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I bought "Big Noise" on the strength of the 1st two songs. Both are HOT - perfect dance re-mixes that create international melody not only accessible but ere's a foray into some adequate, more traditional Latin music, but it doesn't quite fit in with this CD. If you're actually looking for true mambo, Latin swing etc... there are much better e Gospel song at the end is good, but it's somewhat inconsistent with the style of the rest of the music. Maybe that's the point. If you wish something with a lot of various styles, this may suit you. However, I found myself skipping past a lot of of the songs to obtain to the 3 or so I found worthwhile. In the end, it's just too much of a mish mash of unrelated styles to cohere very well. There's not enough to connect the songs e first 3 songs on this CD deserve a 4 or 5 star rating by themselves. However, as a whole the CD is weakened by a lot of chaff.
I was given this disc two years ago as a birthday present, and have yet to tire of it. Huge Noise is a compilation that came out of London's "Mambo Inn" - a dance/performance zone that was one of the first to foray into the now familiar location of artists such as Nusrat Fateh Ali Khan and Baaba Maal. Remixes of African, Brazilian, and Middle eastern melody with a dance flair are executed brilliantly across all the selections on this disc. This is one that you will obtain inevitable "Where did you FIND this MUSIC?" questions - everyone I have played this for falls instantly in love with it.
I'm an atheist but when Luther Barnes sings "My God Can Do Anything", I believe it. Soulful, swingy Afro-Asian sounds are amazing background melody for a party or for driving, preferably off on an adventure. From the funky Dub Lion through the plaintive DiDi, I love this CD. There's not a loser in the lot.
I bought this a lot of years ago, only to lose it during a move a while back. I frequently thought about this compilation during that time, wondering why I'd never thought to look up the songs/artists. I'm very glad to have found it again, so that can add it back to my library.
from the deejays of a now defunkt south london club. man, i want i had created it to that club. disk arranged geographically: begin out in south asia (bally sagoo's mix of "kinna sohna" by ustad nusrat fateh ali khan, then to the north africa (funk club mix of "didi' by rai singer khaled, on to sub-saharan africa and the power-pop sweetness of "angelina" by the ghanaian highlife band sweet talks, across the ocean to latin america and brazilian percussionist airto's "samba de flora" and end up in the states with luther barnes and the red budd gospel choir doing "my god can do anything." and this disk nearly does everything.
I'd bought this cd, only because i wanted to obtain the classy remix of "Kinna Sohna"....fortunately the album turned out to be beautiful good!The Kinna Sohna remix is really cool...great bass lines and an acid jazz feel. However i prefer the original ver of 'Didi' rather than this one....the original seems to have more life in it. 'Mango, mango...' has unbelievable horn arrangements and a amazing melody. 'Samba de flora' has some exceptional piano runs, done by the amazing Jorge Dalto...one of my favs on the e ramsey lewis piece has a groove/soul feel to it...while 'you're the one' has some amazing guitar acks 5,6,8 and 9 were quite ordinary - nothing exceptional,....they are the kind one associates with 'happy' south american melody with amazing beats. this is the only thing that kept me from giving this compilation 5 l the other tracks are beautiful good....I'd say a amazing buy!
This cd has been one of my favorites for the past two years. The remixes create some very obscure globe melody more accesible and universal. I have played this disc for people that have never listened to anything but top-40 before and watched their interest in world-music take off. It is a amazing party cd which will not disappoint.
If you are fresh to the classic albums of rock history, you wish to obtain this from the era when The Band's albums were reissued in the early 90s. You obtain more gift tracks, and they are more interesting than any of the reissues except perhaps "Moondog Matinee." Some of these are amazing tunes in various mixes from the ones that ended up on the official "Basement Tapes" release. You also obtain a much less effective, if interesting, ver of Richard Manuel's amazing "Lonesome Susie." "Ferdinan The Imposter" is an undistinguished early song, but it's amazing to have. As to the album, it's all been said, but it can still create you smile like hell after all these years.
As a general rule, I pooh-pooh "graphic" novels. To me, that's a euphemism for comics (Archie, anyone?) and really, all children should be reading LITERATURE!!! Enter in one of my twin boys. He's a "reluctant reader" who took to Nate. He begged me to read Nate. Months of procrastination later, I picked on up and was surprised to search that I thought the books were honestly funny and, so long as the parent discusses with the kid the meaning of sarcasm, irony and sardonic wit (and how that's all amazing in a book but NOT GOOD in true life) then the books are not only harmless, but a solidly constructive step towards reading "real" books. I know, readers of my review will be appalled at my literary snobbery. What can I say. I am a wanna-be , for "reluctant" readers, especially boys, this would be a relatively benign choice (v. Wimpy Child which I don't like as much). For any other child, this is a reasonable addition as a funny alternative to literature. These would be amazing on a family vacation when everyone relaxes with a book in the afternoon. I would say target age is from 7-10ish. My boys are 8 and 10 and loved them.
