| You are here: Home > Music > Working Out To Music |
Working Out To Music
Young Children Dance Classes Are One Particular Of A Lot Of Approaches To Get Exercising
Weight problems is usually a critical trouble from the United states of america. Youthful young children are just as probable as grown ups to struggle with weight problems. It is even even worse for little ones mainly because other little ones tease them for the reason that of their bodyweight. Even even worse, weight problems could cause little ones a myriad of health problems. This is why physical exercise is vital. Children livermore dance classes or dance school livermore are one of many methods kids can get important workout.
A fantastic strategy is usually to inspire your little ones to exercising, but with out them realizing that they are exercising, like through costa mesa dance studio. Put simply, attempt to locate fun ways for little ones to have shifting.
one. In case you have a dog, contemplate letting your son or daughter do dog-walking pursuits. Your puppy is not going to only appreciate the awareness, but your child will also appreciate the activity and gain from it. You or an additional adult will have to accompany the youngster, but make them feel like they may be in charge of strolling the dog.
two. In case your kid loves video clip video games, invest in one that compels them to maneuver to be able to win. Games this kind of as Dance Revolution, Wii Fit and Lively Daily life Outdoor Problem are just some examples of games that preserve them shifting. These video games will also be excellent for when it is raining and they can not go exterior.
3. Dancing is absolutely a fun strategy to exercising. Enroll your son or daughter in young children dance courses and allow them get artistic. Permit them to decide on the kind of dance they need to study. It could possibly be anything at all from tap to ballet. Should you have a video clip digital camera, you can allow your son or daughter generate music movies. Let them to decide on songs, structure the set as well as the costumes they may be heading to use. Enable them to show what they’ve realized in course. You could record the video even though these are dancing. They are going to love viewing their productions once they are older.
These are just a few of the numerous fun tactics for children to exercise. They will not even comprehend these are undertaking a little something nutritious. When physical exercise is exciting, it doesn’t experience like working out in any respect.
Working Out To Music
Sole F63 Treadmill Has Earned A Reputation As One Of The Best-Quality Treadmills
Walking is still considered one of the most beneficial cardiovascular exercises for people of all ages, body types, and fitness levels. From beginners just starting an exercise regimen to advanced athletes looking to maintain their fitness level, anyone interested in getting and staying in shape can benefit greatly from regular use of a treadmill. Regardless of the simple to complex features you may choose, treadmills offer an array of aerobic exercise opportunities that will provide long-lasting beneficial cardiovascular results without a commute to the gym or a jog in the rain.
To the table in their line of innovative equipment designed, Sole brings over twenty years of treadmill and fitness product design and manufacturing for fitness-conscious people. The company’s treadmill line is simple in design, with an emphasis on quality and warranty all at a great price. The Sole F63 treadmill has earned a reputation as one of the best-quality treadmills in its price range with newly designed with updated features thanks to its unbeatable combination of high-quality components and user-friendliness.
The Sole F63 treadmill offers continuous-duty motor, a strong 2.5-HP, which delivers challenging inclines of up to 15% and speeds of up to 10 mph. The vibrant blue LCD display, meanwhile, closely tracks your workout progress, with information on your speed, incline, time, distance traveled, calories, pulse, and pace. There’s even a 1/4-mile digital track that you can follow as you run and a peak-and-valley graph that corresponds to individual programs.
You will enjoy working out from the comfort of home with this Sole F63 treadmill. Intuitive features include incline and speed adjustments on the handrails, a convenient blue backlit LCD display that allows you to keep track of your progress, and built-in cooling fans. The built-in audio system lets you work out to your favorite music. Also Includes grip pulse monitoring and a heart rate chest strap. The Sole F63 treadmill, which offers a user Maximum Weight Capacity of 325 pounds, carries the following warranties: 20 years on the motor, lifetime on the frame, three years on the deck, one year on the labor, and three years on the electronics/belt/rollers. Read more reviews at Treadmill Reviews.
Working Out to Music
What Your Music Profile Should Say About You
Your online music profile is the bottom-line essential information on WHO you are as a band, singer, songwriter and / or musician. Your profile, like how it fits into the big picture on Artistopia, an artist development site for indie and unsigned artists, is your life or resume that presents you in the music industry, other musicians, and your potential fans. That makes it a very important page on the Internet, right? It needs to be interesting, well-written, informative and to-the-point, for it is you in your marketing self. When writing this document, there is much to consider to make it attractive.
Consider these scenarios:
1. A & A R rep was listening to your music on an indie radio webcast and thinks, "who is that?!" So they click on your name to learn you more about. Your music brought them to your profile. They will be impressed by what they read?
2. A label rep is browsing the artist profiles for a band they need for a specific project, perhaps local to them. Does your profile, gig information, and band description quickly give them enough details to discover you?
Internet world, any webmaster to tell you that content is king. Why? Because this is how online visitors find you. As a source for driving traffic to web pages of search engines, and is content that they want and nothing else. (The literal text content, characters, paragraph, sentence – this information.) Easy to improve traffic to your profile by entering as much relevant content about yourself as required to describe your music, history, act, image, and musical goals.
Knowing this and knowing that this busy-busy click-happy Web world, you have to have Your band description clearly stated at the top of the bio! Fill the rest of the details are below. If you got the attention of the readers above, it will follow through by and read more. If not, they will leave your profile and look for another band that presents themselves better than you.
The best place to start is by creating an outline in Word (or other program). Find out how many total characters you can use the field you are entering information in. Use spell check and save it for later updating. Collect your thoughts and make note about your background, your history of music, goals, accomplishments, band member, who plays instruments, etc.
* The music business is a BUSINESS so present yourself professionally.
The first paragraph should be an introduction. This is the lead-in to who you are, what your specialty music (genre), where in the world you're from, and perhaps a keen quote given to you about your music. If you sound like a certain pro band or artist, what makes you different from them?
* These Busy people in the industry can not finish reading after a few lines if opener does not get them quickly. And you have to live up to the hype you give!
The second paragraph could cover know what you are currently up to musically. Here you can specify a new release you are working on, or music projects you is involved with. What promotional plans do you have to support your current activities? Mentioning an upcoming tour or gig is excellent here.
The third paragraph includes band member information (that's what acting) or brief mention of background experiences, instrumentation, and / or accomplishments, that accentuates your artistic development. Artistopia offers locations for detailed information about the entries, so use the available space to present yourself wisely.
Mission Statement section will cover your music career goals and is aimed at the industry professionals who can look for your particular talent. The influence of section of your musical influences are, so no need to waste the readers time mentioning them elsewhere.
You remember, A & R reps, labels, producers, potential collaborators, are all very busy people who have heard all this before. Do not waste words but find a way to stand out from the ordinary. The music you create can bring them to your profile after they heard it to know more about you, so it is up to you to show them that you are someone they can work with.
It is absolutely amazing to see artists who do not take the time to do it. Countless trips to the web and thousands of profiles of music, see description from the artist as short as a one-liner such as "We want to hear," certain social site artist description go for miles. There is a huge difference in giving the reader important information that should be included in your profile and information that one would never care about should not.
Therein is the essence of what your music profile should be saying about you.
About the Author
Artistopia – The Ultimate Artist Development Resource http://www.artistopia.com is an artist development and community on the web providing indie and unsigned music artists, songwriters and bands all the tools needed for music business collaboration and networking.
work out video (bar pull ups, push ups,dips, numbers )
Below are some cheap but quality products related to Working Out to Music. Enjoy!
|
|
Working Out $24.99 Working Out – Photographic Print |
|
|
God Is Working His Purpose Out $2.1 By Dale Grotenhuis. 2 Part Mixed. NATIONAL/EMERSON FRED BOCK. 8 pages. Hal Leonard #NMCH216. Published by Hal Leonard |
|
|
Women Working Out $24.99 Women Working Out – Photographic Print |
|
|
Woman Working Out $24.99 Woman Working Out – Photographic Print |
|
|
Asian Man Working Out $24.99 Asian Man Working Out – Photographic Print |
|
|
Working Out with Hand Weights $29.99 Working Out with Hand Weights – Photographic Print |
|
|
Working Out with Weight Machines $24.99 Working Out with Weight Machines – Photographic Print |
|
|
Working Out on Stationary Bike $24.99 Working Out on Stationary Bike – Photographic Print |
|
|
Working Out with Resistance Bands $24.99 Working Out with Resistance Bands – Photographic Print |
|
|
Muscular Man Working Out $24.99 Muscular Man Working Out – Photographic Print |
|
|
Man Working Out with Weights $24.99 David Davis Man Working Out with Weights – Photographic Print |
|
|
Body Builder Working Out $24.99 Matthew Borkoski Body Builder Working Out – Photographic Print |
|
|
Working Out, Working Within $22.9 This book is in New – Excellent condition |
|
|
Asian Woman Working Out with Weights $24.99 Asian Woman Working Out with Weights – Photographic Print |
|
|
Woman Resting After Working Out $24.99 Woman Resting After Working Out – Photographic Print |
|
|
Man Working Out with Hand Weights $24.99 Man Working Out with Hand Weights – Photographic Print |
|
|
Woman Working Out with Hand Weights $29.99 Woman Working Out with Hand Weights – Photographic Print |
|
|
Woman Working Out on a Weight Machine $24.99 Woman Working Out on a Weight Machine – Photographic Print |
|
|
Monochromatic Image of a Boxer Working Out $29.99 Monochromatic Image of a Boxer Working Out – Photographic Print |
|
|
Hard Working Music, Vol. 2 $5.99 Hard Working Music, Vol. 2 |
|
|
Alfred 00VAL2010A Working Vocal Selections Music Book $36.06 Alfred Music Publishing is the world s largest educational music publisher. Alfred produces educational’ reference’ pop’ and performance materials for teachers’ students’ professionals’ and hobbyists spanning every musical instrument’ style’ and difficulty level. Titles include: All the Livelong Day Brother Trucker Cleanin’ Women Fathers and Sons If I Could’ve Been It’s an Art Joe Just a Housewife Lovin’ All The Mason Millwork Neat to Be a Newsboy Something to Point Out’ and others. |
|
|
Working in Music $6.94 This book is in Good Used condition |
|
|
Working Out, March 14, 1959 $39.99 Kurt Ard “Working Out”, March 14, 1959 – Giclee Print |
|
|
The Worn Out Coat of a Working Man $34.99 Joel Sartore The Worn Out Coat of a Working Man – Photographic Print |
|
|
He’s Working It Out for You $7.99 Track Listing: 1. He’s Working It Out for You, 2. Let the Redeemed of the Lord Say So, 3. You’re Everything We Need, 4. Psalm 34, 5. O for a Thousand Tongues to Sing, 6. It’s Been Worth Having the Lord in My Life, 7. Healed, 8. Go Your Way (Sin No More), 9. Wait on the Lord |
|
|
When Working Out Isn’t Working Out $6.41 This book is in Good Used condition |
|
|
Close-up of a Young Man Working Out with Dumbbells $29.99 Close-up of a Young Man Working Out with Dumbbells – Photographic Print |
|
|
Close-up of a Young Man Working Out with a Dumbbell $24.99 Close-up of a Young Man Working Out with a Dumbbell – Photographic Print |
|
|
Man in a Wheelchair Working out with Hand Weights $49.99 Man in a Wheelchair Working out with Hand Weights – Framed Art Print |
|
|
Young Woman Working Out in a Health Club $29.99 Young Woman Working Out in a Health Club – Photographic Print |
|
|
Young Man Working Out with Jump Rope $24.99 Chris Trotman Young Man Working Out with Jump Rope – Photographic Print |
|
|
French Army Officiers Working Out Military Maneuvers $49.99 French Army Officiers Working Out Military Maneuvers – Photographic Print |
|
|
Governor G. Mennen Williams, Working Out in the Gym $49.99 Governor G. Mennen Williams, Working Out in the Gym – Photographic Print |
|
|
Working Out the Kinks $79.86 Visit our website for details. |
|
|
Mastering the Art of Working Out $11.21 This book is in New – Excellent condition |
|
|
Working Out: Aerobics, by Savage $1.9 This book is in Acceptable condition |
