Or the strong symphonic moods that propel the aching Sea Of Tranquility We sold our souls for senseless gain. And let's not forget that this is the album that actually contains the song Poor Man's Moody Blues, an ironic shot at critics who accused BJH of being just that. It's one of the last great tracks the band recorded, but be prepared for the similarity of the song to The Moody Blues' Nights In White Satin. It's a fine piece with great orchestration from Woody Wolstenholme, and indeed the most Album) work on here.
The rest of the material is generally lighter, and seemingly aimed at getting some radio airplay. Hard Hearted Woman is a superb commercial track that manages to have combine some progressive sounds and an infusion of both reggae and disco! It all really make you wonder why BJH never broke through to the mainstream. There's lots of good music here, but it scarcely qualifies as progressive rock. John's efforts are led by the mighty Hymn, a song that contrasts the misuse of narcotics with a spiritual high.
Beginning with strummed acoustic string guitars, each verse builds with an extra musical layer until it finally reaches a rousing and uplifting climax. Hymn soon became a concert set-piece and perennial crowd-pleaser surpassing even Mocking Bird. Developed as a means of getting back at the band's critics, one of whom had used this phrase to describe the band, it is a believable re-write of Nights In White Satin.
It too became a fan favourite but the synthesized orchestra sounds a little dated now. As so often, Woolly's contribution stands apart. Sea Of Tranquility is superficially about the old 'space race' but closer attention reveals lyrics that appear to be more autobiographical, suggesting Woolly's disillusionment was already bubbling under. Starting with the warm mellow tones of a Hammond, this highly 'orchestrated' song slides along until finally the band crash in for a rousing crescendo.
One of Woolly's unheralded gems but it would be nice to hear it recorded with a real orchestra! Not to be outdone, Les contributes a couple of crackers too, though inevitably simpler in nature. The understated, and much underrated, Spirit On The Water is his best despite a constricting 'stop-start' arrangement [whereby the song stops, then restarts by repeating the opening bars - an over-used device that blights three of his four songs].
The atmospheric Taking Me Higher is his other high spot, lifted by Woolly's massed keys, John's guitars and lush unvoiced harmonies. Sadly it fades out just when you expect a searing guitar solo to crash in [the definitive version of this song is to be found on Live Tapes where it does indeed rock out at the end]. The remaining four tracks adequately assume a supporting role while failing to grab the attention in the same way.
Gone To Earth is a good album with two 5-star and three 4-star songs, but occupying an artificially elevated position in the BJH canon probably due to the presence of Hymn. Even their name recalls the pastoral simplicity of an earlier age, and in its better moments the refined, folk-based richness of their music was like an early autumn sunset over the English countryside, so beautifully captured on the album artwork here. The original vinyl edition featured a clever cutaway front cover, allowing listeners to change the scenery by simply reversing the inner sleeve.
They were never in the first rank of Prog Rock innovators, but make no mistake: no one could match them for symphonic grandeur, as the album opener "Hymn" makes abundantly clear. This may be the quintessential BJH song, and the combination of lush string guitars, gorgeous vocal harmonies, and gut-shaking bass pedals is enough to make a believer out of even an old, acknowledged skeptic like myself.
The song itself is every bit as maudlin as the original, but it's hard not to imagine the Harvesters having a good laugh when they wrote and recorded it or would borrowed and stole be a more accurate phrase? Too bad the rest of the album offers little more than the Album) of soft rock your parents might approve of: pleasant, inoffensive, and unambitious, not exactly adjectives you want to apply to supposedly Progressive music.
Only on "Leper's Song" does the playing exhibit anything close to real aggression, and the blazing guitar work offers some muscular relief to the otherwise radio-friendly conformity of tracks like "Friend of Mine" with its generic country-western twang or the closing ballad "Taking Me Higher", both songs closer in spirit to an Eagles or gag me Fleetwood Mac LP.
Look at it this way: at least the band didn't bend over backwards to radically alter their style just to suit the fashions of the moment, and for that small act of defiance they deserve a little respect and sympathy. The opener is a mellow folkish ballad submerged by heavy orchestrations.
This specific aspect, omni-present in their early Harvest years, has never been appealing to me and are hardly bearable to my ears. It is a pity because as such this song could have been OK I'll have to wait for some live version to be more positive about this number.
Still, I have already mentioned that the injection of some religious aspect in their music was not my cup of tea although, again, I respect each one's philosphical opinion. What to say about "Friend of Mine"? An insipid and vaguely rocking tune, sounding as if it was coming out of another time.
The Fab Four influence is obvious like in their early years. Finally, the first great track of the album appears now. It really follows the structure of this wonderful song and even if this one might sound plagiatory for some of you, I have to say that I like it a lot. By far, the highlight of this release. Since it is the longest one as well, I can not complain.
