Stern gets to reprise his role on the classic "Jean Pierre," paired with some great flute from Rakesh Chaurasia. Chick Corea appears only on "So What," but turns in a great piano solo with some tasty inside-the-piano work. Like "All Blues," "So What" becomes something else again with the addition of a trio of Indian percussionists and a change in time signature. And while the bassline of "Miles Runs the Voodoo Down" doesn't really lend itself to Henderson's signature propulsive style, the percussionists lock in with him, providing a platform for more sick playing from Cosey.
Here, Mike Stern's solo is as gentle as the one on "Jean Pierre" was noisy. Henderson and drummer Vince Wilburn kick it on "Great Expectations," which segues briefly into the introspective "Orange Lady" and back. Chary and Roney both contribute excellent solos and Cosey goes nuts why doesn't he record more? Fortunately, he gets plenty more space on the slow version of "Ife," both soloing and comping.
The rhythm section of Henderson and Badal Roy on tabla is completely hypnotic here, providing a perfect base for languid solos from Dave Liebman and Gary Bartz and some nice spacy sounds from Cosey and Adam Holzman. Scored for voice, piano, guitar, and the electric mandolin of U. Srinivas, it's a pensive and atmospheric track that nevertheless features some passionate soloing. And that's merely touching on some of the highlights. The essence of jazz is improvisation and expression, and Miles always sought out highly individual players.
The beauty of Miles from India is how the players from different cultures and backgrounds meet on Miles' turf with their individual voices completely intact. Miles from India is not only an amazing celebration of the music of Miles Davis, it's also a tribute to the way Miles and Teo Macero changed the way jazz music can be made.
Perhaps, like Macero, Bob Belden will be remembered more for his production than his horn playing. Either way, with Miles from India, Belden has outdone himself and delivered a tribute that succeeds completely on every level. Kudos to all involved. Disc 2 1. No need to check the liner notes: Prince's musical fingerprints are all over this one, from his sky-high falsetto to his funky guitar. Kanye West, Hard Candy One of the most musically ambitious tracks of Madonna's s, "Sky Fits Heaven" blends trance throb with drum n bass propulsion, ambient atmsopherics and even some light rock shredding for a strikingly buoyant soundscape.
Madonna's final great bubblegum pop song of the '80s -- and maybe ever, since its innocence would prove understandably hard to recapture in the decades to come. Madonna pretty much set the gold standard for dance-pop anthems with gospel choirs when she first got down on her knees back to take us there inbut the first single from Rebel Heart is a similarly worthy entrant in that tradition.
If the extra voices joining in on the uplifting "I'm gonna carry on" hook doesn't put some pep in your step, a thundering house beat courtesy of Diplo and Ariel Rechtshaid with Alicia Keys on piano! An emotional lyrical rendering from Madonna -- and an absolutely gorgeous synthscape courtesy of her and co-producer Patrick Leonard -- elevates what could've otherwise been a pat soundtrack single from the absurd '90s college dramedy With Honors to one of her great one-offs.
Its No. Think of it as the closest thing to a Madonna Manifesto on wax. From the start, Hard Candy was never going to be Madonna's most original album. The song's core pulse held some allure, however, and longtime remixer Junior Vasquez drew it out with his far more maximal Wet Dream Remix, which found the implicit hedonism in the song's hook -- and determined that it need not have to choose between the bedroom and the dance floor after all.
This dreamy-eyed single -- written, in true '80s fashion, for the Matthew Modine wrestling drama Vision Quest -- marked a couple of firsts for Madonna: her first Grammy nomination for best female pop vocal performance and her first hit ballad.
That sonic shift, perfect for young fans desperate for a slow song to come on so they could get closer to their partner, foretold the versatility to come from the pop star. A year before Debbie Gibson and Tiffany essentially set the gold standard for America-conquering mall-pop, Madonna buried the blueprint in the middle of her True Blue album with "Where's the Party?
The key to the song is the little snarl that she packs into each " Where's the party?? You can almost hear Madonna try to mask tears as her cracked voice tells the tale of a woman who attempts to find love through tendless one-night stands and drunken late nights on the town.
The tightest of Madonna's collaborations with superproducers The Neptunes on her underrated Hard Candy album, "She's Not Me" is a disco throwback with a deadly groove and a wicked sense of humor, which even provides its own inch remix with an outro that dissolves into Auto-Tuned 21st-century clubbiness.