I personally love The Band and their music. My one star is for Amazon. I paid full price for this record and chose this option because it came with the digital album to be downloaded to my phone , to be my own purchased melody not just on Amazon's cloud. I paid for this music. I was looking through my melody to have a listen and the song The Weight is blacked out and says "no longer available in Amazon's catalog". I bought this album. I paid full price for it I didn't add it to my Amazon cloud I bought it and now it's unavailable in Amazon's catalog so I can't listen to it ? I allow this go in the past with songs I've fully purchased from Amazon but now I've had it.
This is a amazing album, which I already owned in CD pitol outdid itself with this vinyl e vinyl is quiet and no defects are seen anywhere on my record.I don't hear any remastering and sound l I hear is a record that sounds warm and reminds meof what a amazing loss it was when Levon Helm passed l of the fellows who comprised The Band were superb musicians.Levon Helm is my , Capitol can still produce amazing vinyl e artwork on this gatefold album is faithful to the original,except for the LP liner, which is white with clear poly l a pleasant surprise. (for a decent price too)I hope that melody lovers hold up the demand for makes classic vinyl LP reissues ese reissues will eventually become collector's stuff too.Enjoy!Equipment used in review: (my system isn't the best, but I obtain amazing results)-Rega P7 Turntable, Rega Exact Cartridge-McIntosh C2300 preamp-McIntosh M252 amp-B&W Matrix 801 series 3 speakers
Some say that MUSIC FROM BIG PINK is the Band's greatest album. I personally think that this is completely e album opens with the heartbreaking ballad "Tears of Rage," written by pianist Richard Manuel and Bob Dylan, and sung by Manuel. It's a slow-paced yet moving song, and it is certainly one of the best on the album. Keyboardist/horn-player Garth Hudson and producer John Simon add an interesting instrumental touch, with their soprano sax and baritone horn lines moving majestically around the vocal. Another highlight is Robbie Robertson's guitar, which is played through a "black box" that Hudson had built. I also like the special tone of Levon Helm's SIC FROM BIG PINK continues with Robbie Robertson's "To Kingdom Come," which also happens to be one of the rare instances where Robertson sings lead (though his voice is boosted by Richard Manuel's on most of the song). It is one of the lesser songs on the album, but it's fun. Next up is "In A Station," a somewhat obscure Manuel song with a attractive music and special chord changes. It's one of the highlights of the album, in my opinion. Following it is "Caledonia Mission," sung by bassist Rick Danko. For the most part, the song is a lyrical country-influenced ballad (with somewhat bizarre lyrics), except in the choruses when it erupts into a more standard-rock format. The change is startling at first, and helps hold things e latest track on Side One of BIG PINK is "The Weight," a country influenced ballad best known for its "Take a load off Fanny / Take a load for free" chorus. However, a closer inspection of the song will unearth some of the greatest lyrics on the album. Robertson wrote it, and drummer Levon Helm sings lead on the first three verses. Rick Danko is the vocalist on the fourth, and both Helm and Manuel sing on the fifth (they also duet on the chorus).Side Two kicks off with another Manuel-composed song, "We Can Talk." It's a great, rollicking song with interesting time changes, and it features Helm, Manuel, and sometimes Danko trading off lines. "Long Black Veil," which follows, is probably the worst song on the album. It's a cover of a late-1950's country & folk-style song, but the slightly lethargic performance featured here sounds especially not good in quality compared to the energetic numbers that precede and follow it. That said, it really isn't poor at all. (Somehow, the imperfections on this album only seem to create it stronger.)Compared to "Long Black Veil," the loud, brash, organ intro to "Chest Fever" sounds almost jarring. It actually sounds far louder than anything else on the record. Garth Hudson solos on his Lowery organ for nearly half a min before going into the distinctive main riff. The lyrics aren't particularly meaningful, as Robertson says, but Hudson's playing and Manuel's and Helm's singing more than makes up for it. Live, the organ intro was expanded into a lengthy organ solo known as "The Genetic Method.""Lonesome Suzie," a ballad composed and sung by Richard Manuel, is probably the most tearful-sounding song on the album. Opening with Manuel's falsetto over a soft background of electric guitar, bass, drums, and almost lullaby-like organ, it's a tale of a lonely, friendless woman, and a narrator who feels heartbroken watching her and makes every effort to obtain her to smile. "This Wheel's On Fire," written by Rick Danko and Bob Dylan, is a more straightforward rock song, albeit with some unusual chords. "I Shall Be Released" closes the album. Written by Bob Dylan for Manuel to sing, it is a piano-based ballad. It does an adequate job as the album's closer, but it has no true climax. That said, it's still e gift tracks on the remastered ver of this album are really very good. My private favorites are "Yazoo Road Scandal," "Katie's Been Gone," "If I Lose," "Key To The Highway," and "Ferdinand The Imposter." The demo "Orange Juice Blues (Blues For Breakfast)," the Dylan song "Long Distance Operator," and the alternate ver of "Lonesome Suzie" are very good, too. The only one I might not have included is the alternate take of "Tears Of Rage," because it's very related to the ver included on the original album. Still, it's interesting to hear this attractive song without the SIC FROM BIG PINK is one of the most necessary albums in all of rock music. It is also fun to listen to, and I highly recommend it to anyone interested in checking out the melody of the Band.
