singing the last part of "Sabbath Bloody Sabbath", though: I mean, I understood his doing that for "Reunion" since he simply could no longer reach those high notes, but in 1982, I would have expected him to go for the big ones...oh well, no matter...

Bottom Line: this is a CD worth checking out, if nothing else for its historical value, but I truly believe that Ozzy and Sabbath fans alike can truly enjoy this. This is the greatest live album Sabbath never made. Get it before it becomes unavailable.

Not bad for a set list learned in a matter of *days*.......2006-11-26

Learning of Ozzy's plans for an all Sabbath set list, his band learned the majority of these songs in a matter of days, having only played a handful of Sabbath songs during the Diary tour (Paraniod/Iron Man/Children of the Grave). The gigs (only two) were going to be recorded for a live album Ozzy was contractually bound to release. No pressure there.

What happens next is this record, and it's phenomenal.

When I listen to this now, I can't help thinking of the circumstances, but you wouldn't know it by listening to this band, sounding like a heavy metal jazz trio, all precision and mastery, but with enormous power. Dig the killer guitar and drums. I know I do. Oh yeah, Ozzy sounds pretty good too...

Some of the best guitar playing ever!.......2006-11-07

One thing you have to give Ozzy, he has always surrounded himself with the best musical talent around. And nobody, nobody, has ever played with as many legendary guitar players. Perhaps the one that gets talked about the least is Brad Gillis and anybody that has ever heard this album would have to scream why!? Gillis absolutley shreds, playing as energetic and crisp notes as I have ever heard. I have always felt that this album had to have been double tracked in the studio, but have later found out that it was all live, Gillis is a freak! It is too bad that Gillis did not opt to stay with Ozzy, especially since he left Oz to go do that NightRanger crap. If you like Ozzy and his Sabbath hits and love incredible guitar playing, you cannot go wrong with this album.

Average customer rating:

A Wonderful Surprise
Jazzy Vocals Paired With Sometimes Acoustic/Sometimes Electric Rock/Pop....
Wonderful. Beautiful, way to go Jimmy
Is it just me, or is this great?

Speak
Jimmy Needham
Manufacturer: Inpop
ProductGroup: Music
Binding: Audio CD

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Don't Get Comfortable
Fighting Instinct
Sound of Melodies
Decemberadio
Beauty in the Broken

ASIN: B000GPIDQW
Release Date: 2006-08-15

Tracks:

I Am New
Lost At Sea
Fence Riders
Dearly Loved
For Freedom
Speak
Make Me Sing
Wake Up
Regardless
Stand On Grace
The Gospel
Benediction

Customer Reviews:

A Wonderful Surprise.......2007-03-16

I stumbled across Jimmy Needham as I was browsing through a christian music site. He is indeed a wonderful surprise. Strong lyrics. Strong voice. Love the music. I compare him to my pastor, who is a man of God, preaching the Word without apology. Jimmy does this in his songs. I'm buying two more of his albums to give as gifts.

Jazzy Vocals Paired With Sometimes Acoustic/Sometimes Electric Rock/Pop...........2006-10-06

Now this is different! SPEAK is a fun, hip, and uplifting album with a serious message that pierces poetically rather than in your face. No weak songs in the bunch.:
1. "I Am New" - jazzy, swinging celebration with acoustic guitar, harmonica, cello, drums
2. "Lost at Sea" - electric and rocking, yet with the jazzy vocals, both spoken and in melody with the occasional surprise high note
3. "Fence Riders" - yet another song to dance to: "...Can I sing about your maker and have you not roll your eyes...I know it don't make sense to those who ride the fence/But I'm sold out to Christ..."
4. "Dearly Loved" - the first slow song, and a WOW of one at that as somehow Needham manages to exhort us to leave sin in a ballad that comes off as pure horizontal love rather than condemnation: "...It's worth it brothers and it's worth it friends..." (strings, acoustic guitar)
5. "For Freedom" - more great poetry and modern jazz
6. "Speak" - no jazz here, this title cut conveys a powerful message on the Great Commission (electic and acoustic)
7. "You Make Me Sing" - another upbeat tune
8. "Wake Up" - a call to service and abundant living
9. "Regardless" - about choosing obedience thru lyrics based on the trials of Job and Daniel's fiery furnace (electirc)
10. "Stand on Grace" - slow and simple
11. "The Gospel" - slow acoustic
12. "Benediction" - Whoa, what a conclusion: no music; just bold, rhythmic spoken word; powerful poem to evoke repentance and trust.

Enjoy, this is a fun CD. (Also, lyrics are scripturally sound with verse citations on liner notes to give background to each song.)