The song's strut partly courtesy of The Revolution's Wendy Melvoin on acoustic guitar and winkingly paranoid lyric provide all the juice the song really needed, but it got an extra spark anyway when Madge played it as part of her mash-up of "Express Yourself" and Lady Gaga's "Born This Way" on 's MDNA tour -- inspiring some educated speculation about who'd most recently been freaking Madonna out by dressing like her and talking like her.
Madonna's first-ever single set the tone for much of her catalog to come, persuading club-goers to lose themselves to dance and kick-starting the theme of inclusivity that is still central to her message today: There is no separation of class, gender, race, sexuality or any other label when everybody is sweating it out together on the dance floor. On the growling electro-pop jam, the duo brew up a dizzying cauldron of bubbling techno and syncopated rhythms that resist traditional production tropes and leave you feeling dizzy, invigorated and entranced all at once.
What other superstar could flex their icon status and name-check themselves in a chorus and still have it feel completely earned? It's a song about intimacy disguised as a song about betrayal, and it showed that Even The Nights Are Better - Various - #1 Hits: Classic 80s Rock (CD) could rebound from the bad press of the Erotica era without reverting to playing it safe.
Certainly the most innocent-sounding song to nonetheless earn inclusion on Tipper Gore and the PMRC's infamous "Filthy Fifteen" list of the current pop songs they found to be most objectionable, "Dress You Up" arguably borders on adult content with its repeated "all over your body" exhortations but stays PG at worst with its generally over-caffeinated exuberance.
With a knockout chorus, infectious synth line and some exceptionally placed " Owww " backing vocals, the fact that "Dress You Up" was only the fourth-best single to be pulled from Like a Virgin suggested what a force to be reckoned with Madonna would remain for the rest of the millennium.
Even The Nights Are Better - Various - #1 Hits: Classic 80s Rock (CD) else besides Madonna has the power to transform a scathing diss targeted for an ex-lover into one of the best and most empowering dance hits of the '00s? The lyrics again concerned intimacy, but this time they were a plea to her partner to open up, with the chorus no longer content with all the secrets her baby was keeping.
It one-upped the Bedtime Stories lead single in most areas, including on the Hot -- where "Secret" peaked at No. No song better married the experimental impulses of American Life with her more accessible pop sensibilities like this topsy-turvy electro-romp, which simultaneously romanticized dreams of Tinseltown stardom while also calling out their emptiness. Of course a song about the phoniness of the entertainment industry would soundtrack her infamous stunt at the '03 VMAs.
As Madonna slips from lovestruck coo to sultry contralto, producer Nile Rodgers peppers in sprightly guitar and wry giggles from the star herself. The lyrics to this True Blue Hot topper, of course, started a firestorm for the lightning-rod pop star when it came out inwith critics unfairly accusing her of glamorizing teen pregnancy and typically anti-Madonna conservatives praising what they saw as the song's pro-life message.
But the real melodrama was Even The Nights Are Better - Various - #1 Hits: Classic 80s Rock (CD) the music, with dramatic, staccato strings accompanying a driving dance beat that perfectly matched the urgency of the song's pleading message. Despite its most famous quote being about crying, you wouldn't necessarily think of baseball dramedy and all-time what's-on-TBS-today classic A League of Their Own as a tearjerker -- until you remember "This Used to Be My Playground.
A half-decade before "Blurred Lines," The Neptunes granted Madonna a very similar bass-and-cowbell shuffle for her finest Hard Candy single. The song stiffed on the charts at the time, peaking at No. I lived so selfishly. An icy declaration via alter ego Dita Parlo that it was time to kick open the doors on kinks and own them without shame made plenty of prudes bristle in But years of dirrty followers have proven that not only was Madonna fingering a chord that was already deep within our collective unconscious, but few can do it better than M when it comes to getting raw without pandering or risking exploitation.
One of Madonna's biggest early hits -- and the one most despised by the singer herself. Madonna has worn plenty of hats in her career, and for the Music era she literally decided to grab her best Stetson and become a full-blown cowgirl.
But for Madonna, it landed her yet another top five Hot hit. The devastating truth at the core of "Live to Tell" is never revealed, but also "never far behind," the knowledge leaving Madonna both empowered and paralyzed. Sorry, my bad! The almighty Hell on Earth, with the most accurate and actual track title in the whole double set! Traditional Maiden galloping brain designed by H, maybe the more hit single fitted out of the three epics, it just sounds like any song from the SSOTSS era?