Solid musicianship across the board. These guys are artist's artists... Eric Clapton loved this album and wanted to have the same kind of experience they did in making this. Other artists have said related things. This album is solid from begin to finish other than the latest two added cuts on this expanded release. This isn't mainstream Band melody but tight folk rock and roll from a group of stellar musicians.
I hold on the lookout for books to feed to my ten year old son, who I am attempting to instill a self-motivated drive for reading. I have witnessed him reading this book (and the other Huge Nate books) on his own. He recently started reading aloud to me from Huge Nate books as bedtime reading (it used to be just me reading to him). Anyway, the content seems funny enough for my preteen boy that he reads on his own, and that works for me.
This book is a amazing book to read while feeling bored. It gives you the mind of Huge Nate! It is very enjoyable and amazing for children who may wish to read something that is funny and amazing to pass the downtime. It gets you out of the dumps!!! I recommend this book to any person who wants a funny, easy comic book. Thank you Amazon!!!
Seemed like the re mix brightened the instruments, pushed them forward at the expense of the singers. Songs like Lonesome Suzie are better than the original Pink but not everything. Maybe just taste, and familiarity, but I think the original had a certain sound because it wasn't so shiny and sharp. Had that solid, woodsy flavor and totally hip rock and roll rascals up there with Dylan and writing songs that sound exactly like they should. That's why I'm fussy about the tweaking of the elements. Changes the feel. The gift tracks were a treat.
Immediately after dropping the stylus on Side One Track One "Tears of Rage" I thought, "My phono preamp's gone bad!" I switched from my outboard Schiit Mani to my Onkyo TX-8050 receiver's inboard preamp. As soon as I lowered the tonearm again I got a similarly unpleasant aural experience. The top end is harsh, bright, one-dimensional. Levon's kit sounds dry. Vocals sound as if they were recorded with wax paper kazoos vibrating sympathetically in the background. Stay away from this horrendous re-master.
Written by my 8 year old:This book is really funny. He drives everyone crazy, even his friends. Some parts of it have comics with writing under it. Some of his teachers hate him some not really. His least favorite teacher is Mrs. Godfrey. His homework is never clean. It always has root beer stains or something. His best mates are Francis and Teddy. They are really funny, too. Nate's opponent is Arthur, who talks really weird.
