National Driver Amplifer Ic. Although sure to be criticized for cashing in on the Ray Charles bandwagon, jazzman John Scofield’s 2005 tribute release is also one of the most varied yet successful albums in the guitarist’s extensive catalog. Shifting from a big band/multi-vocalist approach for the classic 'What’d I Say' featuring an all-star lineup of Dr.

Cecelia Ahern The Gift Ebook Free Download. John, Warren Haynes, Aaron Neville, John Mayer and Mavis Staples trading verses (they all also take solo vocals on other tracks), along with longtime Charles saxist David 'Fathead' Newman, to the lone guitar rendition of 'Georgia on my Mind' that closes the disc, Scofield celebrates both Charles’ music and his eclectic approach to it. The stripped down instrumental version of 'Crying Time' with only funereal organ accompaniment is perfectly offset by the following gospelized reading of 'I Can’t Stop Loving You,' brought home by Mavis Staples’ explosive vocal. Teen throb John Mayer acquits himself admirably on vocals and guitar, singing and trading licks with Scofield on a rugged 'I Don’t Need No Doctor,' and Dr. John brings New Orleans soul on a greasy 'Talkin’ Bout You'/'I Got a Woman' medley.

The horn section gets a workout on powerfully swinging instrumental takes of 'Hit the Road Jack' and 'Let’s Go Get Stoned.' Scofield’s quivering solos show moderation yet convey the music’s R&B roots, even when he’s turning up the heat on a rousing Medeski, Martin and Wood -styled, acid laced 'Sticks and Stones.' Producer/drummer Steve Jordan finds the perfect vibe between jazz and R&B, and keeps the guest vocalists from stealing the spotlight. He provides the ideal framework for John Scofield’s fiery yet restrained playing and a fitting tribute to a jazz/R&B icon. What'd I Say 3. Sticks And Stones 4.

I Don't Need No Doctor 5. Cryin' Time 6. I Can't Stop Loving You 7. Hit The Road Jack Liste 8. Talkin' 'Bout You/I Got A Woman 9. Unchain My Heart (Part 1) 10. Let's Go Get Stoned 11.

Night Time Is The Right Time 12. You Don't Know Me 13.

Georgia On My Mind. Code: Hours strengthens most of the Funeral for a Friend sound, the one they had so much success with on the 2003 debut, Casually Dressed & Deep in Conversation. The Welsh combo still doesn't do anything that different from its peers, adhering to the post-hardcore/emo formula of self-righteous vocals, hooky dynamics, impassioned screaming, and underpinnings of time spent listening to Deftones and Get Up Kids records. But Hours gives the kids what they want right out of the gate, and has flashes of brilliance in its more upbeat material. 'Who was it that said that great things come to great men?' Matt Davies asks at the outset of 'All the Rage.'

'Well that fucker lied to us/There's nothing here but a wasteland.' The sentiment recasts the teenage wasteland of yore, replacing hope for redemption with the blank stare of apathy. 'How many times can I say I'm sorry and really mean it?' Musically it's a melodic hardcore rager, full of flinty guitar runs and anxious hitches in the percussion. It sounds similar to what listeners have heard before, but runs deeper than most.

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Unfortunately, Funeral for a Friend are less unique in the ballad department. 'Hospitality's plaintive crying isn't distinctive, and its arrangement recycles Def Leppard for a generation just discovering how much love bites. 'Drive,' too, is the height of melodrama with its 'This could be a movie' centerpiece. But the single 'Streetcar' has a nagging urgency in its melody, and 'Monsters' and the metal redux 'End of Nothing' are equally strong. Funeral for a Friend never lose their youthful vigor, their wonder about the promise of life as well as its bad places.

This helps them, because you believe that they aren't just going through the motions. Hours falters when it slows. But when it kicks up a racket the album screams like the conscience of a kid finally given a voice. Fabulous Indo-jazz fusion from a fun-loving foursome What did geeks do before there were microchips to absorb their time and devotion? They aspired to play awesome guitar, with the emphasis very much on technical skills. And among the many guitar idols of those days, few were revered as highly as John McLaughlin.