Wonderful. Beautiful, way to go Jimmy.......2006-09-05

Wow!! that is all I can say! This album is so fresh that i can still feel the warmth listening to it after i obtained his first release almost a year ago! I LOVE IT!! Jimmy has amazing talent and his passion to share Christ is phenominal! Pure emotion is poured into every song Jimmy has wrote~!God Bless You Jimmy ! If you want to buy an album you won't be disappointed in, if you want to hear music that uplifts your soul, if you want pure AWESOMENESS............... i'd recommend this !

Is it just me, or is this great?.......2006-08-18

It's great! I sampled this album somewhere and thought -'this sounds really fresh' - wow, what an understatement. Jimmy sings with passion, and honesty and a straightforward blues/pop sound that I just haven't heard in this genre. Kudos to the producer for not succumbing to the wall of sound style of production and instead embracing a 'live' sounding, spontaneous feeling. From toe-tapping, to a rockier rough edge, to a soulfull ballad Jimmy sounds surprisingly mature, and very comfortable with his vocals.

Keep your style and approach Jimmy, don't let the big wheels tell you how to do it, cause you're doing fine.

September Songs: The Music of Kurt Weill

Average customer rating:

some brilliant renditions, but can't quite all mix together
Cool and Camp
September Song Music of Kurt Weill
It's a long time between January and December
Ain't we Hip?!!?

September Songs: The Music of Kurt Weill

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Lotte Lenya Sings Kurt Weill / Levine, Lenya, Armstrong, Gilford, et al
Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs
Weird Nightmare - Meditations on Mingus
Ute Lemper Sings Kurt Weill
Stratas Sings Weill

ASIN: B0000029WM
Release Date: 1997-08-19

Tracks:

Mack The Knife - Nick Cave
Ballad Of The Soldier's Wife - P.J. Harvey
Alabama Song - David Johansen
Youkali Tango - Teresa Stratas
Lost In The Stars - Elvis Costello
Pirate Jenny - Lotte Lenya
Speak Low - Charlie Haden
Oh, Heavenly Salvation - The Persuations
Lonely House - Betty Carter
Surabaya- Johnny - Teresa Stratas
Furchte Dich Nicht - Mary Margaret O'Hara
September Song - Lou Reed
Mack The Knife - Bertolt Brecht
What Keeps Mankind Alive? - William S. Burroughs

Customer Reviews:

some brilliant renditions, but can't quite all mix together.......2006-10-19

I like the spirit of this album, which is to let the music of Kurt Weill attach itself to the many worlds it came from. This was classical music that also used elements of popular music at the time, all with a very dark and almost mechanical tone. So it would seem fitting to have exquisite voices like Teresa Stratas rub elbows with darker elements like Nick Cave in this collection. There are also the jazz influences developed by Charlie Haden and Betty Carter.

In all, there are some brilliant interpretations of Weill here. I am a fan of Cave's "Mack the Knife" and David Johansen's "Alabama Song," and how can someone NOT like Lotte Lenya herself on "Pirate Jenny" and the drolling of the immortal William S. Burroughs talking through "What Keeps Mankind Alive?"

But other tracks feel to be just too short of brilliance. I love that Lou Reed tries to turn "September Song" into a kind of rock ballad, almost a VU "It Was a Pretty Good Year," but the rendition seems a little short of energy and falls flat after a while. Elvis Costello, though magnificent as an overall artist, just doesn't bring new life to "Lost in the Stars."

Perhaps the problem in the end that the choices were a little too much of the Top 40 Weill (if there really can be such a term). These are songs that have for a long time been regarded as the best of Weill, and it might have furthered the purpose of his music to find new gems and bring them into the sunlight.

Cool and Camp.......2006-08-24

This is a very biased review- I originally had much of Weill's work on cassette tape- way back in the olden days- before CD's- so I am already very partial to many of the tracks on this CD- I would recommend it not only to Kurt Weill fans, and the fans of the various artists featured, but I would also strongly recommend this to anyone who likes artsy, camp, fun burlesque, Bohemian European stuff. The record, even though performed by contemporary artists still retains much of it's zeitgeist, it evokes the era in which Weill was writing and it rounds out any great eclectic record collection. It's a great musical discovery for fans of all sorts of genres, and EVERYONE should own at least one recorded arrangement of "Mack The Knife". (You know, for parties and stuff!)

September Song Music of Kurt Weill.......2006-08-22

Songs from the film-documentary done by various artists. Excellent choice if you like Mr Weill's music. I saw the film and always wanted the CD. Now I have and I recommend it highly.

