David Reeves

More structured and less jarring than the 'X Jacks' CD with which it has similarities but no less strange in its construction of layered soundscapes and is actually more repetitive, covering rhythmic systems music, Steve Reich style layering and building, stabs of synth grandeur mixed with voice samples and rhythms so quirky you'd swear there was something wrong with the thing until you realise it's actually meant to sound like this. It's all very odd and disturbing.

Bundled version of the six-track EP of unreleased and rare tracks on both CD and 12” E.P.

Features the high-fidelity Blu-spec CD2 format (compatible with standard CD players). Comes with lyrics and a description. Part of a 5-album David Bowie Blu-spec CD2 reissue series featuring albums "Outside," "Earthling," "Hours," "Heathen," and "Reality." Blu-spec CD2 is the next generation Compact Disc that employs the Phase Transition Mastering, the technology developed for mastering of Blu-ray discs, to further perfect the acclaimed characteristics of Blu-spec CD. Fully compatible with standard CD players, Blu-spec CD2 completely alters the experience of music.

Gentleman Jim Reeves was perhaps the biggest male star to emerge from the Nashville sound. His mellow baritone voice and muted velvet orchestration combined to create a sound that echoed around his world and has lasted to this day. Detractors will call the sound country-pop (or plain pop), but none can argue against the large audience that loves this music. Reeves was capable of singing hard country ("Mexican Joe" went to number one in 1953), but he made his greatest impact as a country-pop crooner. From 1955 through 1969, Reeves was consistently in the country and pop charts – an amazing fact in light of his untimely death in an airplane accident in 1964. Not only was he a presence in the American charts, but he became country music's foremost international ambassador and, if anything, was even more popular in Europe and Britain than in his native America.

Tin Machine (David Bowie) - Complete Collection (1989-1992) [3CD]
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.09 Gb | MP3 @320 -> 370 Mb
Full Artwork @ 300 dpi (jpg) -> 57 Mb | 5% repair rar
© 1992, 2006, 2009 Victory Music / Victor Japan / TM / Toshiba | TOCP-95057 / VICP-63333 / 828 328-2
Rock / Hard Rock / Experimental Rock

A remarkable recording for many reasons, the debut of Tin Machine predates by nearly half a decade much of the guitar-oriented alternative pop that followed the grunge explosion of 1991-1992. This does not sound like Bowie in a band; missing are the quirkiness and theatrics that characterize much of Bowie's solo work. This is a band with a band attitude, not exactly what the fans were wanting at the time.

In "The Many Faces of David Bowie" it is possible to find hard-to-find collaborations, unknown tracks that have been recorded by other artists, participation as the star Iggy Pop, his influences also the original versions of the songs he recorded, as well as new songs like the wonderful Madman, concretizing their only collaborative composition with Marc Bolan (T. Rex leader)…

Versatility has gotten vocalist Dianne Reeves in trouble. Those who feel she could be a great jazz singer want her to stick to scat singing and interpreting show tunes; others who enjoyed the light fusion and urban contemporary hits prefer that she look toward the future. Reeves does a little of both on her this set. Art And Survival includes her most hard-hitting message songs to date. The only problem is that Reeves' voice doesn't lend itself to shouts or expressing defiance; she sounds strained on "Endangered Species" and seems more like she's presenting a diatribe than expounding on a theme. Overall, Art And Survival is neither '90s revisited bop nor overtly commercial Quiet Storm fodder. Dianne Reeves is really seeking a middle ground between her two audiences, and if everything here doesn't work, at least she keeps forging ahead.

This CD could have been titled Finally! Dianne Reeves has long had the potential to be the top female jazz singer, but so many of her previous recordings were erratic as she skipped back and forth between idioms without committing herself. However, after years of flirting with jazz and being seemingly undecided whether she would rather be a pop star, she at last came out with a full jazz album in 1996, and it is a gem. The supporting cast on the ten selections (which feature different personnel on each cut) is remarkable and everyone gets a chance to play: trumpeters Clark Terry and Harry "Sweets" Edison, altoists Phil Woods and Bobby Watson, tenorman James Moody, trombonist Al Grey, harmonica great Toots Thielemans (on "Besame Mucho"), pianist Kenny Barron, bassist Rodney Whitaker, and drummer Herlin Riley.