More Pop Swing - Trumpet/Cornet/Flugelhorn - Sheet Music Bpok + CD
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Customer Review: THE BEST YOU CAN GET FROM THE A*TEENS!!!!
When I bought “The Abba Generation” I really liked it. But I was sure they would keep on covering Abba’s songs, which although were great covers, seemed boring to keep on listening to over & over again. Then came “Teen Spirit”, and boy, was I surprised! Since “TS” they bacame my favorite band, but I was sure that they could not repeat the spirit of “Teen Spirit”… Was I wrong or what!!!! I bought “Pop ‘Till You Drop” when I visited the USA (too bad they couldn’t release it in Israel) and I was so surprised!! It was even better and catchier then “Teen Spirit”. For some reason, the songs are so catchy I think I know them already! Well, this is my Song-By-Song review!: Floorfiller- 10/10 Excellent, catchy start! Great goin’ guys! Can’t Help Falling In Love- 8/10 Cute cover of an Elvis tune. Really nice. Let Your Heart…- 9/10 Great tune with a reggae vibe to it. How could the boys lower their voices so much???!!! Closer to Perfection- 10/10 Very very good song! It has a strong sound to it. Hi & Goodbye- 10/10 Great ballad about 2 lovers who started acting like strangers for no reason. This Year- 9/10 A lot of people say they hate this song but I think it’s really cute!! Slam- 4/10 Absolutely-Totally-Completely THE WORST SONG ON THE ALBUM!! It could have been very good but it is totally embarrassing!! Cross My Heart- 9/10 Great song with a jungle feel to it. It sounded so familiar when I heard on the 1st time! Singled Out 7.5/10 Good ballad with great vocals from everyone. At first I skipped it but it really grew on me. Oh, Oh… Yeah 10/10 My No. 1 fave on this album!! It’s such a catchy song with great lyrics. It has “Teen Spirit” but yet it has a mature sound. In the Blink…. 10/10 This is an amazing ballad but it sounds SSSSOOO FAMILIAR!!!! School’s Out 10/10 At first I actually didn’t like this one, but it really grew on me and it became one of my faves on this album! We’ve got a winner, ladies and gentlemen! This is the best pop album I own! Buy it and get addicted!!!
Customer Review: The title says it all!!!
A-Teens have done it again! After getting the world’s attention with their debut “The Abba Generation” (still one of the best Abba tribute albums out there in my opinion) and then achieving worldwide success on their own with “Teen Spirit”, the 3rd album from the Scandanavian quartet elevates them even higher in the world of pop music. POP TILL YOU DROP is probably a bit more mature than their two previous albums, showing how far these guys have come in such a short time. But luckily, “mature” in the A-Teens sense doesn’t mean “BORING” - it means lively, infectious melodies sung with great professionalism! 1) Floorfiller >9/10< - a fantastic up-beat start, this showcases the A-Teens desire to party, party, party - this track would be fantastic live!!! 2) Can't Help Falling In Love >8/10< - the first single from the album and a very nice, original slant on the Elvis classic - again, shows off the group's fun side perfectly! 3) Let Your Heart Do All The Talking >9/10< - fantastic change of direction, this tune has a great reggae feel to it, and an amazing bouncy melody to sing-a-long with! 4) Closer To Perfection >10/10< - undoubtedly, THE BEST A-TEENS SONG EVER!!!!! This track has a great 80s feel to it, with a thumping beat and cool brassy synths, and a melody to die for! This album just goes from strength to strength... 5) Hi And Goodbye >8/10< - a very nicely timed change of pace now, this ballad has great lyrics which almost everyone will be able to relate to. 6) This Year >8/10< - a very short and sweet pop tune, with a cute melody and vocals to match. 7) Slam >9/10< - co-written by the group themselves, this track finds the A-Teens in party mode once again - from the Michael Jackson-style verse into the infectious chorus, this is another winner! 8) Cross My Heart >8/10< - this tune sound very like a Shakira track, complete with panpipes and a great Latin rhythm - a very original ballad. 9) Singled Out >6/10< - it had to come I guess, this track is the weakest of the lot, quite a regular ballad but nice all the same. 10) Oh Oh Yeah >8/10< - you can just tell from the title that this track is funky - very quirky guitar-driven pop tune, with a great chorus! 11) In The Blink Of An Eye >8/10< - a very nice ballad that would make the ideal finale for one of their live shows, if you liked "Just Around The Corner Of Your Eye" from their "Teen Spirit" album, you'll love this!! 12) School's Out (feat. Alice Cooper) >8/10< - just when you thought it was all over, BANG!! This classic tune is brought bang up to date, and although it sounds slightly more tranquil than the original, it makes sure that you won't forget this track in a hurry!! So, there you have it, something for everyone - traditional and modern ballads, 80s tunes, latin influences, reggae, pure power pop - this album looks like becoming one of the most comprehensive pop albums of recent years that simply gets better with every listen!!! A massive 9.5/10!!!
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Customer Review: Choubi Choubi
Don’t Hesitate any further this is a superb collection, every song will have you jumping round the room trying to do the debka, whilst the recordings don’t have the clarity of todays music it certainly makes up for it by having real gutsy playing from all the artists, something rare nowdays. A raw album full of passion and exciting grooves, get yours now and start to enjoy before they all go, !!!