|
|
Working Out in Japan $21.8 This book is in New – Excellent condition |
|
|
Working for the Man (Digital Sheet Music) $2.99 By Roy Orbison. Roy Orbison. For Guitar TAB. Pop/Rock. 4 pages. Published by Alfred Music. Digital Sheet Music |
|
|
Working on a Dream (Digital Sheet Music) $3.99 By Bruce Springsteen. Bruce Springsteen. For Piano/Vocal/Chords. Pop/Rock. 5 pages. Published by Alfred Music. Digital Sheet Music |
|
|
Young Woman Working Out with Hand Wieghts, USA $24.99 Chris Trotman Young Woman Working Out with Hand Wieghts, USA – Photographic Print |
|
|
Body Builder Working out at Venices Muscle Beach $39.99 Jodi Cobb Body Builder Working out at Venices Muscle Beach – Photographic Print |
|
|
Working For The Weekend (Digital Sheet Music) $2.99 By Loverboy. For guitar. Pop; Rock. Guitar TAB. Guitar TAB. 5 pages. Published by Hal Leonard – Digital Sheet Music |
|
|
Out There $3.99 “By Alan Menken. For piano, voice, and guitar (chords only). Children; Disney; Film/TV. 12 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
Working In Music And Dance $25.27 This book is in New – Excellent condition |
|
|
Working in the Music Industry $15 This book is in New – Excellent condition |
|
|
Working For The Weekend $2.99 By Loverboy. For guitar. Pop; Rock. Guitar TAB. Guitar TAB. 5 pages. Published by Hal Leonard – Digital Sheet Music |
|
|
Alfred Publishing 0026902 I ve Been Working on the Railroad Music Book $54.72 This funky Latin version of Railroad is both fresh and clever. Victor Lopez arranged this chart to include optional parts for flute clarinet and violin viola and celloeverybody plays in the jazz ensemble Solos are written out for alto and tenor sax trumpet and trombone and optional violin. Trumpet 1 range is to written top line F. Railroad is a hip contemporary and accessible chart.Contributors: Traditional / arr. Victor LopezSeries: Jazz Expressions SeriesInstrument: Jazz EnsembleFormat: Conductor Score PartsCategory: Jazz Ensemble |
|
|
Working on a Dream $3.95 By Bruce Springsteen. By Bruce Springsteen. For Keyboard; Piano; Voice. This edition: Piano/Vocal/Chords. Artist/Personality; Piano/Vocal/Chords; Sheet; Solo. Original Sheet Music Edition. Pop. Sheet. 6 pages. Published by Alfred Music Publishing |
|
|
Working $6 Working |
|
|
God Is Working $8.46 “(The Brooklyn Tabernacle Choir). By Brooklyn Tabernacle Choir. Arranged by Carol Joy Cymbala. For SAT(B) Choir. Collection, Print on Demand. Gospel. Choral Book. Published by Word Music” |
|
|
Working Mother $14 Working Mother magazine is the one place where mothers can learn from the collective wisdom of millions of other working mothers, and get the guidance and inspiration they need. For part-time, full-time, sidelined and comeback moms Working Mother is the only magazine that speaks to, and for working mothers nationwide. In every issue we connect women who work and raise a family – from Smart Solutions … for getting flexibility at work, finding time for yourself, and spending fun time with your children, to Practical Tips … for learning how to avoid burn out at work and at home, and getting the tools you need to pursue a balance between career, family and self. 16 issues for $14.00 |
|
|
4 Time Zone ALL WORKING Red Silicone Iced Out Watch $99 4 Time Zone ALL WORKING Red Silicone Iced Out Watch |
|
|
Dorothy Bradley Who Is 205 Lbs., Working Out at a Gym $49.99 Dorothy Bradley Who Is 205 Lbs., Working Out at a Gym – Photographic Print |
|
|
Millwork (From Working) (Digital Sheet Music) $3.99 By James Taylor. For Piano/Vocal/Chords. Standard and Broadway. 9 pages. Published by Alfred Music. Digital Sheet Music |
|
|
I’ve Been Working on the Railroad (Digital Sheet Music) $3.99 By Traditional. For Piano/Vocal/Chords. Traditional; Nostalgia. 3 pages. Published by Alfred Music. Digital Sheet Music |
|
|
Working It Out, by Alvermann, Grade 6 $1.5 This book is in Used condition |
|
|
Working out what God works in $5 This book is in Good Used condition |
|
|
The Kids’ Guide to Working Out Conflicts $10.46 This book is in New – Excellent condition |
|
|
Working Class Hero (Digital Sheet Music) $2.99 By Alan Jackson. Alan Jackson and Don Sampson. For Easy Guitar. Country. 6 pages. Published by Alfred Music. Digital Sheet Music |
|
|
Alfred 0032096 Working on a Dream Music Book $19.78 Alfred Music Publishing is the world s largest educational music publisher. Alfred produces educational’ reference’ pop’ and performance materials for teachers’ students’ professionals’ and hobbyists spanning every musical instrument’ style’ and difficulty level. Working on a Dream was first performed on November 2′ 2008 during Springsteen s appearance during Barack Obama’s 2008 presidential campaign as a duet with wife and bandmate Patti Scialfa. Released later that month’ Working on a Dream immediately began hitting charts internationally. Alfred Music is proud to offer the Original Sheet Music Edition of the single Working on a Dream’ professionally arranged for Piano/Vocal/Chords. |
|
|
Working with Joy $1.28 By Larry Nickel. SSATB. This edition: P1311. Pavane Sacred. Sacred. 8 pages. Published by Pavane Publishing |
|
|
Out There (Digital Sheet Music) $3.99 “By Alan Menken. For piano, voice, and guitar (chords only). Children; Disney; Film/TV. 12 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
I’ve Been Working On The Railroad (Digital Sheet Music) $3.99 By American Folk Song. For easy piano. American; Children; Folk; Traditional. 4 pages. Published by Hal Leonard – Digital Sheet Music |
|
|
Happy Working Song (Digital Sheet Music) $3.99 “By Stephen Schwartz, Enchanted (Movie), and Amy Adams. For easy piano. Disney; Film/TV; Pop. 7 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
Young Boy Working Out a Math Problem with Help of Instructor at Orphanage $99.99 Tony Linck Young Boy Working Out a Math Problem with Help of Instructor at Orphanage – Premium Photographic Print |
|
|
Model Pat Ogden at Slenderizing Salon Working Out on Roaler Massager $49.99 Model Pat Ogden at Slenderizing Salon Working Out on Roaler Massager – Photographic Print |
|
|
Women Shopping at the Market Place While the Men are Out with the Sheep or Working $99.99 John Phillips Women Shopping at the Market Place While the Men are Out with the Sheep or Working – Premium Photographic Print |
|
|
Young Woman in Headscarf and Working Clothes Looks out to Sea from the Shoreline $24.99 Young Woman in Headscarf and Working Clothes Looks out to Sea from the Shoreline – Photographic Print |
|
|
Women Working Out with Hand Wieghts, New York, New York, USA $24.99 Paul Sutton Women Working Out with Hand Wieghts, New York, New York, USA – Photographic Print |
|
|
Man Working Out with Hand Wieghts, New York, New York, USA $24.99 Chris Trotman Man Working Out with Hand Wieghts, New York, New York, USA – Photographic Print |
|
|
Baseball Player Ted Williams Working Out Before Game $99.99 Frank Scherschel Baseball Player Ted Williams Working Out Before Game – Premium Photographic Print |
|
|
Working Class Children in Sheffield, South Yorkshire, Playing Out of Doors $19.99 Henry Grant Working Class Children in Sheffield, South Yorkshire, Playing Out of Doors – Photographic Print |
|
|
Women Resting after Working Out, New York, New York, USA $24.99 Chris Trotman Women Resting after Working Out, New York, New York, USA – Photographic Print |
|
|
Male Working Out with Wieghts in a Health Club, Rutland, Vermont, USA $24.99 Paul Sutton Male Working Out with Wieghts in a Health Club, Rutland, Vermont, USA – Photographic Print |
|
|
Young Woman Working Out with Hand Wieghts, Rutland, Vermont, USA $24.99 Chris Trotman Young Woman Working Out with Hand Wieghts, Rutland, Vermont, USA – Photographic Print |
|
|
Male Working Out with Weights in a Health Club, Rutland, Vermont, USA $24.99 Chris Trotman Male Working Out with Weights in a Health Club, Rutland, Vermont, USA – Photographic Print |
|
|
Aerobics Class- Group Working Out, New York, New York, USA $24.99 Paul Sutton Aerobics Class- Group Working Out, New York, New York, USA – Photographic Print |
|
|
Working Out Saturday Evening Post Cover, March 14, 1959 $39.99 Kurt Ard “Working Out” Saturday Evening Post Cover, March 14, 1959 – Giclee Print |
|
|
J. Robert Oppenheimer Working Out Physics Equations on the Blackboard in His Office $99.99 Alfred Eisenstaedt J. Robert Oppenheimer Working Out Physics Equations on the Blackboard in His Office – Premium Photographic Print |
|
|
Woman Resting after Working Out, New York, New York, USA $24.99 Chris Trotman Woman Resting after Working Out, New York, New York, USA – Photographic Print |
|
|
J. Robert Oppenheimer, Working Out Physics Formulas on Blackboards $99.99 Alfred Eisenstaedt J. Robert Oppenheimer, Working Out Physics Formulas on Blackboards – Premium Photographic Print |
|
|
SANTANA HOLMES -WR STEELERS WORKING OUT Sig 8×10 Color $52.61 SANTANA HOLMES -WR STEELERS WORKING OUT Sig 8×10 Color SANTANA HOLMES -WR STEELERS WORKING OUT Sig 8×10 Color Every signed item comes fully certified with a tamper proof hologram certificate of authenticity and is backed by the SportsMemorabilia.com Authenticity Guarantee. |
|
|
‘Working Together’ $87.95 Emmanuel Atiemoh Yeboah celebrates the spirit of cooperation that prevails in West African families where even the children help out. He depicts a young woman who leans lovingly toward her three youngsters. All carry bowls or baskets on their heads as they walk home from the market. Yeboah works in oils on calico, adding cutouts of batik cloth for the gowns and turbans. Other details, such as grass, are created with pen and ink. The composition arrives in a frame of tweneboa wood. |
|
|
Singer Jo Stafford Working on Music with Her Husband, Arranger Paul Weston $99.99 Allan Grant Singer Jo Stafford Working on Music with Her Husband, Arranger Paul Weston – Premium Photographic Print |
|
|
Load Out (Digital Sheet Music) $3.99 By Jackson Browne. Jackson Browne and Bryan Garofalo. For Piano/Vocal/Chords. Pop/Rock. 10 pages. Published by Alfred Music. Digital Sheet Music |
|
|
Is There Life Out There (Digital Sheet Music) $3.99 By Reba McEntire. Rick Giles and Susan Longacre. For Piano/Vocal/Chords. Pop/Rock. 5 pages. Published by Alfred Music. Digital Sheet Music |
|
|
Out of the Cradle (Digital Sheet Music) $2.99 By Rush. Geddy Lee and Alex Lifeson. For Guitar TAB. Pop/Rock. 9 pages. Published by Alfred Music. Digital Sheet Music |
|
|
Out of Control (Digital Sheet Music) $3.99 “By The Eagles. Don Henley, Glenn Frey, and Tom Nixon. For Piano/Vocal/Chords. Pop/Rock. 8 pages. Published by Alfred Music. Digital Sheet Music” |
|
|
Out of Time (Digital Sheet Music) $3.99 By The Rolling Stones. Keith Richards and Mick Jagger. For Piano/Vocal/Chords. Pop/Rock. 4 pages. Published by Alfred Music. Digital Sheet Music |
|
|
Is There Anybody Out There? (Digital Sheet Music) $3.99 By Pink Floyd. Roger Waters. For Piano/Vocal/Chords. Pop/Rock and Movies. 4 pages. Published by Alfred Music. Digital Sheet Music |
|
|
Hold Out (Digital Sheet Music) $3.99 By Jackson Browne. Jackson Browne. For Piano/Vocal/Chords. Pop/Rock. 9 pages. Published by Alfred Music. Digital Sheet Music |
|
|
Out on the Tiles (Digital Sheet Music) $2.99 “By Led Zeppelin. Jimmy Page, Robert Plant, and John Bonham. For Authentic Guitar TAB. Hard Rock/Metal. 5 pages. Published by Alfred Music. Digital Sheet Music” |
|
|
Knives Out (Digital Sheet Music) $2.99 “By Radiohead. Thomas Yorke, Jonathan Greenwood, Philip Selway, Colin Greenwood, and Edward O’Brien. For Guitar TAB. Pop/Rock. 8 pages. Published by Alfred Music. Digital Sheet Music” |
|
|
No Way Out (Digital Sheet Music) $3.99 “By LeAnn Rimes. LeAnn Rimes, Gary Leach, and Austin Deptula. For Piano/Vocal/Chords. Pop/Rock. 5 pages. Published by Alfred Music. Digital Sheet Music” |
|
|
Out Of Limits (Digital Sheet Music) $2.99 By The Marketts and The Ventures. For guitar. Oldies; Rock. Guitar TAB. 3 pages. Published by Hal Leonard – Digital Sheet Music |
|
|
Checkin’ It Out (Digital Sheet Music) $3.99 By Van Morrison. Pop; Rock. Piano/Vocal/Guitar. 3 pages. Published by Hal Leonard – Digital Sheet Music |
|
|
School’s Out (Digital Sheet Music) $2.99 By Alice Cooper. For guitar. Metal; Rock. Guitar TAB. 8 pages. Published by Hal Leonard – Digital Sheet Music |
|
|
Somewhere Out There (Digital Sheet Music) $2.99 By Our Lady Peace. For guitar. Pop; Rock. Guitar TAB. 7 pages. Published by Hal Leonard – Digital Sheet Music |
|
|
Out Of The Sunrise (Digital Sheet Music) $2.99 By Joe Satriani. For guitar. Metal; Pop; Rock. Guitar TAB. 11 pages. Published by Hal Leonard – Digital Sheet Music |
|
|
Out Of Love (Digital Sheet Music) $3.99 “By Five for Fighting. For piano, voice, and guitar (chords only). Pop. 7 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
Working Class Hero $3.99 By Green Day and John Lennon. For easy piano. Pop; Rock. 3 pages. Published by Hal Leonard – Digital Sheet Music |
|
|
Getting Out (Digital Sheet Music) $3.99 “By Jason Robert Brown. For piano, voice, and guitar (chords only). Pop. PV. 13 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
Steppin’ Out (Digital Sheet Music) $3.99 “By Joe Jackson. For piano, voice, and guitar (chords only). Pop; Rock. Piano/Vocal/Guitar. 8 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
Out Of Nowhere (Digital Sheet Music) $2.99 “By Les Paul, Chet Atkins, and Django Reinhardt. For guitar. Jazz; Standards. Guitar TAB. 9 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
Out Of Reach (Digital Sheet Music) $3.99 “By Gabrielle. For piano, voice, and guitar (chords only). Pop; R & B. 5 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
If You’re Out There (Digital Sheet Music) $3.99 “By John Legend. For piano, voice, and guitar (chords only). Pop; R & B; Rock; Soul. 10 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
Out Of The Blue (Digital Sheet Music) $3.99 “By Delta Goodrem. For piano, voice, and guitar (chords only). Pop; Rock. 7 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
Jerk It Out (Digital Sheet Music) $3.99 “By The Caesars. For piano, voice, and guitar (chords only). Alternative; Pop; Punk; Rock. 6 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