It's hard to write anything about Melody From Huge Pink that hasn't already been written, so I will focus here on the 2000 CD reissue. This is as amazing as a reissue gets. All of the artwork from the original gatefold LP sleeve is reproduced here, plus a few extras. The album itself is intact, and it sounds great. The CD booklet includes a lengthy (12 pages!) essay by Rob Bowman that is packed with info about The Band, specifically about the making of this album, with some background on each song. The essay includes quotes from Robbie Robertson and producer John Simon, and it provides exactly the kind of info that you'll wish to know. There are none of the weird digressions or philosophizing that often mar liner notes. There is even a funny and interesting recounting by Robertson of how the group image on the album sleeve was ey even got the gift tracks right. Four of them can be found on the original Basement Tapes album from 1975, but they never belonged there. (Shame on you Robbie, but that's another story.) Now that an authentic and accurate ver of the Basement Tapes is available (The Basement Tapes Raw: The Bootleg Series Vol. 11) the 1975 ver is obsolete, so it's best that these recordings are preserved here as gift tracks. (Though an entire CD of high quality outtakes from the Band would be even better.) There are also a few outtakes here that were not widely available before. They're not great, but they're interesting. The only gift track that is entirely unnecessary is a ver of "Tears Of Rage" that is virtually identical to the album for the album itself, I will say that when I first heard it a lot of years ago, I liked it, but it was not the knockout punch that the second album had been for me. This is partly due to the first song, "Tears Of Rage," being very slow and long and tortured. It is an unusual song (co-written by Richard Manuel and Bob Dylan) that takes some effort to appreciate, which makes it a strange choice as a leadoff track. As mentioned in the liner notes, it was placed at the beginning very much on purpose, as a bold musical statement. I've also struggled a bit with the latest two songs, "This Wheel's On Fire" and "I Shall Be Released." These recordings have always sounded a bit stiff to me, perhaps because the group was a small too reverent toward these amazing songs in which Bob Dylan was involved in the writing process. Aside from the three songs with Dylan credits, which bookend the album, everything was written by the Band (the lone exception being a unbelievable cover of a folky song called "Long Black Veil"), and it really swings. "The Weight" is a classic song that everybody's heard, but every tune is good, and Melody From Huge Pink features some of the finest ensemble singing you will hear on a rock and roll record. It's amazing to have it all preserved on such an perfect CD reissue.
I've been a huge fan of "The Band" for a lot of years. Even had the honor of seeing them live a lot of years ago (minus guitarist Robbie Robertson). There's an understated elegence to their melody that kind of sneaks up on you over time. You think you're listening to easy songs but as time goes by you realize the genius in their music. I think that the amazing thing about buying a collection like this is you obtain to experience the full range of their music. There is nothing wrong with a "greatest hits" album for a band (any band) but sometimes what happens is that some of their truly best melody is omitted. That is why I would reccommend this album. If you know about The Band then you do not need me opining on their greatness. If you are thinking about listening for the first time I do reccomend this album.
The word "Americana" gets tossed around a lot when people talk about The Band--so much, in fact, I think people don't even think about what it means and think it's synonymous with The Band. In reality, except the country ballad cover and "The Weight," you'd be hard pressed to really search this so-called "Americana" (which critics invented after The Band's second album) on Melody From Huge Pink at all. What you WILL find, is some incredibly slippery, mercurial melody that owes a lot to The Band's rock and roll roots (not to mention their gospel, blues and classical roots) as the Hawks as well as their latest collaborations with Dylan, who was in the process of rewriting the rules of songwriting himself. The effect was Melody From Huge Pink, a totally special album in The Band's catalog, and an utterly original contribution to American/Canadian rock e album daringly kicks off with a slow song, Richard Manuel's collaboration with Bob Dylan, "Tears of Rage." Simply put, nobody had created this kind of melody before. Manuel's rich, soulful vocal floats over piano and Robertson's guitar fed through a homemade result box. Fat drums and bass lock down a dirge-like beat and flittering organ chases the corners of the background as Manuel sings a father's lament. One listen to this mysterious soul lets you know you're in for a treat the likes of which you'll probably never hear the album progresses, The Band reveals its multifaceted talents--the tempo picks up on "To Kingdom Come," the lyrics become more mysterious (with lots of religious imagery) and Manuel again sings, this time in tandem with Robbie Robertson. What kind of melody is this? It certainly rocks, and it has a solid, funky bottom to it, but you really can't label it rock, folk, blues or anything. This is the point when it's probably better to concede that labeling Melody From Huge Pink with a genre name wouldn't be a successful enterprise, and it'd be better to just allow the sweet sounds wash over you."In A Station" begins with multi-instrumentalist virtuoso Garth Hudson playing a classically-inflected clavinette line then swerves into unknown territory, with spacey slide guitar and fantastical lyrics. Manuel wrote and sang the song (backed by Rick Danko), proving The Band not only has multiple singers but also multiple contributing composers. "Caledonia Mission" fuses blues and folk with that ineffable Band sound, and bassist Danko sings, exposing another vocal tool to the group's disposal."The Weight," probably the group's best-known song keeps up the mysterious songwriting combined with Hudson's wild piano and drummer Levon Helm's (the group's only American member) southern drawl. "We Can Talk" is one of the albums funkiest, hardest rocking numbers, with a sort of jug-band break that's beautiful weird--who else would create melody like this? "Chest Fever," another mish-mash of styles, starts with Hudson quoting a classical toccata and features yet another drunken-sounding jam break. The album closes with the heartbreaking love song "Lonesome Suzie," and two Dylan collaborations, the dark, driving "This Wheel's On Fire" and the wispy, ethereal "I Shall Be Released," with Manuel's priceless falsetto soaring to the very sic From Huge Pink remains today a totally essential recording, sparking as much musical influence as Dylan's contemporary material, and launching The Band into the spotlight. I recommend it to any fan of rock, since it's an necessary historical moment, as well as the beginning of a amazing collection and trip through The Band's compelling, rich musical career. I hope you have fun the magic.
