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List Price: £15.99
Our Price: £2.49
With all the splashy advertising and glossy press brouhaha to divert attention from the music to the concept, the question remains--can these boys actually sing? Yes they can, is the answer, and there are some things they do quite beautifully. Their own three-part a cappella arrangement of "Danny Boy" is simple and emotionally effective, and Matthew Gilsenan's plain performance of "The Quiet Land of Erin" to a solo harp accompaniment is gorgeous. The singers mostly perform in a warm but plain style that avoids operatic tics or vocal excess, but when the music veers into power-ballad territory (which it frequently does) they tend to fall back on the necessary tenorial technique to negotiate the higher passages--and the fact that the music is often not as good as their ability to sing it is revealed. Still, if you liked the theme music to Titanic there's plenty here to keep you amused. --Warwick Thompson
 The Celtic Tenors, 2003-11-16
Quality of CD: clear, clean sounds
Voice Quality: Absolutely heavenly.
Choice of lyrics: Brilliant
General: Fantastic voices and great harmony.
Waiting for third album to be available.
List Price: £25.99
Our Price: £9.06
Artist:
Vic Dickenson
Brilliant, 2009-03-24
I first heard Vic Dickenson on 10" lps back in the 60s. I then bought the 12" lps and now have this CD and I never tire of it. Vic is just brilliant.
List Price: £17.99
Our Price: £6.19
Artist:
Bill Harris
List Price: £14.99
Our Price: £11.95
Artist:
Benny Goodman,
Jack Teagarden
This collection culls 21 cuts from 1929 to 1934 featuring the clarinet master and trombone star as young, brash, and in-demand New York sidemen. The players who dot these exciting sessions are the original "young lions": Goodman (not yet 20 at the first of these dates), Gene Krupa, and Joe Sullivan came to New York from the thriving Chicago scene and were joined by other recent arrivals including Teagarden, his younger brother Charlie, Glenn Miller, and the team of Eddie Lang and Joe Venuti. These boys already knew how to swing hard, and they did so more loosely than was the predominant New York style at the time; there's a tangible sense of exhilaration on most cuts. The four cuts with the already legendary (but rapidly declining) Bix Beiderbecke are nice treats but don't quite match the intensity of the rest of this terrific set. Goodman's tone is a bit grainier than it would become, but his improvisations even at this young age are assured, easy-flowing, and joyful. --Marc Greilsamer
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