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Elastic Rock / We'll Talk About It Later (2ble CD) Import, Edition spéciale

5 étoiles sur 5 1 commentaire client

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Page Artiste Nucleus


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  • Elastic Rock / We'll Talk About It Later (2ble CD)
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Détails sur le produit

  • CD (8 avril 2002)
  • Nombre de disques: 1
  • Format : Import, Edition spéciale
  • Label: Mis
  • ASIN : B0000072M0
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 110.616 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. 1916 - Nucleus
  2. Elastic Rock - Nucleus
  3. Striation - Nucleus
  4. Taranaki - Nucleus
  5. Twisted Track - Nucleus
  6. Crude Blues (Part 1) - Nucleus
  7. Crude Blues (Part 2) - Nucleus
  8. 1916 Ð The Battle Of Boogaloo - Nucleus
  9. Torrid Zone - Nucleus
  10. Stonescape - Nucleus
  11. Earth Mother - Nucleus
  12. Speaking For Myself, Personally, I - Nucleus
  13. Ones Jive - Nucleus
  14. Song For The Bearded Lady
  15. Sun Child
  16. Lullaby For A Loney Child
  17. We'll Talk About It Later
  18. Oasis
  19. Ballad Of Joe Pimp
  20. Easter 1916
  21. I Wanna Be Your Man
  22. Little Queenie
  23. Hey Little Lovin' Girl
  24. Hey Baby
  25. I Can't Think Of Anyone Else
  26. You Can't Blame Him
  27. Heartbreak Hotel
  28. I Need Your Loving

Descriptions du produit

ELASTIC ROCK / WE'LL TALK ABOUT IT LATER (2BLE CD)

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Format: CD
Sorti la même année que l'excellent Elastic Rock et sur le même label mythique Vertigo, We'll Talk About It Later poursuit avec un peu plus d'intensité la définition d'un jazz-rock britannique aussi original que celui de Soft Machine. La formation complète a donc rempilé en septembre 1970 dans les Studios Trident de Londres et c'est avec un frisson de plaisir que l'on retrouve ces fabuleux musiciens réunis sous l'égide du trompettiste de jazz Ian Carr. Mais c'est le claviériste, multi-instrumentiste, et principal compositeur Karl Jenkins (futur membre de Soft Machine à partir de Six) qui est la véritable cheville ouvrière de cet album, ensemençant la musique de solos vitaminés, groovy ou atmosphériques. Quand à Chris Spedding, c'est un guitariste polyvalent qui vient du rock et qui n'a pas les compétences pour prendre des solos pyrotechniques comme John McLaughlin ou Allan Holdsworth. On peut s'en rendre compte en s'attardant sur le morceau Song For The Bearded Lady que Jenkins réintroduira sous une forme altérée et sous un autre nom (Hazard Profile) sur l'album Bundles de Soft Machine : la nouvelle version est cette fois dynamitée par un solo phénoménal d'Holdsworth qui compte parmi les meilleurs de sa carrière. Toutefois, c'est justement à cause de ce déficit technique que Spedding parvient à accentuer largement le côté impulsif et rock d'une musique qui en fin de compte aurait été plus conventionnelle en son absence.Lire la suite ›
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x922fac24) étoiles sur 5 9 commentaires
8 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x92302684) étoiles sur 5 British underground jazz-rock 27 mai 2002
Par Cliente Amazon - Publié sur Amazon.com
Format: CD
I'm quiet surprised to be the first to review this fantastic album. Led by trompetist Ian Carr, and supported by Karl Jenkins and John Marshall (before joining Soft Machine) this band just realized this two albums in 1971. I just can highly recommend this one to anyone who likes Soft Machine and those british jazz-rock bands.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x923026d8) étoiles sur 5 wow, this is actually RARE? 10 février 2009
Par Bryan - Publié sur Amazon.com
Format: CD
Update- January 19, 2013

Well somehow I completely forgot I'd heard a few of the songs from Elastic Rock back in 2009. Either my memory is getting worse or I was going through a phase back then hearing one band after another and somehow this album completely slipped my mind. Either way, here's a better review.

The song "Torrid Zone" is a really nice piece of straight-up adventurous jazz. The kind of jazz where you wanna sit there in the dark and absorb the atmosphere of every single note. I was wrong when I originally said this isn't melodic. What? It's *extremely* melodic! I guess my understanding of jazz back in 2009 wasn't as good as it is now. That's my only explanation for that comment. Anyway the saxophone riff in the beginning reminds me of a few Soft Machine tracks I could name, but then does something the Soft Machine didn't do very often- perform a trumpet jam. The more I play this jam the more I realize how awesome it is. Really spectacular jamming. "Earth Mother" begins with a melodic sax solo before going through a temporary questionable period when it gets noisy halfway through, but ending on a positive note with a guitar jam similar to John McLaughlin when he was performing with Miles Davis. I really can't decide which part I prefer- the sax or the guitar. Probably the sax since it's really beautiful.

