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I'd like to note that this review is wrong -- Soul Machine is a good album, but Cee-Lo is better when he's weirder. This one is not as good as his first album or the Gnarls Barkley side project.

If I see the reviewer in the hallway tomorrow, I'll let set him straight. (I agree.)

Lately:

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I've heard these dudes are awesome, and put on a great live show, but I've yet to hear them.

I'm listening to Toys in the Attic by Aerosmith. Classic Aerosmith is the shizzy.

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"The Soft Bulletin" was the best album of the 1990s.

its a top fiver for me. easily. But I would put some others right there with it, such as Ritual by Jane's and Crooked Rain by Pavement.

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Chase. By Chase. Finally found a copy on CD - got it out of Japan. Jazz rock with 4 trumpet players and a rhythm section. Get It On and Handbags and Gladrags are neat. Hello Groceries is fun as it features the classic line, "You look so prime, tender and sweet. You're U.S.D.A. inspected meat."

[bill] Chase began to build his reputation playing with Kenton and Ferguson, and during the 1960s he played lead trumpet in Woody Herman's Thundering Herd. Recordings of the Herman band from that time period, including Woody's Winners, Live in Antibes, Encore, 1963, My Kind of Broadway, Blue Flame, Live in Seattle, Somewhere, Live at Newport 1966, Heavy Exposure, Woody Herman & the Fourth Herd, and Jazz Hoot are considered some of the most exciting in the Herman discography. The band also filmed several television appearances for the program Jazz Casual. One of Chase's original charts from this period, "Camel Walk," was published in Downbeat magazine.

The band

In 1970 he started his own band, known as Chase, which released its debut album Chase in early 1971. Bill Chase was joined by Ted Piercefield, Alan Ware, and Jerry Van Blair, three veteran jazz trumpeters who were also adept at vocals and arranging. They were backed up by a rhythm section consisting of Phil Porter on keyboards, Angel South on guitar, Dennis Johnson on bass, and Jay Burrid on percussion. Rounding out the group was Terry Richards, who was featured as lead vocalist on the first album. The album contains Chase's best-known song, "Get It On," which was released as a single and spent thirteen weeks on the charts starting in May of 1971. It features what Jim Szantor of Downbeat magazine called "the hallmark of the Chase brass - complex cascading lines; a literal waterfall of trumpet timbre and technique." The band received a Best New Artist Grammy nomination, losing the award to Carly Simon.

Chase released their second album, Ennea, in 1972; the album's title is the Greek word for nine, a reference to the nine band members. The original lineup changed midway through the recording sessions, with Gary Smith taking over on drums and G. G. Shinn replacing Terry Richards on lead vocals. Although the first Chase album sold nearly 400,000 copies, Ennea was not as well received by the public. A possible reason for this may have been the shift of focus away from the trumpet section. As Bill Chase put it in a Downbeat interview, "I don't want people to be heavily conscious of a trumpet section. They should just hear good things, but not be clobbered over the head with brass." A single, "So Many People," received some radio play, but the side-two-filling "Ennea" suite, with its tightly-chorded jazz arrangements and lyrics based on Greek mythology, was less radio-friendly.

Following an extended hiatus, Chase reemerged early in 1974 with the release of Pure Music, their third album. With an entirely new lineup, but keeping the four-trumpet section headed by Bill Chase, the group moved further from the rock idiom, placing their focus more heavily on jazz. Variety magazine said that Pure Music was "probably Chase's most commercial effort, and their brand of jazz could have a commercial impact." The songs were written by Jim Peterik of the Ides of March, who also sings on the two songs on the album with lyrics, backing up singer and bassist Dartanyan Brown.

Work began on a fourth studio album in mid-1974. However, on August 9, 1974, while enroute to a scheduled performance at the Jackson County Fair, Bill Chase died in a plane crash in Jackson, Minnesota. Also killed, along with the pilots, were keyboardist Wally Yohn, drummer Walter Clark, and guitarist John Emma. With the death of Bill Chase came the death of the group Chase. (Ironically, as the first song on Chase is called "Open Up Wide," the last song on Pure Music is called "Close Up Tight.")

http://www.answers.com/topic/bill-chase

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TV on the Radio - Desperate Youth, Blood Thirsty Babes

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I have no idea why but "Private Eyes" by Hall and Oates is stuck in my head right now. It makes no sense since the only music I've listened to this morning is Mozart.

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I listened to this as I rode my bike back home after the White Sox game:

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By the way, I'll be bringing a Sox cap I got as a premium at the game to Comstock Park tomorrow, in case anyone wants to shred it or something.

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One of my favorite albums of the year so far.

The Clientele - God Save the Clientele

The Clientele's third full-length LP finds the band riding the wave of beauty and inspiration that made Strange Geometry one of the most impressive records of 2005. As is their style, the group has made no radical changes to their sound or approach; Alasdair MacLean still sings in a heartbreakingly honest and sweet voice, the band is as restrained and thoughtful as ever, the strings that dot the songs like floating tufts of cotton candy are again arranged by Louis Philippe, and the songs are predictably haunting and heartwarming. Even the changes the group made haven't really changed anything. God Save the Clientele was recorded in Nashville with Lambchop's Mark Nevers at the helm, and with help from Autumn Defense member Pat Sansone, one might expect a more Americanized sound, but with the exception of a pedal steel here and there, the band still magically conjures up autumn walks through rainy London back streets or, even better, languid late summer days spent drifting through the English countryside. Nevers does get a slightly cleaner sound, cutting the reverb down noticeably, but without any ill effects. The addition of Mel Draisey on keyboards, violin, and backing vocals hasn't changed much for the group either, as she's only on about half the tracks and her contributions are pleasingly subtle. Apart from the talk of changes or lack thereof, what you get with God Save the Clientele is a stunning batch of songs that will break your heart, pump it back full of life, and send you off to dreamland with a warm feeling filling your soul. From bouncy summery tunes like "Here Comes the Phantom," which opens the album with a burst of joy, to sleepy ballads (the George Harrison-esque "Isn't Life Strange") and trademark midtempo charmers like "From Brighton Beach to Santa Monica," the band has never been as consistently wonderful as on this album. They also carry over the strong sense of dynamics from Strange Geometry and make sure to balance moods and tempos throughout the album; for every languid ballad like "The Queen of Seville" or the achingly beautiful "No Dreams Last Night," there's an uptempo track like "The Garden at Night" (a wild rocker that sounds like the soundtrack to a scene in a '60s film where the straight-laced couple wanders into a hip nightclub by mistake and is accosted by swirling music and a trippy light show) or the more sedate but still rocking "Bookshop Casanova" to match. Every song on the album is near perfect and would sound just right on a mix CD designed to win a heart, cheer up a friend, or simply make you glad to be alive. God Save the Clientele is another stroke of magic from a band that has few peers in delivering music that can make or break your heart with a vocal inflection, swath of strings, or gentle arpeggio, music that can devastate you in one breath and lift you to the heavens with the next. The Clientele are that good and this album ranks with their finest moments.

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Do The Right Thing by Northern Cross. Bluegrass gospel. Fiddle and mandolin player is a colleague and very talented on all stringed instruments.

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