Twork It Out (Digital Sheet Music) $3.99 “By Usher. For piano, voice, and guitar (chords only). Pop; R & B. 11 pages. Published by Hal Leonard – Digital Sheet Music” |
|
|
I’ve Been Working On The Railroad $3.99 By American Folk Song. For easy piano. American; Children; Folk; Traditional. 4 pages. Published by Hal Leonard – Digital Sheet Music |
|
|
Cuisinart SS-700 Single Serve Brewing System, Silver – Powered by Keurig $365.00 Perfect for both personal use and entertaining%2C this single%2Dserve home%2Dbrewing system offers consumers fresh gourmet coffee%2C tea%2C hot cocoa%2C and more in under one minute%2E Choose either 4%2C 6%2C 8%2C or 10 ounce from the icon on brewing size options%2E Using Keurig K%2DCups%97featuring over two hundred varieties of pre%2Dmeasured%2C premium brand coffee and tea%2D%2Dthis brewer%92s i… |
|
|
Breadman BK1060S 2-Pound Professional Bread Maker with Collapsible Kneading Paddles and Automatic Fruit and Nut Dispenser $79.99 Russell Hobbs BK1060S Bread Maker BK1060S Bread Makers… |
|
|
Richard Simmons Sweatin’ to the Oldies [VHS] $7.43 Richard Simmons is the king of motivational exercise, especially if you’re a beginner. This video workout is a dance party simulating a class reunion, with an energizing live band playing lively hits from the ’50s and ’60s, such as “It’s My Party and I’ll Cry If I Want To,” “Great Balls of Fire,” and “Dancing in the Streets.” The singers and musicians sometimes come offstage and dance with the exe… |
|
|
The Sorcerer’s Apprentice (Three-Disc Blu-ray/DVD Combo+Digital Copy) $17.90 Get the Best in High Definition for your HDTV with Blu-ray Movies!Magic is everywhere in Disney’s The Sorcerer’s Apprentice, the fun family adventure from the creators of National Treasure. Balthazar Blake (Nicholas Cage) is a modern-day sorcerer with his hands full defending Manhattan against dark forces. When a seemingly average kid shows hidden potential, Balthazar takes his reluctant recruit o… |
|
|
Tae-Bo Workout (SET OF 4: Basic, Instructional, Advanced, 8-minute Workout) [VHS] $24.94 Billed as the “future of fitness” and hawked by numerous celebrities, Billy Blanks’s Tae-Bo actually deserves much of the hype it’s receiving. A mixture of boxing punches and martial arts kicks, Tae-Bo is fun and easy. One of the best elements of this four-tape set is that the first tape (which is 40 minutes long), Tae-Bo: Instructional, lays out the movements you need to successfully complete a w… |
|
|
Jillian Michaels – 30 Day Shred $5.35 No Description Available.Genre: Exercise/FitnessRating: NRRelease Date: 18-MAR-2008Media Type: DVD… |
|
|
The Complete Collection of Sweatin’ to the Oldies $30.22 RICHARD SIMMONS:SWEATIN TO THE OLDIES – DVD Movie… |
|
|
Dance off the Inches: Hip Hop Party $4.90 Studio: Starz/sphe Release Date: 12/04/2007… |
|
|
Graco Nasal Clear Nasal Aspirator $18.00 NasalClear is a new battery operated nasal aspirator. It quickly, easily, and safely clears your baby’s stuffy nose and helps her breathe more freely. The NasalClear aspirator provides you with suction that is stronger than that of a traditional manual aspirator, yet gentle enough to use safely and comfortably on your newborn or toddler. Battery operation lets you control the suction, so that you … |
|
|
Polar RS100 Heart Rate Monitor and Stopwatch $119.95 For beginners who want basic heart rate and timing features.Helps improve fitness with personal heart rate target zonesDisplays calories burnedComes with comfortable textile transmitter and coded heart rate transmission to avoid cross-talkData features include 1 exercise file and data transfer via UplinkHeart Rate features include OwnCode, OwnCal, OwnZone, average heart rate and maximum heart rate… |
|
|
#1 Record/Radio City [Bonus Tracks] $18.98 A two-fer combining Big Star’s first and second albums, #1 Record/Radio City remains a definitive document of early-’70s American power pop and a virtual blueprint for much of the finest alternative rock that came after it. The lone Big Star record to merit the full participation of founder Chris Bell, the brightly produced #1 Record splits the songwriting credits evenly between him and Alex Chilton (in the tradition of Lennon-McCartney). But from the beginning, the group is tearing apart at the seams: Bell and Chilton’s relationship seems less a working partnership than a battle of wills, and each possesses his own distinctive vision. The purist, Bell crafts electrifying and melodic classic pop like “Feel” and “In the Street,” while Chilton, the malcontent, pens luminous, melancholy ballads like “The Ballad of El Goodo” and “Thirteen.” Ultimately, their tension makes #1 Record brilliant. However, Radio City shifts gears dramatically: Bell is largely absent (though he guests, uncredited, on a few tracks, including the wonderful “Back of a Car”), allowing Chilton’s darker impulses free reign. From the raucous opener “O My Soul” onward, the new Big Star is noisier, edgier, and even more potent. Erratic mixing, spotty production, shaky performances — by all rights, Radio City should be a failure, yet Chilton is at his best when poised on the brink of disaster, and the songs hang together seemingly on faith and conviction alone. Each track recalls pop’s glory days, from the Kinks-ish snarl of “Mod Lang” to the Byrds-like guitar glow that adorns “Way Out West.” The much-celebrated “September Gurls” is indeed a classic — everything right and good about pop music distilled down to three minutes of pure genius. [Fantasy's 2009 #1 Record/Radio City two-fer included bonus tracks.] ~ Jason Ankeny, Rovi |
|
|
.38 Special concert at Long Island on 29 Jan 85 $12.98 .38 Special were at the peak of their popularity when they recorded this show for the King Biscuit Flower Hour. Following a format that blended Southern rock with a rock-tinged country sound, the band had carved a niche?? spot on FM play lists that embraced a well-polished production value. Opening with the rockin’ original “Take Em Out,” .38 Special presents a solid show that is high on musicality as this specific lineup had been together for over five years. One listen and it shows that the band members were seasoned road warriors by this point. Recorded in Long Island, NY, a stronghold for the band for many years, the group blasted its way through a solid set of best known songs. Carlisi introduces Van Zant as “the hardest working man in show business,” which James Brown would’ve obviously taken exception to. Still, both Van Zant and Barnes deliver unmistakably powerful performances, especially on such up-tempo rockers as “Rough Housin’,” “Stone Cold Believer,” and the radio favorite, “Caught Up In You.” After the mid-80s, it seemed as though .38 Special had run its course as chart toppers. The band dropped in popularity and subsequently failed to recapture its early ’80s hit-making magic. In spite of that, they have remained a solid current touring act. Other highlights of this show include “Wild Eyed Southern Boys,” “Hold On Loosely,” and the anathematic rock standard, “Rockin’ Into the Night.” |
|
|
1, 2, 3 concert at Big Orange Studios on 21 Jun 11 $0 It seems that 1, 2, 3 singer Nic Snyder is hanging on by a thread at times. There are persistent fears bubbling in the young man and yet we also hear a bulletproof backbone in his words – coming out of him in a skewed, helium-pumped and quirkier take on the ways of Dylan. The Pittsburgh duo, which also consists of Josh Sickels, as made a debut full-length album that balances on the eccentricities of “Pet Sounds”-era Brian Wilson, when he didn’t know what to make of himself and the great big world around him. There are a handful of songs that, while not necessarily sharing many if any musical similarities, share sentiments with “I Just Wasn’t Made For These Times” and “I Know There’s An Answer.” The main protagonists are constantly fidgeting and fiddling with what they know to be true and what they are fuzzy about. They think they’ve found love and they’re not sure how it’s being reciprocated sometimes. They’re mostly unsure about its lasting properties. They’re unsure about the consistency of themselves, about how they’re personally going to hold up under the general scrutiny of living from one day to the next and keeping everything working. ?? Snyder and Sickels sing like men who have been waiting for something to happen, for something to become clear from out of the murkiness. They can’t make any definition of the magic lines and drifting boundaries, of those people who can’t pin themselves down. “20,000 Blades” is a thesis song that goes about in its own way, but bringing in moments when we think about The Walkmen, Deer Tick and the Tallest Man On Earth, all while reminding us that there’s a lot of non-caring out there. There are a lot of sad people, a lot of happy people and an abundance of people somewhere in between the valleys and the peaks. It’s a song that sounds like a campfire song that could handle a thousand voices singing along with the chorus, arm-in-arm, flush with the feeling of community and togetherness, if only for the briefest amount of time. S |
|
|
10 Days Out (Blues from the Backroads) $24.98 10 Days Out may well be Kenny Wayne Shepherd’s most important and intriguing album, even though the guitarist is hardly the featured artist on any of these tracks, working instead more as a sideman and facilitator for the impressive cast of venerable blues players who get a chance to shine here. Make no mistake about it, this recording belongs to such senior citizens as Henry Townsend, Etta Baker, Pinetop Perkins, and Henry Gray, and Shepherd’s presence (and the presence of Stevie Ray Vaughan’s Double Trouble rhythm section of bassist Tommy Shannon and drummer Chris Layton) simply helps to focus the attention on these veteran blues players. Shepherd embarked on a ten-day journey into the American South in 2004 with a documentary film crew, a portable recording studio, and Double Trouble as a house band in an effort to catch the blues in its natural habitat of living rooms, kitchens, porches, back yards, and local watering holes, and the performances that resulted are priceless. Here is one-armed harp player Neal Pattman and blind guitarist Cootie Stark turning in a joyous, ramshackle version of “Prison Blues.” A little later, Stark delivers further on a delightful song called “U-Haul,” complete with a marvelous improvised rap over the tune’s run-out coda. Here, too, is the then-96-year-old Henry Townsend turning in a poignant “Tears Came Rollin’ Down.” Etta Baker, then 93, shows that age hadn’t slowed her as a guitarist at all as she delivers an elegant “Knoxville Rag.” Shepherd wisely stays in the background on cut after cut, allowing these amazing musical treasures to unfold naturally and without intrusive elements. There are absolutely no hotshot guitar histrionics anywhere on this disc, which speaks to Shepherd’s sincere vision for this project. He’s after the preservation of blues history with 10 Days Out, and as if to underscore that aim, five of the album’s participants (Neal Pattman, Cootie Stark, Gatemouth Brown, George “Wild Child” Butler, and… |
|
|
100 Days, 100 Nights [Promo Version] $19.98 Sharon Jones, the big-voiced lead singer of the Dap-Kings — a band that recently began making its name known outside those enthusiasts of the Daptone label and the reaches of the soul community thanks to appearances with Amy Winehouse and work for Mark Ronson, including a version of Dylan’s “Most Likely You Go Your Way (And I’ll Go Mine)” — is no music-world neophyte. 100 Days, 100 Nights is just her third full-length with the Dap-Kings, but Jones has been singing on and off since the 1970s, without much of a break until she began working with her current label. Meaning, she’s certainly paid her dues, and she has enough life experience behind her voice to make the words she sings sound that much truer. Because soul music — and this isn’t neo-soul, or contemporary R&B, but straight-up Stax and Motown brassy soul — is so much more than the actual lyrics themselves; it’s about the inflection and emotion that the vocalist is able to exude, and Jones proves herself to be master of that, moving from coy to romantic to defiant easily and believably. The album is much smoother, even gentler, than her previous releases, and though the Dap-Kings still power their way through the ten songs with bright horn licks, inspired drumming, and staccato guitar lines, there’s a deeper, bluesier edge to the record, heard in “Let Them Knock” or the slower “Humble Me.” “Don’t let me forget who I am,” Jones croons in the latter, her voice rising to a sweet falsetto at the end of the phrase. It’s a very clean record, not over-produced but well produced, with a lot of great pop moments tucked in between the brassier, funkier bits. The title track relies on a sultry organ and a minor vamp to make its point, while “Something’s Changed” uses strings and punctuated sax and bass as the singer drops a bit of her lungs out, bringing a kind of immediacy to her words, as if the actuality of the situation around her hasn’t quite set in enough for her to wail about it, as if she’s just … |
|
|
4 Way Street $54.98 Expanded by almost 40 minutes, the double-CD version of 4 Way Street simply built on the existing foundation of a landmark live album, and for a change, there was no diminishing of the original release. Crosby, Stills, Nash & Young had come out of Woodstock as the hottest new music act on the planet, and followed it up with Deja Vu, recorded across the second half of 1969 and released in March of 1970, supported by a tour in the summer of that year. As it happened, despite some phenomenal music-making, the tour was fraught with personal conflicts, and the quartet split up upon its completion. And 4 Way Street followed, released in April of 1971: a live double-LP set, chock-full of superb music distilled down from a bunch of nights on that tour that more than fulfilled the promise of the group. Indeed, contained on those original four LP sides was the embodiment of everything great that the unique ethos behind this group — which was not a “group” but four individuals working together — might have yielded. Each of the participants got to show off a significant chunk of his best work, whether presented alone or in tandem with the others, and the shared repertory — “Long Time Gone,” “Ohio” etc. — binding it all together as more than a documentary of some joint appearances. Conceptually it was all as diffuse as the concept behind the group, but musically, 4 Way Street was one of the great live rock documents of its time, a status it retains along with such touchstones as the Allman Brothers’ At Fillmore East, the live half of the Cream’s Wheels of Fire, and the Grateful Dead’s Live/Dead; some of the extended guitar jams between Stills and Young (“Southern Man”) go on longer than strict musical sense would dictate, but it seemed right at the time, and they capture a form that was far more abused in other hands after this group broke up. Although Neil Young and Stephen Stills had the advantage of the highest wattage on their songs and their jams together, Da… |