In 1989, an American history professor named David Christian was teaching at Macquarie University in Sydney when he offered a course entitled Huge History. Rejecting historians’ definition of the discipline as beginning with the advent of written records just 5,500 years ago, Christian’s course began with the Huge Bang, 13.7 billion years in the past. He invited colleagues on the Macquarie faculty to lecture on astronomy, physics, geology, biology, and other scientific disciplines to fill in the billions of years that transpired before any human set foot on our planet. Christian’s course proved popular, and the idea spread to historians in other countries. A fresh sub-discipline was born. There is now an International Huge History g History in printNearly two decades later, another American historian, Cynthia Stokes Brown, took up the challenge of writing a book about history as Christian had re-conceived it. She had recently retired from Dominican University in California. The effect was Huge History: From the Huge Bang to the Show (2007). While Christian leaned on colleagues in the sciences to carry the story for its first 13.65 billion years, Brown took it all on herself. With a amazing deal of simplification but relatively few apparent errors, she surveys the prehistorical past with amazing skill. For anyone who thinks history is the story of battles and generals and presidents, Huge History is a worthy sponding to overspecializationBig History is a belated response to the extreme specialization that now characterizes virtually every academic discipline. It’s no longer enough to specialize in globe history, or even ancient history. A scholar needs to specialize in a particular era in the history of Greece. Candidates for Ph.Ds in history need to go even further. For example, a dissertation might be written about women’s role in Spartan society during the Pelopenessian War. Just take a look at the titles of latest doctoral dissertations in nearly any field, if you don’t believe me. I, for one, think this is tragic. God may be in the details, but even She could obtain lost there.Other works on Huge HistoryBy the way, Christian himself didn’t write this book because instead he approached the subject differently. He wrote two textbooks, Maps of Time: An Introduction to Huge History, and Huge History: From Nothing to Everything, in collaboration with Craig Benjamin. His more accessible treatment of the topic is a 48-lecture course he recorded for Amazing Courses. The title is simply Huge History. Bill Gates was so impressed by it that he reportedly financed its distribution to schools to the tune of $10 million. I’ve listened to all 48 lectures and loved it.
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IMO, reading "Big History" is a small like reading a front page newspaper article's headline, plus then its slightly more elaborated sub-headlines, plus then the first 4 or so summarizing paragraphs of that article. It gives a very amazing overview of "our" history, from the beginning of our solar system through the present. David Christian's also perfect (and far larger & far more detailed) "Maps of Time" covers related grounds but much more comprehensively. I'm glad I read Cynthia Stokes Brown's "Big History" first but also very glad to now be reading David Christian's "Maps of Time."For a lot of of us, our exposure to "world history" has been heavily biassed by a western European slant -- maybe a small ancient Egypt, followed by the rise and fall of Greece, then Rome, then the Dark Ages, Renaissance, etc. This (& other similar "Big History" works) provide very worthwhile, interesting correctives plus integrating some astronomy, evolutionary biology, etc.
Although the book did not link events, thoughts, and facts (like the TV present Connections did), for me it provided a vivid timeline for info I obtained from other sources. I used the highlighter much more than normal. Not what I expected after the TV present "Big History" but a well written and doented book.
July 1,2019A Review by Anthony T. Riggio of the book: Huge History by Cynthia Stokes BrownI purchased this book, in hardbound edition, several months from ago from a resale vendor based on a write-up I read on the internet. It sounded interesting but when I received the book in the mail, I was surprised that it was less than 250 pages, for a book of the history of the development of our current universe, the earth and all of man's history and its future. I was somewhat suspect of its worth. It is well written and I would suspect it so, for an instructor from Berkley. The book is basically a gloss over of the enormous topic matter. I did search it interesting but title belied the topic matter scope. I gave it three stars out of five and was very critical of the latest chapter as it was a review of the author's reality of our world, which I found very political in it scope and quite frankly left wing it both its content and context. I would not recommend this book to lovers of traditional history.
Brown's focus on the larger problems that have confronted human beings is especially interesting in its gaze toward the future. The facts she provides make a powerful basis for her argument. We humans are consuming everything Earth has to offer, and despite the planet's rise from the ashes of previous catastrophes, the changes of the latest century may well be our undoing.