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In the Fascist Bathroom: Punk in Pop Music, 1977-92 Customer Review: FUN AND INFORMATIVE
A collection on punk and related matters from 1977 through 1992, including what was left out of Marcus’ earlier book Lipstick Traces. In the author’s own words, it’s about “records, performances, twists of the radio dial.” It moves from the Sex Pistols’ “Anarchy” to Nirvana’s “Nevermind” in this illumined golden thread. Marcus writes about what moved, scared and disgusted him and what made him feel so privileged to be part of the punk audience. His views of punk encompassed a wide horizon, to include the likes of Bruce Springsteen, early Prince, Laurie Anderson and David Lynch’s film Blue Velvet. His point is that punk made wonderful things like Anderson’s “Superman” possible even though Superman itself isn’t punk. In other words, punk’s liberating effect caused sea changes in the perception of pop. A major weakness of the book is that it ignores the entire New York scene, because, as he puts it, “most [New York] punks seemed to be auditioning for careers as something else.” So no Patti Smith, no Richard Hell, a cursory mention of Talking Heads, but you WILL find Blondie here. Fascist Bathroom follows many avenues (The Clash, Sex Pistols, Elvis Costello) but maybe its most precious contribution is rescuing from obscurity some lower-profile such as Laura Logic, The Mekons, Marianne Faithfull. It’s a joy to read, chronologically arranged and ending with Nirvana and grunge in the 90s. The text swarms with relevant quotes from rock lyrics and references to other rock journalists like Lester Bangs. For anyone with a passionate interest in rock/pop music and youth culture, it’s required reading.
Customer Review: The secret history of a time that has passed
To find that no one has yet reviewed this book surprised and excited me. Surprise because I find it incredible that such a definitive, poetic and unique document could pass the world by unnoticed. Excitement because the pleasure, dare I say honour, of having my name next to the first review is genuine.
Let me put my cards on the table: this is my favourite book. One may have read a work that is the most enjoyable they have experienced, or another which seems the most accomplished and towering, but these criteria shouldn’t, I think, define such a judgement. What it rest on is less the distant appreciation of greatness than the ability of the work to both excite and persist in exciting, years after one has put it down. Just to think of the best passages in this book excites me: their sense of possibility, of the value of creativity, of the politics that go hand in hand with creation and the burden of those who take them on.
But I’m getting ahead of myself. What is this book about? A collection of pieces about punk? Certainly, but more than that: a mirror held up to a life lived with rock music as a constant companion. A view of a cultural earthquake by a man who, by the time the Sex Pistols were provoking tabloid hysteria, was past the age when many would consider an obsession with pop comprehendible.
Thus, the first piece in the book is not about punk at all, at least not in the spittle-fuelled generic sense. Writing for Rolling Stone Magazine in 1969, the author blends his review of The Rolling Stones’ Let It Bleed with his thoughts on a coffee-table thome of David Bailey portraits. Out of this seemingly bizarre scramble Marcus pulls a remarkably prescient picture of a decade fizzling away - a time when dreams are turning sour as people struggle to remember how alive with possibility those very dreams seemed a few short years ago, a time when aspirations of change and fulfilment turn into mere hopes for survival. In Bailey’s portraits of Christine Keeler and The Stones Marcus finds a wistful nostalgia for a time that has yet to fully pass, while in the longing cries of Gimme Shelter he hears men confused about where they have reached, wondering what ever got them there, what ever set them on the journey, but knowing that the journey is all they have, that they can never go back now.
His view of the decade is perfectly, poetically expressed in another, much later piece, as he pulls Oliver Stone’s film of The Doors from the critical dustbin:
“[it contains] a vision of the Sixties as a time that, even as it came forth, people sensed they could never really inhabit, and also never really leave.”
That sense of displacement, of people fighting to find meaning in the dreams they have created, of the danger of those dreams, for them and maybe for us, is the transcendent quality that informs his work and takes it far beyond the level of an ascetic treatise or even a cultural history.
To punk then. The opening salvo is delivered from the heart of the arena just as the theatre burns down- the Sex Pistols last concert in San Francisco. I have never read any piece of writing, let alone any this short, that describes a scene of anger, violence, confusion and confrontation so vividly. His description of Rotten’s stage manner is followed by an almost wistful sign off.
“His teeth were ground down to points… he held his microphone like a man leaning into a wind tunnel… [at the end of the concert] he gathered up the debris around him, took one final look and was gone, and we may never see his like again.”
Perhaps the Pistols had punched the hole, but many others would flood through the breach. As this writing moves through the late Seventies and in to the Eighties in becomes a parallel story of the way ‘real life’ - politics both personal and public - inform creativity and shape its reception, of how these politics can often seem to define the borders of what is relevant in pop and how sometimes, just sometimes, that equation can seem reversed.
Inevitably the cold, hard gloom of Thatcher and Reagan becomes the backdrop and, though they are rarely mentioned explicitly, the transformation in public discourse they unleashed becomes the all-consuming concern. In this climate Marcus makes the most free-wheeling of connections seem not merely plausible, but vital. In the book’s most moving passage the murder of John Lennon seems like a logical coda to the election of Ronald Reagan, and a dollar comic book seems to truly seal the shame of the age. Some of the figures he writes of move within this new climate, others kick and scream, some dig themselves in and are fated to become cranks, fighting lost battles.
Ending with the improbable resurgence of punk in the form of Nirvana et al, and finally bookending the volume with further thoughts on the shadow that the Sixties can still often cast over us, this writing resurrects years now as distant in memory as the other more celebrated eras of pop.
As for the artists, perhaps their final question becomes: how does one find meaning in a world that has been transformed into everything one once set face against? Therein lies the dilemma posed by the title, but you’ll have to read this wonderful book yourself to understand that conundrum.
More Pop Swing - Trumpet/Cornet/Flugelhorn - Sheet Music Bpok + CD
Play With a Real Band!. By Fons Van Gorp. De Haske Play-along Book. Play Along. BOOK W/CD. Size 8.8×12 inches. 28 pages. Published by De Haske Publications. (44004011)
This book examines a wide range of pieces taken from all different styles of light music as well as the ways in which these styles are played. The swinging accompaniment on the play-along CD makes practice and performance more fun! 12 pieces in all.