This title implicitly indicates that this track plays in the MB second division and I believe it deserves more consideration. Where are the great mellotron sounds from Wooly. Gone to hell, I'm afraid. Instead we'll get some electronic and useless ones. The fan is a bit fooled so far I guess that with a title like "Sea of Tranquility", we won't get a rocking number. It reminds me at times "Ra" from "Octoberon" by its quiet and oppressing mood. Even if some orchestration are also to be noticed, this is another good song but only the third one so far.
At least it has some vibrant aspects of the archetype of a BJH song. A bit pompous at the end though. The last three numbers are typically the ones to be brodcasted in a supermarket to be sure that the customers won't rush out of the shop. Quiet and pleasant music, nice melodies; but again where is the grandeur and the passion one could feel in previous releases? The true emotion and beauty generated by their magnificent and typical sound mostly noticeable on "Everyone" and "Live 74" seems to be all gone to where?
Instead BJH has produced a collection of poppish and easy listening music. For sure, they have never released complex music but on this effort, we'll really get too much of useless songs and the overall feeling that prevails is the one of boredom. Too bad. My disappointment after their very good "Octoberon" is great. I guess that one part of the answer comes from the fact that John and Les have taken full control over BJH they will both composed four songs on this album.
The only exception is "Sea of Tranquility" co-signed by Wooly and one of the proggiest the only one? Two stars. An anthem-type of a song with critical thoughts about God and Jesus. The next song represents straight country rock'n'roll. Not very original, but it's a great song, or a re-work of its model. The rest of the album has some more relatively straight r'n'r stuff with clean production and good arrangement. Wolstenholme wrote and sung the gorgeous 'Sea of Tranquility' that most of these reminds of the more progressive earlier BJH.
The remaster includes 5 bonuses, two of them single edits of the album songs, one B-side song and one previously unreleased 'Lied' could have been one of the album's less interesting songsand nearly minute live version of the perennial 'Medicine Man'.
It has a different, edgier arrangement than the studio version, but it stays its welcome way too long. All in all, a strong 3-star rock album with an elegant production - or is it perhaps too clean here and there?
Yes the lyrics might turn off some people because of its religious contents but i never really cared for lyrics and their meanings anyway! I am more interested by the melodic side and the musical arrangements than by the ''message''!
HYMN is the perfect title for this song as it can be considered as one. A protest song that will become one of the band's biggest hit!
Not bad, but this song is all surrounded by the LEES goodies, so you notice the difference. I don't think i need to go into details as the title says it all: This is very tranquil indeed, a smooth spacey journey with the usual serene beautiful vocals from WOOLY! Another great gem on this album.
Everybody in the band was on their best feet; No one tried to be a hard rocker or a singer of a syrupy bland ballad. The song that anchored the album, and appeared to motivate the group to rush out the release, was the opener "Hymn", an uplifting and beautiful Lees song built on a simple 12 string guitar riff.
Building within it are trademark harmonies and the atmospheric keyboards of Woolly Wolstenholme. The main verse is repeated several times at the end to solidify the experience. I knew fans of modern 80s music, with no particular religious inclination, who knew nothing of BJH except this tune, and loved it. That is not so much an endorsement as an affirmation of the song's ability to dissolve cultural barriers in music.
In Germany the album became a massive hit, largely on the strength of "Hymn". The rest of side 1 is excellent as well. Again, the spacey element is exploited to perfection. The surprise LP is "Friend of Mine", which shows a rarely seen country rock side to the group propelled by Holroyd. It is remarkably effective and, after the initial shock and several listens, actually works well in the surroundings of the more progressive numbers.
When I first heard it I did not figure out the connection until the instrumental break after side 2. It is a lovely and languid reconfiguration of the Moody Blues song. Unfortunately, Side 2 is very uneven and mostly on the negative side. It is somewhat salvaged by more ethereal harmonies as the song concludes. The rest of the side features the gamut of group styles executed halfheartedly with no glue to hold them together.
These include a Lees rocker, a swollen Wolstenholme epic, and an unctuous Holroyd closer. If side one soars, side two is stuck on Earth, and shows BJH succumbing to lazy songwriting and arranging, as well as a complete loss of focus.
Nonetheless, enough great material is present to make this one worth getting for anyone into this brand of melodic and easy listening progressive rock. What a drop in quality from their previous album Octoberon!
Calling this band a poor man's Moody Blues might have been at least slightly unfair earlier in their career, but in it was pretty accurate judging from this album!
Even the band themselves seemed to admit this since they named one of the songs on this album just that - Poor Man's Moody Blues - and this song really sounds like the Moodies' Nights In White Satin too!
You could see it as a rip off, but charitably we should I think see it more as a kind of tribute to the Moodies. The album opens with one of it's better tracks, Hymn.