|
|
75b $5.28 Used – The independent Rotterdam-based graphic design firm 75B started out in the 1990s with projects relating to youth and music culture. Over the past 10 years, the partners in this “quirky, unpredictable and powerful three-headed design monster,” who met and began working together when still in design school–Robert Beckand, Rens Muis and Pieter Vos–have designed everything from Nike posters to museum logos to books, magazines, flyers, cards, exhibitions and full-scale architectural interven |
|
|
75b $7.72 Used – The independent Rotterdam-based graphic design firm 75B started out in the 1990s with projects relating to youth and music culture. Over the past 10 years, the partners in this “quirky, unpredictable and powerful three-headed design monster,” who met and began working together when still in design school–Robert Beckand, Rens Muis and Pieter Vos–have designed everything from Nike posters to museum logos to books, magazines, flyers, cards, exhibitions and full-scale architectural interven |
|
|
A Bureaucratic Desire for Extra-Capsular Extraction $13.98 The 55 minutes of music contained on A Bureaucratic Desire for Extra-Capsular Extraction are the sum of Earth’s very first recording sessions at Smegma Studios in 1990. The band consisted of guitarist Dylan Carlson and bassists Dave Harwell and Joe Preston (the latter also played an Alesis HR-16 drum machine). Two guests vocalists — Kelly Canary and Kurt Cobain — helped out on the eight-track sessions. Sub Pop released part of the album as a 35-minute, three-track EP called Extra-Capsular Extraction. The three cuts were titled “Eye Surgery,” “Concepts,” and “Problems.” The rest of the material was shelved, as Earth began working on Earth 2, but the masters were allegedly stolen and unofficially released as a series of bootleg singles. They were also compiled on Sunn Amps and Smashed Guitars. This Southern Lord-issued set marks the first time that the complete sessions have been assembled on one official release, totaling over 55 minutes. Here, the originally issued tracks have been renamed as the two-part “A Bureaucratic Desire for Revenge” (in Carlson’s response to the rest having been stolen and released without his consent) and “Problems” re-titled “Ouroboros Is Broken.” The remaining four cuts, “Geometry of Murder,” “German Dental Work,” “Divine and Bright,” and “Dissolution 1″ fill out the set. Heard as a whole, this set doesn’t sound nostalgic but revelatory, for the simple fact that its slow, deliberately restrained brutality is not only engaging, but hypnotic, doom-laden, serpentine, even beautiful. (The chugging midtempo uber-heavy riffing on “Geometry of Murder” is a shock to the system after the sludge of the first three cuts.) Not only is it not difficult to make it through the entire experience, but it’s nearly impossible not to. It’s true that Earth became more aggressive on Earth 2, but here, the plod, drone, and feedback are nearly narcotic in their downtuned effect, full of unwavering strength and focus. For those who don’… |
|
|
A Catered Affair [Original Broadway Cast Recording] $19.98 A Catered Affair began life as a TV play written by Paddy Chayefsky in his kitchen-sink drama style, telling the story of a Bronx taxi driver’s wife who wants to stage a big wedding for her daughter that the family can’t really afford. Gore Vidal wrote the screenplay for a 1956 movie version starring Bette Davis, and Harvey Fierstein has scripted the musical adaptation with songs by John Bucchino. Fierstein, the author of several gay-oriented stage works (notably the book for La Cage aux Folles) and an accomplished Broadway actor (he played the mother in Hairspray), has gone even deeper into realism than Chayefsky or Vidal dared in the ’50s, turning the live-in brother of the wife, a “confirmed bachelor,” into the closeted gay man he could not be on TV or in the movies 50 years earlier. Fierstein also plays the part himself, singing in his gruff bass voice. The brother, Winston, is put out because, at least initially, he is not to be invited to the wedding, and he takes his revenge in “Immediate Family,” the show’s wittiest song and one that perks the score up considerably. Bucchino, in keeping with the small scale of the work, uses a chamber orchestra of only nine musicians and creates modest musical settings in which the various characters get to express their feelings. His lyrics have a touch of Stephen Sondheim in their frankness, but not much sparkle. In the ? 50s, the wonder of the kitchen-sink style was that it seemed to be elevating the lives of ordinary people into the realm of serious drama. A musical further heightens the experiences of these housewives and working people, but also exposes their dreariness. Despite the best efforts of Fierstein, Faith Prince as the wife, and Tom Wopat as the husband, A Catered Affair as a musical doesn’t really take off. Its flaws are somewhat hidden on the cast album, however, since the problem of its small scale in a Broadway house doesn’t come in. The show probably didn’t belong on Broadway (where it didn’t sta… |
|
|
A Composer’s World: Horizons and Limitations $45.8 New – The book aims to be a guide through the little universe which is the working place of the man who writes music. As such it talks predominantly to the layman, although the expert composer may also find some stimulation in it… From the center of basic theory the discussion will spread out into all the realms of experience which border the technical aspects of composing, such as aesthetics, sociology, philosophy, and so on. |
|
|
A Composer’s World: Horizons and Limitations $55.2 Used – The book aims to be a guide through the little universe which is the working place of the man who writes music. As such it talks predominantly to the layman, although the expert composer may also find some stimulation in it… From the center of basic theory the discussion will spread out into all the realms of experience which border the technical aspects of composing, such as aesthetics, sociology, philosophy, and so on. |
|
|
A Composer’s World: Horizons and Limitations $63.95 New – The book aims to be a guide through the little universe which is the working place of the man who writes music. As such it talks predominantly to the layman, although the expert composer may also find some stimulation in it… From the center of basic theory the discussion will spread out into all the realms of experience which border the technical aspects of composing, such as aesthetics, sociology, philosophy, and so on. |
|
|
A Composer’s World: Horizons and Limitations $82.95 Used – The book aims to be a guide through the little universe which is the working place of the man who writes music. As such it talks predominantly to the layman, although the expert composer may also find some stimulation in it… From the center of basic theory the discussion will spread out into all the realms of experience which border the technical aspects of composing, such as aesthetics, sociology, philosophy, and so on. |
|
|
A Navel City/No One Is There $13.99 Gods have trembled at the sound of Bill Laswell’s bass. The legendary master of the low end has always brought the skill of a jazz master and the soul of a reggae dub seer into his post-everything playing, which has extended from working with Jah Wobble to remixing Miles Davis. Paired with quirky Japanese keyboardist Hoppy Kamiyama, one would expect this album to feature both attempting to out-freak the other in a dense sonic stew. Quite to the contrary, these players know when to let the other work. And more impressively, they leave ample room for the drumming of one Kiyohiko Senba, whose history with Japanese popsters Cornelius and Soukichi Kina barely hinted at the stellar playing found on the tumultuous end of “Azlo.” Throughout each song, Senba rapidly switches from pan-everywhere tappings to effortless jazz swing or hyper-kinetic explosions at a moment’s notice. That anyone can keep up with Laswell’s molten lower register is impressive. The fact that it often appears to be Senba who is driving the nimble-fingered bassist is nothing short of astounding. They lock into a groove that sounds like it could ride forever, only for one of the pair to do a quick fake and the chase to resume. Through all this, Kamiyama stays on the sidelines, refereeing the match with light touches that only sparingly invade the playing field, the exception being the liquid funk rev-up on “Sad Emission.” Fans of both Laswell and Kamiyama should be happy with this release. And expect followers from both sides to discover a new hero in Senba’s drumming. ~ Joshua Glazer, Rovi |
|
|
A Serious Man [Original Score] $18.98 Writer/directors Joel and Ethan Coen’s film A Serious Man is a black comedy about the Job-like travails of a Jewish college professor, Larry Gopnik (played by Michael Stuhlberg), living in a Midwestern suburb in 1967, which may help explain why this soundtrack album combines composer Carter Burwell’s short, poignant cues with songs from Jefferson Airplane’s hit 1967 album Surrealistic Pillow and a track by the Yiddish performer Sidor Belarsky. Gopnik’s son Danny (Aaron Wolff) is studying desultorily for his bar mitzvah while listening to a transistor radio that seems to play only one song, Jefferson Airplane’s “Somebody to Love,” and that song’s opening lyric couplet, “When the truth is found to be lies/Don’t you know the joy within you dies,” is, in essence the theme of the movie. The delicate Jefferson Airplane ballads “Comin’ Back to Me” and “Today” are more in tune with Burwell’s restrained music, however, and also feature prominently. Given the film’s offbeat tone, a listen to the album doesn’t give much of a sense of what it’s about, although Burwell’s music is typically affecting. (He is the Coens’ in-house composer, in addition to working extensively with others.) Among Gopnik’s many problems in the movie is that he is being hounded by the Columbia Record Club for nonpayment of its charges, including one for the 1970 Santana LP Abraxas. Given the surreal quality of the plot, it’s hard to say whether that is a deliberate error or an unintended anachronism. Couldn’t Larry just point out that he can’t be expected to pay for an album that won’t be released for another three years? ~ William Ruhlmann, Rovi |
|
|
A300PRO 32 key MIDI Controller $299 If you're looking for a keyboard controller that you can use in the studio, on-stage, or anywhere you feel inspired, look no further than the A-300PRO. Combining the best of Roland engineering with Cakewalk's legendary ease-of-use, the A-300PRO has the features and feel you need to get the most out of your music performances and productions. The A-300PRO is the perfect keyboard for use with a wide variety of software on Mac or PC including Ableton Live, Cubase, FL Studio, Garage Band, Logic, Nuendo, Pro Tools, SONAR and the included Production Plus Pack. Best of all, the A-300PRO is easy to set up if you can plug-in a USB Cable, you'll be making music in no time at all.The Feel of a Roland-Quality InstrumentWhen you perform with the A-300PRO, you're tapping into the benefits of over 30 years of Roland keyboard development. A superior key mechanism provides after touch and increased sensitivity for a wide range of expressive dynamics in your performance. Rounded key assemblies offer responsive reaction to your touch and more comfortable glissando. Plus, enhancements have been made to eliminate vertical shake and reduce the already low mechanical noise on keystrokes. And with selectable Velocity curves you can fine-tune the A-300PRO to match your playing style. No matter what your skill level, you'll appreciate the feel of a quality instrument when you play the A-300PRO.Everything at Your FingertipsThe A-300PRO has been ergonomically designed to put everything at your fingertips. All controls are easily accessible and intelligently laid out to make performing and producing music an inspiring affair. Whether you're playing your favorite virtual instrument or working in your digital audio workstation, 9 knobs, 9 sliders, 4 buttons, and a dedicated Transport section offers fully assignable control of all the features you need. And the sure-grip, rubber-coated Pitch Bend/Modulation Stick offers expressive control of both functions at the sam |
|
|