It's a long time between January and December.......2004-06-11

Kurt Weill is one of those composers who juggles Jewish angst with Catholic guilt: and possibly vice versa. As a collection, it is nonpareil. Each interpretation becomes a definitive reading of the "song". Lord, it is one of the best assemblies of contemporary artists going. Lou couldn't be better; Ms O'Hara, in fine form, performs her deranged puppet-dance to the X. OK. An unknown. Roping-in, such a postmodern figure as, well, you-know-who, to orate Weill's lyrics is never less than exceptional. An amazing collection. Is there a DVD?

Paul

Ain't we Hip?!!?.......2003-07-23

This is the avant version of these songs, everything done with that Downtown fingers-across-the-blackboard screech. They even got Johanson doing it, which is no less than amazing. The sole exception is the Persuasions' "O Heavenly Salvation", but one song does not an album make.

The mystery here is that there's a perfectly good compilation from the 80s, "Lost in the Stars: the Music of Kurt Weill", featuring many of the same songs--and, if I'm not mistaken some of the same performers. That's the one you want. Too bad it's OP.

We Speak to Nations
Average customer rating:

Excellent Praise & Worship Music

OH MY GOODNESS!

A HOT ONE!!

Great!!!

go for COVER THE EARTH

We Speak to Nations
Lakewood Church
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music
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Similar Items:

Cover the Earth

New Season

Live from Another Level

Alive in South Africa

Real

ASIN: B000066AUD
Release Date: 2002-05-28

Tracks:

Highly Exalted
Better Than Life
All About You
You Are Good
We've Come To Worship You
Everything
Only In Your Presence
Show Me Your Glory
I Will Sing
I Will Return
Who Can Satisfy
Lift Your Voice
We Speak To Nations
Gloria

Customer Reviews:

Excellent Praise & Worship Music.......2007-01-10

WOW! This is an excellent praise and worship CD. The music is upbeat, lively, and perfect for praising God. We listen to it at home and in the car. The BEST purchase I have made! I HIGHLY RECOMMEND IT!!!

OH MY GOODNESS!.......2006-05-24

Now this is what I'm talking about - REAL Praise and Worship. Sincere and honest. I have a feeling that with Cindy Cruse Ratcliff that it's not about her and what she can do, it's how God has equipped her and her ability without self getting in the way to really take you further into the presence of God than you have ever been before. Israel is so exciting I love him.It's a cd to play all day long everyday! You've got to purchase this one, you won't be disappointed!

A HOT ONE!!.......2006-05-11

This CD is HOT!!!

Not a day goes by that I do not listen to this CD and/or "Cover The Earth".

I love the fact that my church sings the majority of these songs and to actually hear the originators is a plus.

Israel & Cindy are awesome together. We all know how bad "Izzy" is, but Cindy is dynamic. I can listen to her all day long.

Every track is a hit. You can't miss with this one.

Great!!!.......2006-03-31

This CD is a non-stop rollercoster!!!! It is superb, and helps you a lot when you want to praise and worship the Lord in the intimacy of your room. Lakewood Church is a great blessing to America and to the world, eventhoug I do not attend it, I am a follower of Pastor Osteen and his church. I highly recommend this CD!!!

go for COVER THE EARTH.......2006-02-08

Speak to Nations is the first release of Lakewood's dynamic duo...Cindy Cruse Ratcliff and Israel Houghton...with the Lakewood choir and orchestra. Their music is superb. The writing and choir and orchestra are not equalled. Too bad that the sound and space, depth and dynamic range comes through on this CD mixing as compressed and flat, lacking the high harmonics necessary to reproduce live sound in the home with good speakers and amps. This is no doubt due to an economy of producers and engineers involved in the project. Probably not who the Mormon Tabernacle Choir or the London Philharmonic are privy to.

One gets the idea the producer / engineer for the project is scared to death of using effects that engineers routinely pull out of their bag of tricks in commercial music... reverb, delay, etc. Cindy Cruise, Israel, the choir and orchestra are just flawless, inspiring and magnificent. One hopes they will redo this with some Los Angeles commercial talent such as that that would be put onto the Rolling Stones or the classic rock stars of yesteryear, or the Mormon Tabernacle Choir. MTC cassettes from years ago that I still own have wonderful mix and engineering qualities. One has to wonder where the differences are?

As a side note, I think the label they use has probably done a wonderful job, as did Cindy and Israel, the choir and orchestra in this recording. The music is flawlessly written and inspiring, the record label has done wonderful CD's and cassettes, and Cindy and Israel's voices are magnificent. The caveat lies in the weak link of production here... somewhere between the performers and the CD label, bad production was done by a well meaning amateur, I would guess.

Music:

Music

Music

1. In the Event
2. Necessary Pain
3. Thrown Away
4. Dogs of Peace
5. Do You Know
6. I Wanna Know
7. Truth
8. Pray to God
9. Burning Bush
10. When I Believe It