This is a song about Jesus, but it is not religious in any obvious way since it really just tells you the story without telling you what to believe. It is clearly a song about religion but not so much a song in religion, if you know what I mean. They sing people say it was a virgin birth, they don't sing that it actually was a virgin birth. Likewise, they sing that Jesus said he was the saviour of us all, they don't sing that he actually was.
You can make up your own mind about what to believe. Being a convinced atheist myself, I can still enjoy this song. However, it is certainly not progressive music. The lyrics to the chorus of Love Is Like a Violin is extremely cheesy; not really fit for a rock band!
In these songs the very same verses and choruses are repeated several times through the song; not fit for professional song writers, Love Is Like A Violin - Valentino (22) - Contrasts (Vinyl. Bands like Boston and Journey come to mind!
This song therefore fails completely in impressing this reviewer in any way. I just keep getting the feeling that I've heard it all before.
And this is certainly not progressive music! The second side of the album is clearly better than the first. But even if Hard Hearted Woman rocks harder than any of the tracks on side one, it still doesn't contain anything exciting enough to really grab the listeners attention. Gavin Martin of NME made a parallel between 's Boy and Warstating that "where Boy shone and flowed War is dull and static, and where Boy propelled lucid pellets of fire and imagination War cranks out blank liberal awareness"; he felt that after the single "New Year's Day", which he considered as "their finest single since "I Will Follow", War "declines quite dramatically", ultimately calling the album "another example of rock music's impotence and decay".
Considine stating: "Generally, the album's musical strengths are largely the product of well-honed arrangements and carefully balanced dynamics. Even as the Edge spins increasingly sophisticated guitar lines, he maintains the minimalist bluntness that sparked Boy. For once, not having all the answers seems a bonus. He concluded his review, "So U2 have set out to make a big statement on a subject close to the Irishmen's hearts — and they have succeeded. War was a commercial success, becoming U2's first number-one album in the UK and supplanting Michael Jackson 's Thriller at the top of the charts.
In support of the album, the band began touring on 1 December The first month of shows, referred to as the "Pre-War Tour", preceded the album's release and the bulk of the tour, and was meant to showcase and test the new songs in a live setting.
This edition has slightly different running times: most notably, "Seconds" runsadding Following the remastered re-release of The Joshua Tree init was rumoured that the band would also remaster and re-release Waralong with the albums Boyand October.
It was released in three different formats: . From Wikipedia, the free encyclopedia. Redirected from Like a Song. The opening 28 seconds of "Sunday Bloody Sunday", featuring the martial drumbeat, raw guitar, and bleak lyrics.
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Love Valentino subscribed to a channel 3 years ago Drawing - Topic - Channel Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two. International Connie Francis, CD, Vocal, Find Valentino discography, albums and singles on AllMusic. Beginning of dialog window. Escape will cancel and close the window. Love Is like a Violin Metadata This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize pegaternatheza.pingbeetvantgistvisanrerolabdiopase.co: Un Violino Nel Mio Cuore (Love is Like a Violin) [Italian Version] $ on iTunes La Paloma [Italian Version] $ on iTunes Un Baccio All' Italiana; $ on iTunes Io Sola Andro [Italian Version] $ on iTunes Torero; $ on iTunes Violino Tzigano; $ on iTunes Tango Della Gelosia (Jealous of You) $ on. VG+ RARE PROMO Leslie Uggams Inherit The Wind/Love like violin 45 7" $ shipping: Cheap Trick - Dream Police [New Vinyl LP] Gram. $ $ Free shipping. Cheap Trick – In Color LP Epic – PE VG. Cheap Trick UK vinyl LP album record EPC EPIC Vg+. $ shipping: + $ shipping End date: May 29, View credits, reviews, tracks and shop for the Gatefold Vinyl release of Valentino - Original Motion Picture Soundtrack on Discogs. Label: United Artists Records - UALAH • Format: Vinyl LP, Album Gatefold • Country: US • Genre: Stage & Screen • Style: Soundtrack. Dec 25, · Bing Crosby sings "Love Is Like a Violin" from the movie "Little Boy Lost." (Music by Miarka Laparcerie, with English lyrics by Jack Lawrence.). Gone To Earth is a music studio album recording by BARCLAY JAMES HARVEST (Crossover Prog/Progressive Rock) released in on cd, lp / vinyl and/or cassette. This page includes Gone To Earth's: cover picture, songs / tracks list, members/musicians and line-up, different releases details, free MP3 download (stream), buy online links: amazon, ratings and detailled reviews by our experts /5(26). Jan 10, · Leslie Uggams - Love Is Like A Violin () - Duration: ng 22, views. 50+ videos Play all Mix - Love Is Like a Violin YouTube; Ken Dodd Medley - Duration:
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