A500PRO 49 Key MIDI Keyboard Controller $349 If you're looking for a keyboard controller that you can use in the studio, on-stage, or anywhere you feel inspired, look no further than the A-500PRO. Combining the best of Roland engineering with Cakewalk's legendary ease-of-use, the A-500PRO has the features and feel you need to get the most out of your music performances and productions. The A-500PRO is the perfect keyboard for use with a wide variety of software on Mac or PC including Ableton Live, Cubase, FL Studio, Garage Band, Logic, Nuendo, Pro Tools, SONAR and the included Production Plus Pack. Best of all, the A-500PRO is easy to set up if you can plug-in a USB Cable, you'll be making music in no time at all.The feel of a Roland-quality instrumentWhen you perform with the A-500PRO, you're tapping into the benefits of over 30 years of Roland keyboard development. A superior key mechanism provides after-touch and increased sensitivity for a wide range of expressive dynamics in your performance. Rounded key assemblies offer responsive reaction to your touch and more comfortable glissando. Plus, enhancements have been made to eliminate vertical shake and reduce the already low mechanical noise on keystrokes. And with selectable Velocity curves you can fine-tune the A-500PRO to match your playing style. No matter what your skill level, you'll appreciate the feel of a quality instrument when you play the A-500PRO.Everything at your fingertipsThe A-500PRO has been ergonomically designed to put everything at your fingertips. All controls are easily accessible and intelligently laid out to make performing and producing music an inspiring affair. Whether you're playing your favorite virtual instrument or working in your digital audio workstation, 9 knobs, 9 sliders, 4 buttons, and a dedicated Transport section offers fully assignable control of all the features you need. And the sure-grip, rubber-coated Pitch Bend/Modulation Stick offers expressive control of both functions at the sam |
|
|
Adventures in Music Reading for Violin $7.41 New – Renowned Suzuki pedagogue William Starr continues his valuable teaching series with this third volume. The goals of this series are to help young violinists to become good sight-readers and good “working-out” readers, and to make music reading fun, with folk and classical music presented in duets for ensemble enjoyment. New keys and finger extensions are logically introduced to greatly accelerate reading in positions; especially noteworthy is the section devoted to recognition of and finge |
|
|
Adventures in Music Reading for Violin $7.41 Used – Renowned Suzuki pedagogue William Starr continues his valuable teaching series with this third volume. The goals of this series are to help young violinists to become good sight-readers and good “working-out” readers, and to make music reading fun, with folk and classical music presented in duets for ensemble enjoyment. New keys and finger extensions are logically introduced to greatly accelerate reading in positions; especially noteworthy is the section devoted to recognition of and fing |
|
|
Adventures in Music Reading for Violin $4.35 New – Renowned Suzuki pedagogue William Starr continues his valuable teaching series with this third volume. The goals of this series are to help young violinists to become good sight-readers and good “working-out” readers, and to make music reading fun, with folk and classical music presented in duets for ensemble enjoyment. New keys and finger extensions are logically introduced to greatly accelerate reading in positions; especially noteworthy is the section devoted to recognition of and finge |
|
|
Adventures in Music Reading for Violin $4.35 Used – Renowned Suzuki pedagogue William Starr continues his valuable teaching series with this third volume. The goals of this series are to help young violinists to become good sight-readers and good “working-out” readers, and to make music reading fun, with folk and classical music presented in duets for ensemble enjoyment. New keys and finger extensions are logically introduced to greatly accelerate reading in positions; especially noteworthy is the section devoted to recognition of and fing |
|
|
Alabama concert at Memorial Coliseum, University of Alabama on 05 Feb 82 $12.98 Although the band had been together in various incarnations and under names for nearly a decade, Alabama had only been a successful national country act for a few years when this recording was made. Officially named Alabama in 1977, the trio of Owen, Gentry and Cook had been together since the early part of the decade, working on and off during their years in college. They began writing original material in that same year and landed a one-LP deal with GRT Records. They had a minor hit called “I Wanna Be With You Tonight,” which, despite only making it to #80 on the Country charts, gave the band enough impetus to launch a relentless touring schedule. By the end of 1978, Alabama was doing over 300 shows a year and had become a major force down in Dixie. But the band’s label went bankrupt and they were prohibited from recording with any other one for two years. They used their touring income to buy out their GRT contract, and afterwards released an independent record. They were immediately scooped up by another indie label, MDJ Records, who in turn got bought out in 1979 by RCA. Between 1980 and 1987, the group scored a remarkable 21 #1 hits on the country charts, many of which also crossed over to the pop charts. With the power of RCA’s strong country division behind them, the group soon established itself as one of the most popular country “groups” on the scene. Up to this point, nearly every successful country act had been an individual artist or vocalist. This show features not only many of the early Alabama hits, but several covers of the band’s favorite rock and country rock acts. They perform versions of hits by Creedence Clearwater Revival, the Allman Brothers, Charlie Daniels and Lynyrd Skynyrd. Opening act Janie Fricke joins for the encore of “Rolling In My Sweet Baby’s Arms,” bringing the show to a rollicking close. |
|
|
Alabama concert at Salt Palace on 20 Mar 81 $12.98 Although they had only been signed to RCA Records for less than two years when this show was recorded for the Silver Eagle Cross Country Radio series, Alabama was already one of the strongest draws in country music and well on their way to becoming one of the best selling bands in that genre’s history. Opening with “Love In The First Degree,” Alabama played material from their first three RCA releases, as well as a handful of choice rock covers, converted to be country audience friendly. They page tribute to Creedence Clearwater Revival with a perfect remake of “Green River,” and they close the show with their take on The Marshall Tucker Band’s “Can’t You See,” which, after a set of the band’s own songs, seems somewhat anti-climatic. Although the band had been together in various incarnations and under a number of names for nearly a decade, Alabama had only been a successful national country act for a few years when this recording was made. Officially named Alabama in 1977, the trio of Owen, Gentry and Cook had been together since the early part of the decade, working on and off during their years in college. They began writing original material in that same year and landed a one-LP deal with GRT Records. They had a minor hit called “I Wanna Be With You Tonight,” which, despite only making it to #80 on the Country charts, gave the band enough impetus to launch a relentless touring schedule. By the end of 1978, Alabama was doing over 300 shows a year and had become a major force down in Dixie. But the band’s label went bankrupt and they were prohibited from recording with any other one for two years. They used their touring income to buy out their GRT contract, and afterwards released an independent record. They were immediately scooped up by another indie label, MDJ Records, who in turn got bought out in 1979 by RCA. Between 1980 and 1987, the group scored a remarkable 21 #1 hits on the country charts, many of which also crossed over to the pop charts. With the |
|
|
Alive $12.99 This is the first mainstream film to deal with the harrowing true story of a Uruguayan rugby team whose plane crashed in the Andes mountains in October of 1972 and who were forced to resort to cannibalism to survive more than two months of isolation. (The only other film to tackle the subject, Rene Cardona’s Survive! was a seedy little mess that delighted in exploiting the cannibalism aspect.) The events depicted are primarily based on the novel of the same name by Piers Paul Read. The interview-style prologue features an uncredited John Malkovich as one of the survivors, whose spiritual ruminations on the disaster kick off the film’s main action. We are briefly introduced to the characters before disaster strikes, in the film’s most horrifying set-piece — the depiction of the crash in grueling detail. The handful of survivors who manage to extricate themselves from the twisted wreckage seem incapable of working through their panic as they hope against all odds that a rescue party will locate them. One of the survivors, Nando (Ethan Hawke), awakens from a coma and makes a remarkable recovery — enough to demonstrate level-headed leadership after team captain Antonio (Vincent Spano) begins to lose his nerve. As the weeks wear on and rations are depleted, the survivors are forced into a moral dilemma: the only remaining source of food seems to be the bodies of the dead. Those who choose for religious reasons not to consume their former companions must face the realization that they will soon starve or freeze to death. In the end, three men who choose survival above all else find the strength to set out on a treacherous mission to a ridge, where hopefully one of them will make it to civilization. Director Frank Marshall infuses the proceedings with sufficient intensity to keep the story moving, but the film fails to fully explore the often-recounted spiritual aspects of the ordeal as established in the opening monologue. Ironically, the writers’ apparent attempts t… |
|
|
Alvin Lee & Ten Years After: Visual History $56 New – A comprehensive illustrated documentary of the most exciting and respected “Second British Invasion” blues-rock group to come out of the late 1960′s. The rise of Alvin Lee, Leo Lyons, Chick Churchill & Ric Lee from a hard working English midlands blues band to “underground radio” favourites, who reached superstar status following their captivating performances at the massive 1969 Woodstock and 1970 Isle Of Wight music festivals. Provides a detailed chronology of Ten Years After concert dat |
|
|
Alvin Lee & Ten Years After: Visual History $80.34 New – A comprehensive illustrated documentary of the most exciting and respected “Second British Invasion” blues-rock group to come out of the late 1960′s. The rise of Alvin Lee, Leo Lyons, Chick Churchill & Ric Lee from a hard working English midlands blues band to “underground radio” favourites, who reached superstar status following their captivating performances at the massive 1969 Woodstock and 1970 Isle Of Wight music festivals. Provides a detailed chronology of Ten Years After concert dat |
|
|
Amazon Falls $19.95 An actress struggles to hold on what’s left of her career in this independent drama from director Katrin Bowen. In her mid-twenties, Jana (April Telek) was convinced she had a future in Hollywood after appearing in a number of grade-B action movies as a sexy jungle warrior. A few days before her fortieth birthday, Jana is still in Hollywood and still thinks she has a chance of at stardom, despite all evidence to the contrary. Jana supports herself working in a bar favored by actors between projects, where she’s struck up a friendship with younger and prettier Li (Anna Mae Routledge) whose career is on the upswing, while Jana is urged to flirt with her male customers fro better tips by her boss. Jana still makes the rounds of auditions for roles that keep getting smaller and more demeaning, with the filmmakers usually waiting until the last moment to mention the part requires nudity. Jana’s boyfriend Aron (Zak Santiago) is a struggling musician whose drug problem is getting out of control. And while Jana’s agent Margaret (Gabrielle Rose) urges her to be realistic and take some dinner theater work she’s lined up, Jana decides to hold out for her big screen dreams, including a project being offered by the wealthy but mysterious Calvin (William B. Davis). Amazon Falls was inspired in part by director Bowen’s experiences as an actress working for Troma Studios, and her friendship with would-be starlet turned murder victim Lana Clarkson, to whom the film is dedicated. ~ Mark Deming, Rovi |
|
|
American Favorite Ballads, Vol. 5 [2007] $16.98 Notwithstanding Pete Seeger’s major-label contract with Columbia Records, which commenced in 1961, Folkways Records, the tiny independent label for which he has recorded prolifically since 1950, continues to assemble albums out of its archive of unreleased tracks, and this is the fifth volume of a series of LPs dating back to 1957. American Favorite Ballads has long since become a catchall category in Seeger’s catalog, easier to define by what it isn’t than what it is. The albums are not live recordings; they are not children’s recordings; and they are not collections of contemporary topical material, to cite three other types of LPs that are numerous among his releases. Nominally, they contain familiar traditional American folk songs like, for example, “I’ve Been Working on the Railroad,” rendered here in Seeger’s sturdy tenor voice over his banjo plucking. But in practice, he and Folkways have included songs from other sources. Here, he sings a traditional blues (“St. James Infirmary”), a “Talking Blues,” and old-time country songs like “Red River Valley,” “Ida Red,” and the spiritual “Farther Along,” as well as compositions by credited songwriters, not just “traditional,” notably Jimmie Rodgers’ country-blues tune “T.B. Blues” and even “Summertime,” the bluesy lullaby that opens George Gershwin’s “folk opera” Porgy and Bess. The point, as with the four earlier volumes, seems to be to suggest the breadth of music that can be included under the fashionable rubric of “folk” and that can be performed effectively by a single musician with his voice and one acoustic instrument. ~ William Ruhlmann, Rovi |
|
|