Signature instrumental pause preparing the vocals reentrance at full and furious capacity! Guitar galore with a flawless Nicko and a more than cohesive band! This album is a grower, it just gets better with every listen, but is also guaranteed to grab your attention at first ride, and it might not be the best Iron Maiden ever, but is definitely the best new Iron Maiden ever!
The End! Review by friso Prog Reviewer. Even the title track 'Senjutsu' has nothing more than a bit of ethnic war drumming to it.
A good producer would have, by the way, strongly advised to give that song a short pre-chorus or break because the chorus comes out of nowhere and misses its opportunity to shine completely.
Without the flat mixing this could have been a classic track for the band. The chord patterns and rhythms for the rest of the song are however Iron Maiden recycling its power chord patterns as they have done so often the last twenty years.
The main melodic theme of the song starting at is the most effective part of the album. A bit like how the song 'Brave New World' struck at first spin. In the ending section we get to hear this part in a clean setting with Bruce not having to scream and it is really beautiful. A good producer would have forced Iron Maiden to rewrite the song and use that as an opening. The solo sections remind me of the X-factor album, though that album showed a nice restrained when it comes to the production - giving the themes a sense of depth.
The verse riffs in the major key and vocals are among the most exciting of the record and the way Dickinson rises in pitch is very uplifting. At another track starts out of nowhere and the form of the song is ruined.
The song has some clean guitars, which gives it some time to breath and work as a song. Then begins the run of Harris' three epics.
By the way, they all open with the acoustic bass of Harris. The album's closer 'Hell on Earth' fails to leave an impression on me as well. Just Iron Maiden galloping in the minor key and some simple lead guitar melodies. In conclusion; Iron Maiden has become a band that has its success guaranteed since the return of Bruce Dickinson.
They are confident and do what they feel like. They record an album the way they want to. With the song-writing talent they have, the vocals of Dickinson and instrumental prowess they can still showcase they are sure to have another well selling heavy metal album and sold out gigs all over the world. Progressive rock fans have shown great interest as well in this album because of the lengthy epical songs.
I myself am not impressed by this record that should have - yet again - Even The Nights Are Better - Various - #1 Hits: Classic 80s Rock (CD) so much more.
Had I been given the choice; the full Senjutsu album or a single song like 'The Flight of Icarus', I would have probably chosen the second option. The overall production sound is however the best since Brave New World and it surely is one of the better records of their 21th century run.
Here we are though in and now finally after 6 years we have a new Maiden album. Obviously, there was an extensive "Book of souls" tour, but they also did a tour looking back at an older album too with their "Legacy of the Beast" tour. This year thanks to Tim's Twitter listening party where two of the albums involved were "Powerslave" and "Seventh son of the seventh son" has seen me really get into Maiden in a bigger way than ever before.
While I haven't got into the whole back catalogue yet. I have listened to a lot of the 80s stuff and also bought a lot of the live DVDs they have released over the years.
In terms of the build up to "Senjetsu", Maiden did make it fun for fans by giving out t-shirts to famous music friends like Frank Turner and Tim Burgees and getting them to wear the t-shirts or post on social media to create this hype wagon. There was then a countdown to specific day and time at one point which ended up being the premier of a new song which was "Writing on the wall" which was soon followed by the album announcement.
I did see some reaction afterwards from reviewers saying Bruce's voice has gone but I have to disagree with that. I think he still has it. In terms of the album, like "Book of souls" this is a double album which is roughly 40 minutes per CD.
The first 6 tracks have what I would call some of the more accessible tracks on the album and ones which would appeal to more people.
Tracks like "Writing on the Wall", "Stratego" and "Days of Future past" are the shortest tracks on the album. It has a fast tempo kind of like "The Trooper" without being a carbon copy. For me it's a lot more of a hit than "Stratego" and I think it deserves the single treatment and definitely an appearance in their live set.
Title track "Senjetsu" sets up them album well, being the first track. The big drum comes in straight away and the 8 minutes it lasts for feels like it's over all too soon. Much Even The Nights Are Better - Various - #1 Hits: Classic 80s Rock (CD) other tracks on this album. November 9, Archived from the original on September 24, September 12, Retrieved July 1, Retrieved August 6, Archived from the original on September 29, September 25, Archived from the original on November 13, The Great Canadian Book of Lists.
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