The title song leaves me speechless. After rolling drums and saxophone make a grand entrance similar to John Coltrane, we're treated to a guitar solo that's technically and emotionally *fantastic*. It sounds bluesy to me and quite different from the one in "Earth Mother". Someone like Eric Clapton would be really proud of this. It might not seem like much of a solo at first but underneath the moody vibes you can eventually make out a really frightening and well-performed set of notes. "Twisted Track" is really atmospheric and performed with just as much melody and awesomeness as the rest of the material. Again, it's hard not to notice the Soft Machine similarities. My favorite moment on this album has weird psychedelic sounds serving as the rhythm in the background as the saxophone builds into a really spectacular piece. I'm unsure which song this is, however. I LOVE it. I've never heard anything like it! In fact the entire first side tells a really wonderful story based on the music alone. One wild and awesome journey through... through... anywhere you want!

I'm surprised music that sounds this clean, this precise, and this *awesome* is actually something not many people know about. Well I say, *make* yourself know about it! Sorry for being forceful there, hehe. When you really love a piece of music you sort of want everyone to hear what all the fuss is about. Am I right? Right! Pick up this set today.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x92302b10) étoiles sur 5 THE WAY FUSSION SHOULD BE 30 juin 2009
Par Bill Your 'Free Form FM Print DJ - Publié sur Amazon.com
Format: CD Achat vérifié
This music has deep, funky grooves and nice, clean lines. Yes, Nucleus are a full scale electric jazz band and have all the chops of a jazz band.

But on these two albums, the band shows its ability to set simple rythmic patterns, and improvise off them. They do not meander, but set a groove and dig deeply in, draining of it of all its possibilites.

The solos are top notch, and the rhythm section are as tight as I have ever listened to. This is chunky, meaty jazz rock, not to be missed.

These albums came out on Vertigo. That alone should vouch for their quality.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x92302af8) étoiles sur 5 Classic 1970s British Jazz-Rock 5 octobre 2012
Par David Lindsay - Publié sur Amazon.com
Format: CD
"Elastic Rock" is Nucleus' first album. It was recorded in January 1970. "Elastic Rock" was a pioneering jazz-rock record which had a major impact in the UK. "We'll Talk About It Later" was also recorded in 1970 and used the same line up. Many rock fans prefer this album because it had a harder edge, but in my view the music is less interesting.

"Elastic Rock" was recorded six months after Miles Davis' "In a Silent Way" and uses a similar line-up: trumpet, sax, keyboards, guitar, bass and drums. There are a lot of similarities between the two records. Nucleus consisted of Ian Carr on trumpet, keyboardist/oboist Karl Jenkins, saxophonist/flautist Brian Smith, guitarist Chris Spedding, bassist Jeff Clyne and drummer John Marshall. Nucleus' strengths were in composition and Karl Jenkins later became a successful classical composer. The album is packed with attractive melodies, don't expect the highly complex fusion of the Mahavishnu Orchestra.

Karl Jenkins who wrote most of the music on both albums, joined Soft Machine in 1972. When that band broke up in 1981 he became an award winning jingle writer. He later became a popular classical composer. Classic FM is the top classical music radio station in the UK and every year its listeners pick their favorite music. In 2011, Jenkins had four compositions in their top 300, with the highest placed entry at 15. John Marshall played in Soft Machine and Eberhard Weber's Colours. Soft Machine was an important jazz-rock band and had a large following throughout Europe.

In 1970 Chris Spedding was regarded as the second best jazz guitarist in Britain after John McLaughlin. He later became a popular session musician and played with Jack Bruce, John Cale, Elton John, Paul McCartney and Roxy Music. He even had a hit single, and was the producer of the Sex Pistols first demos. He recorded a song called Guitar Jamboree where he imitates Page, Hendrix, Clapton and lots of others.

This album is highly recommended to fans of British fusion, especially latter-day Soft Machine fans.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x92302fc0) étoiles sur 5 1970's crossover jazz and progressive rock; a lost masterpiece 11 septembre 2012
Par "Belgo Geordie" - Publié sur Amazon.com
Format: CD
Elastic Rock in particular. This was a very tight and high performance band. Particularly Ian Carr, Karl Jenkins and Brian Smith. Having been fortunate to see them live twice, the album when it came out in 1970 did not disappoint. These were musicians as comfortable live as they were at ease producing in the studio. And they were a tight combination. Given that it owes more to jazz form than progressive rock, its experimentation produced some startling interactions between band and audience. People used to shaking hair at guitar driven rock, sat and listened and were blown away by the mastery. It helped that Chris Spedding was able to cut loose on guitar and was the equal to many of the pyrotechnic axe players of the time. But it is the synthesis of abilities that is the strength of Elastic Rock. In Brian Smith, New Zealander, you also have a giant of tenor saxophone. Sadly he went to record some rubbish in later years. Ian Carr has turned out some jazz/classical/sacred music cross-over's. Karl Jenkins-I have not picked up on my radar. The disappointment was that Elastic Rock did not lead onto better output from Nucleus. The second album on this CD "Let's Talk About It Later" is journeyman. It does not ignite or excite but is listenable. I find Chris Spedding's guitar takes away from the music on this album. But good on Polygram for releasing this. As I wrote in the title, "Elastic Rock" is a British jazz classic, that somehow seems to have been overlooked. If you like jazz that is cerebral but with guts; then give this a listen. With the calibre of musicianship on display-you can't lose out.
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