Amerikkka’s Nightmare, Pt. 2: Children of War $16.98 Affiliates of the larger Bootclamp Click collective, not to mention their firearm-inspired moniker, Smif-N-Wessun, have always had the military theme on their side. But, one-half of the Brooklyn duo, Steele, ups the ante on this solo LP, Amerikkka’s Nightmare Pt. 2: Children of War, moving into deeper conceptual waters and stylistic experimentation. Lacking the usual cartoonish gangsta posturing, Children of War is a moodier meditation on contemporary America in its many conflicts with Steele’s lyrics focused on social justice (or a lack thereof), government corruption, economic oppression, mass media smoke screens, and the varying places that war occupies in the national imagination. Sonically, the record is divided evenly among clear lines with two unknown beatsmiths doing the production honors. Che Triumph obviously favors a rapcore approach, contributing seven hard rock-driven tracks built on heavy electric guitar lines and pounding drum kits, while 7ven HD excels at composing weighty military themed beatscapes out of rolling drum lines, foot-stomp percussion, and brooding piano loops. There are plenty of thought-provoking moments, from Dead Prez’s apt guest spot on the extraordinary “Cry Freedom” to the bleak musings of “Tomorrow’s Children” and “I Had a Vision” which utilizes spoken word samples from H. Rap Brown and James Baldwin. Elsewhere, Che Triumph borrows liberally from Neil Young and Edwin Starr on the surprising classic rock-themed outing “Child of War.” He pulls a similar studio trick a few tracks later working the raucous “Home of the Brave (Jimmy’s Song)” out of Jimi Hendrix’s Woodstock performance. The album’s high point comes as Steele cuts through empty political talking points and mass media spin on the compelling but embittered “State of the Union Address.” Far more than a simple one-gimmick record, Children of War represents an unexpected departure for Steele; it’s a different kind of gangsta rap where thug life nihilism, popul… |
|
|
Amirosian Nights $9.13 New – The Greek island of Amiros offered everything Rachel wanted for her vacation: lovely beaches, leisurely afternoons at the seaside cafe, and evenings of bouzouki music at the local taverna. When a lucky accident lands her a job in a bouzouki band, she finds herself working among the locals — learning from them, struggling to communicate with them, loving them — and finding out a lot about herself. The foreign locale and locals provide the inspiration for romance and personal discovery tri |
|
|
Amirosian Nights $7.22 New – The Greek island of Amiros offered everything Rachel wanted for her vacation: lovely beaches, leisurely afternoons at the seaside cafe, and evenings of bouzouki music at the local taverna. When a lucky accident lands her a job in a bouzouki band, she finds herself working among the locals — learning from them, struggling to communicate with them, loving them — and finding out a lot about herself. The foreign locale and locals provide the inspiration for romance and personal discovery tri |
|
|
Ashford and Simpson concert at Bottom Line on 26 Feb 77 $12.98 This performance was done as part of a tour promoting 1977′s Send It album, and also represents a sort of sampling from the record they were working on at the time, Is It Still Good to Ya. From these two albums, both of which would eventually attain gold status, “Over and Over,” “Somebody Told A Lie,” “Tell It All” and the captivating “Gimme Something Real” are captured on this recording. Together as a songwriting team and a couple since 1964 (they finally married in the late 1970s), this duo first started writing hits for Ray Charles and Dionne Warwick before moving over to Motown in the late 1960s to write for Marvin Gaye, Tammi Terrell, and Diana Ross just after she had left the Supremes for a solo career in 1970. These songs are timeless, and have become an unequivocal part of the fabric of American pop music: “You’re All I Need To Get By,” “Ain’t Nothin’ Like The Real Thing,” and “Reach Out And Touch Somebody’s Hand,” to name a few. The duo tried launching a performing career in the 1970s, and although they made some critically acclaimed recordings and a few medium-level radio hits, they never saw a great deal of commercial success. Their live shows are primarily a mix of original new material and a collection of their classic Motown hits, which they perform here in the form of a ten-minute “Greatest Hits” medley. The newer material is solid, but put against classics like “You’re All I Need To Get By” and “Ain’t Nothing Like The Real Thing,” there is no comparison. |
|
|
Ashford and Simpson concert at Sacramento on 18 Mar 77 $6.48 Unless you’ve been living on a planet somewhere millions of light years beyond our galaxy, chances are you’re pretty familiar with the music of Ashford and Simpson. Together as a songwriting team and a couple since 1964 (they finally married in the late 1970s), this due first started writing hits for Ray Charles and Dionne Warwick before moving over to Motown in the late 1960s to write for Marvin Gaye, Tammi Terrell and Diana Ross, just after she had left The Supremes for a solo career in 1970. These songs are timeless, and have become an unequivocal part of the fabric of American pop music history; “You’re All I Need To Get By,” “Ain’t Nothin’ Like The Real Thing” and “Reach Out And Touch Somebody’s Hand,” to name a few. The duo tried launching a performing career in the 1970s, and although they made some critically acclaimed recordings and a few medium-level radio hits, never saw a great deal of commercial success. Their live shows are primarily a mix of original new material and a collection of their classic Motown hits. This performance was done as part of a tour promoting 1977′s Send It album, and represents a sort of sampling from the record they were working on at the time, Is It Still Good to Ya. From these two albums, both of which would eventually attain gold status, “Over and Over,” “Somebody Told A Lie,” “Tell It All” and the captivating “Gimme Something Real” are represented on this recording. This is a top quality recording, and the musicianship on every Ashford and Simpson tour is always first class. Still, in the end, we might have been better served with at least a sampling of their past glory from the Motown catalog. |
|
|
At the Family Dog Ballroom $12.98 Although the European market has been flooded with unauthorized Jefferson Airplane live recordings that are bootlegs in all but name, there has also been a series of apparently legitimate releases with excellent sound and packaging issued by Charly in the U.K. and previously including At Golden Gate Park and Last Flight. This third release in the series comes chronologically in between its predecessors, having been recorded in September 1969. At that time, Jefferson Airplane was in the midst of preparations for its studio album Volunteers, which would be released in November, and five of the songs to be featured on that LP are previewed at this show (“Good Shepherd,” “We Can Be Together,” “The Farm,” “Wooden Ships,” and “Volunteers”). In addition, the band was looking forward to the more fragmented state in which it would exist in coming years, with spin-off entities working simultaneously with the main band. Toward the end of the 15-minute opening version of “The Ballad of You and Me and Pooneil,” singer/guitarist Paul Kantner begins introducing material that would turn up later on his 1970 solo album Blows Against the Empire, and “Come Back Baby,” a showcase for lead guitarist/singer Jorma Kaukonen, heralds his and bassist Jack Casady’s nascent duo Hot Tuna (which recorded its debut album the same month as this show). Jefferson Airplane cannot claim as much justification as the Grateful Dead for putting out a series of live albums; the band had a more limited repertoire than the Dead and was not given to lengthy improvisations to the same extent as its San Francisco contemporary. But in addition to the foreshadowing inclusions already mentioned, this release proves an exception via the inclusion of an energetic 26-minute “Jam” that takes on Dead-like characteristics by including the Dead’s lead guitarist, Jerry Garcia, as a guest. That will make this album valuable not only to Airplane fanatics, but to Dead fans as well. ~ William Ruhlmann, Rovi |
|
|
Auria Zeal Sports Earphones with InLine Control & Mic – Black Reflector $49.99 Elevate your workouts with unrivaled comfort from our XFit technology. Run, bike, or lift as vigorously as you want with the confidence that your earphones will stay in place. Step-up to the first earphones ever with nano technology speakers. These speakers deliver exceptionally clear, natural Sound with very low distortion. Throaty vocals, gnarly Guitar string plucks, delicate piano key strikes and heart-pumping Bass come to life. Control volume with a light finger touch to the styled InLine control. Change audio/video or answer/end calls with the function button. Use the Integrated Microphone for Voice Control functions on iPhone 4/3GS/3G, Blackberry and Android phones for making hands-free calls. –XFit technology uses super-soft LOBES to conform to the outer portions of ears and hold the earphones comfortably in place during rigorous activities -like running, cycling or working out in a gym. Auria includes four (4) sizes of ECO rings to optimize the fit to individual ears. –Hear ambient sounds around them while listening to Music at normal volume levels-Resist sweat and not “pop out” like traditional earphones do during runs or workouts-Control core iPod/iPhone functions from an Ergonomic chest position (Volume level and Track selection)-Make/Take phone calls with a single touch of a finger-Earphones with XFit technology-Hear ambient sounds while listening to music-Nano-technology speakers for exceptional audio clarity-Luxury silver mesh carrying case for iPod/Smartphone and earphones-Frequency response: 50-18000 Hz-Includes Personalizers with Silver Reflective paint that appeals to active adults who train regularly at night or dusk |
|
|
BAYTL $13.98 Partying all over rap like Nas never happened, the mush-mouth favorite Gucci Mane and the appropriately titled V-Nasty combine forces on this odd collabo called Baytl, which is as ridiculous, messy, and crass as fans want it to be. Even tasteful outsiders must admit that the ? drugs go in, party anthem comes out? formula is still working here for the hedonist messiah they call Gucci, with ? It? s Gucci Nickelodeon, you just a custodian/I never say never, so I might be cookin? dope again? being a good example of his nutball brilliance. Another example, ? I took the bitch out for breakfast/But I gave her dick for lunch,? along with all the purple syrup talk should let parents know he? s a poor guidance counselor. V-Nasty, the Kreayshawn affiliate known for her abuse of the ? N? word, is an even worse role model, but her whiny boasts and trashy girl power attitude offer an amusing contrast to her thuggish, brutish partner. ? Every time I grab the mike I eat it up, Osama? is how she confusingly rolls, all while declaring that she? ll smoke up all your weed, liberate the cough syrup from your medicine cabinet, and get in a catfight with any chick that looks at her wrong. When Gucci offers her a ? you ain? t my lady? set-up on ? Let? s Get Faded,? she blabs about her crew, a blown opportunity representative of the non-chemistry throughout the album. Marquee value is probably why they were paired, but the Tracy Morgan-meets-Scarface tack called ? Food Plug? is one of Gucci? s most deliciously odd moments, and V-Nasty just happens to be there. Zaytoven and Kori Anders provide the able party beats as Chuck D, Madlib, Mr. Lif, Mos Def, the Roots, and many other symbols of hip-hop excellence stay home, leaving it up to Slim Dunkin and Mr. Fab, who both offer their services to this loud and obnoxious ruckus. ~ David Jeffries, Rovi |
|
|
Backtracks $40.99 As handsome as this package is — or in the case of the super limited edition, housed in a working guitar amp, as ridiculous — Backtracks is essentially just a clearinghouse for AC/DC rarities, rounding up all the released tracks and videos that have yet to appear on a collection, throwing in a full-length DVD of 2003 for good measure. In other words, it’s a set designed for the kind of diehard who would purchase a box set housed in a working amplifier, but its pleasures aren’t limited to the dedicated, particularly when it comes to early AC/DC. Prior to 1979′s Highway to Hell, all the band’s LPs differed in their Australian and international incarnations (one, 1975′s TNT, was just cannibalized for other albums), so there are quite a few stray tracks — a full 12, ranging from the priceless boogie “R.I.P. (Rock in Peace)” to the throwaway instrumental “Fling Thing,” plus alternate takes of “High Voltage,” “It’s a Long Way to the Top,” “Dirty Deeds Done Dirt Cheap,” and “Ain’t No Fun (Waiting Round to Be a Millionaire)” (only available on the deluxe, giving another good reason to opt for the big set). The studio disc is rounded out by some OK latter-day tracks, highlighted by “Big Gun” from the Last Action Hero soundtrack and the nifty little rocker “Cyberspace,” and it’s quite nice to have all these cuts rounded up. If the live tracks aren’t quite as noteworthy, it’s largely because there have already been several live releases — proper albums, box sets, and home videos alike — but the quality of the two CDs is quite high, opening with a clutch of Bon Scott cuts before settling into a stretch from a dynamite set from Detroit’s Joe Louis Arena in 1983, then finding the group trotting around the globe on the third disc. This is supplemented by a DVD dubbed Family Jewels 3, a disc that rounds up all the videos not on the original double-disc collection, including a pair of clips from 2008′s Black Ice (“Rock N Roll Train,” “Anything Goes”), and… |
|
|
Band of Gypsys $16.98 Band of Gypsys was the only live recording authorized by Jimi Hendrix before his death. It was recorded and released in order to get Hendrix out from under a contractual obligation that had been hanging over his head for a couple years. Helping him out were longtime friends Billy Cox on bass and Buddy Miles on the drums because the Experience had broken up in June of 1969, following a show in Denver. This rhythm section was vastly different from the Experience. Buddy Miles was an earthy, funky drummer in direct contrast to the busy, jazzy leanings of Mitch Mitchell. Noel Redding was not really a bass player at all but a converted guitar player who was hired in large part because Hendrix liked his hair! These new surroundings pushed Hendrix to new creative heights. Along with this new rhythm section, Hendrix took these shows as an opportunity to showcase much of the new material he had been working on. The music was a seamless melding of rock, funk, and R&B, and tunes like “Message to Love” and “Power to Love” showed a new lyrical direction as well. Although he could be an erratic live performer, for these shows, Hendrix was on — perhaps his finest performances. His playing was focused and precise. In fact, for most of the set, Hendrix stood motionless, a far cry from the stage antics that helped establish his reputation as a performer. Equipment problems had plagued him in past live shows as well, but everything was perfect for the Fillmore shows. His absolute mastery of his guitar and effects is even more amazing considering that this was the first time he used the Fuzz Face, wah-wah pedal, Univibe, and Octavia pedals on-stage together. The guitar tones he gets on “Who Knows” and “Power to Love” are powerful and intense, but nowhere is his absolute control more evident than on “Machine Gun,” where Hendrix conjures bombs, guns, and other sounds of war from his guitar, all within the context of a coherent musical statement. The solo on “Machine Gun” t… |
|
|
Barbara Dane concert at Ash Grove on 30 Jun 67 $7.98 Raised in Detroit during the deepest depression years, amidst the worst race riots in American history, Barbara Dane became an iconic singer, who, through her music and unbridled determination, played a major role in the civil rights movement and beyond. Relocating to San Francisco in 1949, Dane became a popular fixture on the club circuit, singing classic blues and jazz. When she eventually burst upon the blues and jazz scene in the 1950s, many were startled to discover that this pure, rich, and powerfully dusky alto voice belonged to a white woman. A 1959 feature article in Ebony Magazine (their first ever feature on a white woman) displayed photos of Dane working with the likes of Memphis Slim, Muddy Waters, and Willie Dixon. That same year, Louis Armstrong had sung her praises to Time magazine and invited her to appear with him on national television, raising her profile considerably. At the dawn of the 1960s, Dane opened Sugar Hill: Home of the Blues, a San Francisco nightclub specializing in jazz and blues, where she performed regularly with her guest artists, including Lightnin’ Hopkins (who she later collaborated with), Mose Allison, Jimmy Rushing, Big Mama Thornton, and T-Bone Walker. She also sat in with the many jazz musicians who frequented the venue. When asked why she was so enamored with these forms of music, Dane once replied, “Because they speak from the heart to the heart. The blues were born out of the worst conditions one people can force upon another, out of slavery and exploitation???and were given to the world in the spirit of turning madness into sanity, pain into joy, bondage into freedom, and enmity into unity. This is music for survivors, and this spirit is something to be learned from, shared and spread as far as it will go! No matter what the words say, no matter who I’m singing to, this is always what I’m singing about.” It was this clarity of thought and her stubborn determination that led her into the civil rights struggle and to o |
|
|
Batman & Robin $12.98 This was the third follow-up to Tim Burton’s Batman (1989), the original revisionist look at the Gotham City legend, as well as the second in the Batman series directed by Joel Schumacher and the first featuring George Clooney as the Caped Crusader; it features not one but two super-villains, and a new heroine to fight crime alongside Bruce Wayne (aka Batman) and Dick Grayson (aka Robin) (Chris O’Donnell). The experiments of Dr. Victor Fries (Arnold Schwarzenegger) to preserve his late wife cryogenically have gone horribly wrong, turning him into the evil genius Mr. Freeze, who must keep his body at sub-zero temperature in order to say alive — and he wants to put Gotham City on ice. Shy horticulturist Pamela Isley (Uma Thurman) goes a bit wild with a Venus Fly Trap-like creation she’s been working on and mutates into Poison Ivy, who wants to kill all the people on Earth so plants can take over. Can Batman and Robin stop these fiends before their plans go too far? Meanwhile, Bruce and Dick’s faithful butler Alfred (Michael Gough) isn’t feeling well, so his niece Barbara (Alicia Silverstone) comes to pay a visit. When Barbara finds out what her uncle’s employers do in their spare time, she decides she wants in on the action, and she joins the crime fighting twosome as Batgirl. Batman & Robin also features Jesse Ventura in a small role as a prison guard; it would be his last film role before becoming Governor of Minnesota in 1998. ~ Mark Deming, Rovi |
|
|
Be Kind Rewind [WS] [P&S] [O-Sleeve] $6.99 When a bumbling movie lover becomes magnetized while attempting to sabotage a local power plant and accidentally erases all of the videotapes in the small video store where his best friend works, the pair attempt to keep the store’s loyal customer base by remaking as many of the top-renting movies as possible. Mike (Mos Def) is an employee at Be Kind Rewind, a modest mom and pop video store that is owned by Mr. Fletcher (Danny Glover). Mike’s best friend Jerry (Jack Black) works in an auto garage/junkyard directly adjacent to a local power plant. Lately Jerry has become increasingly paranoid about the effects that the power plant is having on his health. Convinced that he has developed a brain tumor from working in such close proximity to the power plant, Jerry attempts to sabotage the plant. Unfortunately for Jerry, his brain is magnetized in the process. The next time Jerry goes to visit Mike at Be Kind Rewind, the powerful magnetization emanating from his brain erases every videotape in the store. Now the only way for Mike and Jerry to be sure that Be Kind Rewind stays in business is to remake every film on the shelves before the customers notice. But when word gets out that Mike and Jerry have remade such Hollywood classics as Back to the Future, Robocop, The Lion King, and Rush Hour without permission, the store is threatened with copyright violations and forced to close its doors. In the aftermath of the closing, Mr. Fletcher and his employees discover just how loyal their customers really are when the entire neighborhood pools their resources to transform the junkyard into a legitimate movie studio and produce an entirely original film detailing the incredible adventures of a local jazz legend. ~ Jason Buchanan, Rovi |
|
|
Be My Baby: The Very Best of the Ronettes $12.99 Forming his own label, Philles Records, in 1961, allowed Phil Spector to sculpt pop music history. Spector had written, played guitar, and sung backup vocals on 1958? s ? To Know Him Is to Love Him? (which hit the top of the pop charts that year) as part of the Teddy Bears, and worked for a time as part of the production team for Leiber & Stoller, co-writing ? Spanish Harlem? for Ben E. King and playing guitar on the Drifters’ ? On Broadway,? and had produced minor sides for LaVern Baker and Ruth Brown, among others, but there was really little to distinguish him from any number of other hopefuls clustered around the pop music scene at the time. But Spector was driven, single-minded, and stubborn, and he had a sound in his head. Now with his own label in place, he set out to record a series of singles he termed ? little symphonies for the kids? that are now regarded among the most distinctive and influential recordings in the history of pop music. Combining massed pianos, guitars, string arrangements by Jack Nitzsche, tons of layered percussion, and huge washes of echo, working with the West Coast? s best session players (including Hal Blaine, Tommy Tedesco, Larry Knechtel, Leon Russell, and Harold Battiste — the so-called Wrecking Crew), and leaning heavily on his engineer Larry Levine to catch all of this in the small confines of Gold Star Studios in Los Angeles, Spector developed his ? Wall of Sound? production approach, controlling every aspect of the recordings until, even though he wasn? t singing or even playing an instrument, they became — in essence — Phil Spector records. This is not to diminish the singers he used — the Ronettes, and Ronnie Bennett (soon to be Ronnie Spector) in particular, in the case here. Spector may have created massive, airtight, and resounding soundscapes for his little symphonies, but Ronnie Spector gave them sass, ache, and backbone with her vocals and her not-a-good-girl-but-not-a-bad-girl attitude and im… |
|
|
Beauty Investigator $9.99 Lee Tso nam spins this cheapie action-comedy exploitation flick. Li Min-feng (Moon Lee) and her partner, Grace, are undercover cops working as nightclub hostesses hoping to apprehend a lunatic who is victimizing women of said profession. When Grace learns a secret she shouldn’t have, the two become embroiled in a vicious underworld struggle for power. Brother Bee is a fantastically ambitious junior gangster who scrapes his way to the top by killing his superiors — including his own father. This weapon of choice is a crack Japanese hitwoman (Yukari Oshima) who accomplished each mission with grim professionalism. When Bee realizes his ambitions and becomes his gang’s top dog, he learns that the Japanese yakuza has put a hit out on him for an arms deal that went bad. Meanwhile Grace gets murdered when she tries to arrest the gangster. Vowing revenge, Min-feng buys a small arsenal of weapons — including a small rocket launcher — and strikes out against the gang. ~ Jonathan Crow, Rovi |
|
|
Bessie Jones and the Georgia Sea Island Singers concert at Ash Grove on 20 Jun 63 $9.98 This astonishing and very rare live recording of folk/gospel/blues icon Bessie Jones, made with her acclaimed vocal group, the Georgia Sea Singers, is truly an American treasure. Jones, who was discovered in 1959 by legendary archivist Alan Lomax, remained unknown until she and the singers made a trip to New York City in 1961, where they were warmly embraced by the growing folk and acoustic blues movement. The show, which also features some previously unknown titles, is a testament to the historical importance of Jones’ artistry. “I’m Gonna Lay Down My Life For My Lord,” “I’m A Soldier In The Army Of The Lord,” and “Read ‘Em John” are seriously righteous Gospel gems, and Jones’ soulful vocals drive their emotional weight deep into the heart of the listener. The show concludes with “Come On And Go With Me To My Father’s House,” which is a prime example of the loose, powerful songs that Jones and her singers perform in such a special way. The song is quite open, which allows the singers to express themselves individually, though they keep it structured enough so they are all on the same page and contributing to the heart of the song. The balance that they strike is very difficult to attain. Born in 1902 in Lacrosse, Florida, Jones learned to sing traditional folk, gospel, and blues songs from her grandfather, Jet Samson. Samson, who was born in 1836 and died at the age of 105 in 1941, was brought to the American South to work as a slave when he was a young boy. He taught her the bulk of her material from the spirituals he sang while working on the plantations of Virginia and Georgia. Jones founded the Georgia Sea Singers, whom she performed with for decades. Lomax decided to come to the cotton fields and industrial complexes of the South in the late 1950s to search out and archive traditional music. Among his findings was Jones, a passionate, powerful vocalist, whom he immediately took to. He recorded both her music and her life story (she later became an author) |
|
|
Beyond $14.98 More than most bands, Dinosaur Jr. left behind some unfinished business — not just in one regard but two. First, there was the notoriously acrimonious dismissal of original bassist Lou Barlow after the group’s third album, Bug, just before the band made the leap to the majors, but when the time came for guitarist/singer/songwriter J Mascis to retire the band’s name, he slyly turned the words of his idol Neil Young upside down, choosing to fade away rather than burn out. After 1997′s Hand It Over, Mascis ran out the clock, bringing his contract with Sire/Reprise to a close, doing some solo acoustic tours before forming the Fog and cutting a couple records with them without making any real impact outside of his devoted fans. And since he didn’t break beyond his cult, Dinosaur Jr. seemed to belong solely to the history books — the band that bridged the gap between the Replacements and Nirvana, the band that was seminal but not widely popular, a band that for whatever reason wasn’t passed down to younger brothers and sisters the way their Boston compatriots the Pixies were. Perhaps it was because, unlike the Pixies, they summed up their times too well, since there was no other alt-rock musician that was as quintessentially slacker as J Mascis. With his laconic drawl and anthems of ambivalence, he was a figurehead for a generation who chose to stay on the sidelines, so sliding away from the spotlight was a logical path for Mascis: he never seemed to really want the fame, so it seemed that he’d be happier on the fringe, which is where he wound up.All of this made the reunion of the classic J-Lou-Murph lineup in 2005 all the more surprising: there may have been unfinished business, but such a mess seemed inherent to their mystique. But the group got together to tour in support of reissues of their first three albums, and defying all logic, the reunion worked — working so well that the band decided to record a full-length album, Beyond, releasing it in May 2007. The v… |
|
|
Big Man Big Guitar: Popa Chubby Live $16.98 It’s not obvious from listening to it, but Popa Chubby’s Big Man Big Guitar is a compilation of two live albums that were previously only available in Europe: Live at FIP and Wild. The CD is the sister title to a DVD, too, and while the release may show every sign of being a souvenir of the video, or a thrown-together hodgepodge, it isn’t at all. Chubby’s known for his blistering live sets, but this collection takes a risk by having a gradual dramatic arc, starting slowly with a slinky version of “Hey Joe” and working its way up to the frenzied “Keep on the Sunny Side” and “Time Is Killing Me” (consider the solo performance of “How’d a White Boy Get the Blues,” a gutsy encore). What’s fascinating for returning Chubby fans is that these shows come from 2001 and 2002, and the bitter political muse summoned for 2004′s Peace, Love and Respect was not a major factor yet. You can hear the beginnings of it here on his moving and sincere post-9/11 song “Somebody Let the Devil Out,” but the rest of the album is old-school Chubby, ambitious in a different direction and mad at the proverbial “man,” not a particular (presidential) man. The slow-burn start is frustrating on first listen, but once you realize the much more exciting second half wouldn’t have the punch it has without the buildup, you’ll consider Big Man Big Guitar a well-built album instead of the usual contractual obligation/quick-buck throwaway. The surprising, beer-stained version of Leonard Cohen’s “Hallelujah” almost puts the album on Chubby’s “A” list, but some of the man’s key tracks are missing and, despite the great flow, he really needs two CDs to fully represent his sprawling live show. It hedges its bets by keeping it to one, but Big Man Big Guitar chalks up another success in a discography that has more than its fair share. ~ David Jeffries, Rovi |
|
|
Billy Elliot [Original London Cast] [Bonus CD] $19.98 The triumph that is the stage adaptation of the film Billy Elliot is all the more remarkable when one considers the many ways it could have gone wrong. Director Stephen Daldry’s 2000 movie about a pre-adolescent boy in an English mining town discovering his love of dancing against a background of struggle among striking mine workers was set in 1984, but made excellent use of a score full of ’70s songs by T. Rex and several new wave bands. A stage producer might have tried to turn it into a T. Rex jukebox musical, but that didn’t happen. When The Full Monty, a British film with a similar setting and themes, was made into a musical, the story was moved to the U.S., and an American composer, David Yazbek, brought in. The results weren’t embarrassing, by any means, but the British flavor of the piece was lost. That didn’t happen to Billy Elliot, either. The hiring of Elton John as composer may have been the most dangerous choice in adapting the work, however. John has enjoyed success with the film-to-stage transfer of The Lion King, of course, and his Aida even won a Tony Award against a weak field in 2000, but he hasn’t really been accepted in the musical theater ranks. Billy Elliot, which opened in London on May 11, 2005, should change that. John, who came out of a working-class background and overcame his father’s resistance and other social pressures to attend the Royal Academy of Music, must have felt a special affinity for the story of a boy who does exactly the same thing, even though he winds up at the Royal Ballet School. As a result, he hasn’t just dashed off a few pop songs that he could have sung himself and called it a score. His two main influences seem to have been the quintessentially English soccer anthem and swing music. The former serves him well in writing the many choral numbers in which the miners declare “solidarity forever” and the police respond derisively. The swing element serves the many dance numbers, and there’s plenty of dancing. But … |
|
|
Bitchin’ $15.98 It’s hard not to think that “bitchin’” has been used to describe the Donnas’ music many a time, so it’s an appropriate enough title for their seventh album. At the very least, it has a better ring than The Donnas Turn 27, but that might have been a more truthful summation of this record, because advanced age is beginning to hit the band big time. What was once snappy and energetic is turning a little bit heavier and sludgier, a sure sign of high mileage, and that’s all the more evident because the band is doing the same thing it always has: turning out party anthems — party anthems that are seeming a little less ironic each time around. It’s hard to call this a holding pattern since the Donnas never, ever aspired to art, but this isn’t quite like the Ramones, where the signature sound revealed new wrinkles along the way. This is more like the band is pounding out new tunes every two or three years whether it needs to or not. Working bands are always appreciated, but it’s hard not to wish that there was a little more joie de vivre on Bitchin’. After all, if you’re gonna be a party band, the least you can be is fun, something that used to come easily to the Donnas but now is a struggle on this maddeningly uneven album. When the Donnas indulge in their fetish for ’80s metal — whether it’s on the Judas Priest pulse of “Wasted,” the Def Leppard lifts on “Save Me,” the arena-filling thump of “Here for the Party” and “Smoke You Out,” or even “Don’t Wait Up for Me,” which comes close to ripping off the riff to “Don’t You Wanna Touch Me” from Joan Jett, their biggest influence — they fulfill the trashy promise of their title, but this doesn’t happen often enough. The problem is, the Donnas once rocked as if they were tanked to the gills but they now sound like they’re playing with ferocious hangovers they just can’t shake — and it’s hard to have a good party if the threat of the morning after hangs over the whole affair. ~ Stephen Thomas Erlewine, Rovi |
|
|
Black Magic $12.98 This album’s color cover photo is an action shot, showing Magic Sam in the process of choking and bending his strings, a good hike up the fretboard. It isn’t clear exactly what he is playing from the picture, although that certainly didn’t stop dozens of pimply hippie guitar players from trying to figure it out. In the meantime, the record goes on and the first soloist out of the gate is Eddie Shaw, playing tenor sax. He is blowing over the top of an R&B riff that, although not out of the syntax of Chicago blues, would also have been quite fitting on a Wilson Pickett record. It is unfortunate that Magic Sam’s recording career came to such an abrupt end, as he was one of the best artists working in the musical area between the urban blues tradition and newly developing soul music forms. This fusion was on the minds of many blues artists during the late ’60s, and not just because it was aesthetically conceivable. It was also a matter of commerce, as audiences — particularly black audiences — didn’t want to hear any blues that sounded too much like something their parents might have listened to. The harmonica player Junior Wells was another one who decided to get a bit of James Brown into his act, not always with great results. What listeners have here, on the other hand, is frankly delicious, the results of the surplus of talent Magic Sam possessed, a triple threat as a guitarist, singer, and songwriter. Yet with all this talent, the label should also get some credit. This period of the Delmark discography set a high standard for blues recordings, the sound quality and tight interplay among the musicians every bit the equal of the classic jazz recordings on labels such as Blue Note and Prestige. There is nothing fancy about the production, and no gimmicks. It is just a great band, allowed to play the music exactly the way it wanted to. The musicians have obviously worked together a great deal and either had these arrangements down cold from live gigs or had plent… |
|
|
Boggy Depot $7.99 Boggy Depot finds Jerry Cantrell in an interesting position. Unlike most famous musicians launching a solo career, Cantrell is a reluctant solo artist. If he had a choice, it’s clear he would have recorded most of the material on Boggy Depot with Alice in Chains and tour it with the band, but Layne Staley’s inertia, poor health, and personal problems meant that the band couldn’t function as a normal working group. Instead of holing up, Cantrell made a solo album that’s an Alice album by any other name. Everything that an Alice fan has loved, particularly the morose atmosphere and the dark, grinding guitars, is here in spades. There are certain individual touches to be sure — since Cantrell hasn’t been a studio in a while, he feels compelled to drag all the songs out a little bit too long with guitar solos — but it’s not far removed from what he’s done in the past. Boggy Depot doesn’t have the psychological weight of Dirt, Alice’s best album, but it comes close to replicating the sound. And for some fans, that might be enough, especially since they’ll actually get to see Cantrell in concert and get new records on a fairly regular basis. ~ Stephen Thomas Erlewine, Rovi |
|
|
Boston concert at Spectrum on 18 Dec 76 $12.98 In 1975, guitarist/ songwriter/ inventor/ electrical engineer Tom Scholz, with a master’s degree from MIT, was working by day at Polaroid. By night, he was recording feverishly with his own rock band, Boston, that also consisted of fellow Bostonians Brad Delp on vocals, Barry Goudreau on guitar, Fran Sheehan on bass, and John “Sib” Hashain on drums. With Scholz at the helm, they spent most of 1975 writing an album’s worth of songs that would eventually transform itself into one of the most successful debut albums by a rock band in history. Those demos, with virtually little overdubs or changes, became the first Boston album, released on Epic Records the following year. The record exploded at radio with four hit singles, and would go on to sell 10 million copies. The group worked on and off (in between Scholz other career as a successful music equipment manufacturer) throughout the 1980s and ’90s, but suffered from inconsistent personnel line-ups and music that was by that point becoming dated. When this 1976 performance by Boston was captured for the King Biscuit Flower Hour, the band was at the top of their game and in the zenith of their popularity. Although now it is not viewed as much a virtue as a curse, the ultra-success of the first Boston album is credited by many as launching the rise of AOR radio and corporate rock, both of which appeared around the same time in America. This show features most of that debut LP that changed radio forever. Opening with the high energy hit, “Rock And Roll Band,” the group is quick to play its biggest song, “More Than A Feeling,” which is over nine minutes long here. Lesser known tracks “Peace Of Mind” and “Something About You” are next, followed by another all-out rocker, “Smokin’.” Next up are the obligatory band solos, which lead into a steady rockin’ 14-minute version of “Long Time.” They close with the cynical opus, “Television Politician” which jams into the more hopeful “Don’t Be Afraid.” Such a high quality live re |
|
|
Boz Scaggs concert at Radio City Music Hall on 05 Apr 81 $12.98 After an extensive period off between the late-1970s and early-’80s, Scaggs returned with his best touring band (featuring former Toto bassist Mike Pocarro and ex-Linda Ronstadt guitarist, Mike Landau), for what was likely his best musically cohesive tour. This show was captured for the King Biscuit Flower Hour, even though what is featured here is only a portion. Originally from the heartland of Ohio, Scaggs spent time growing up in both Oklahoma and Texas, where he attended boarding school. While there, he began playing guitar. Soon after, Scaggs met and befriended Steve Miller, another blues enthusiast and guitarist. The two played in cover and blues bands (most notably the Marksmen) before leaving to attend the University of Wisconsin. But Scaggs opted for a life on the road. He got another blues-based band together, and after touring Europe, he stayed while his band-mates returned home. Scaggs became a street musician in Sweden, where he eventually generated enough interest to record his first album, Boz, in 1965. Today this album is a rare collector’s item, but back then it failed to find an audience in Europe and was soon forgotten. Discouraged but not defeated, Scaggs returned to the U.S. and settled in the Bay Area, where his good friend Steve Miller was living and working as a professional musician. Miller asked Scaggs to join the then-unknown Steve Miller Band. Scaggs didn’t like the idea of being a backing musician, but because it was his old friend, he agreed. Between 1967 and 1968, Scaggs made sizable contributions to Sailor and Children of the Future, two acclaimed albums that came out during this period. His friendship with Miller, who was fast becoming a star, proved to be advantageous. Scaggs had become friends with Rolling Stone publisher Jann Wenner, who was able to help secure a solo deal with Atlantic Records for Scaggs. Simply entitled Boz Scaggs, his first solo was a critical success, but a commercial flop. One notable exception was the |
|
|
Bricks in My Pillow $12.98 This 14-song collection, consisting of tracks recorded on July 12, 1951, and October 25, 1952, completely transforms the landscape where Robert Nighthawk’s music is concerned. Up to now, apart from seeking out his prewar, unamplified work as Robert Lee McCoy (or McCullum) on Bluebird or grabbing a few tracks from some Chess reissues, there hasn’t been a lot of Robert Nighthawk in one place. Now there are 14 hard-rocking tracks, cut for United Records in Chicago and showing Nighthawk in his prime and loving it, playing a mean slide underneath some boldly provocative singing that could have given Muddy Waters a run for his money. The style is there, and the voice and the guitar are there, so why didn’t Nighthawk hit it big? Based on this collection, his style with an electric guitar just wasn’t as distinctive as Waters’ playing; additionally, he just didn’t have Waters’ (or Chess songwriter Willie Dixon’s) way with a catch phrase — there are some OK songs here (“Kansas City,” “You Missed a Good Man,” “Bricks in My Pillow”), but nothing as catchy or instantly memorable as “I Can’t Be Satisfied,” “Hoochie Coochie Man,” or “Got My Mojo Working.” A pair of instrumentals, “Nighthawk Boogie” and “U/S Boogie,” both driven by Nighthawk’s guitar and a romping piano, pretty much make this collection worthwhile and show the man in his peak form. Included on this collection are a pair of previously unissued tracks, an alternate take of “Seventy-Four,” and a loud, crunchy, but, alas, unfinished version of “The Moon Is Rising.” The sound is surprisingly clean and rich, especially given the 1951-1952 origins of the tapes. ~ Bruce Eder, Rovi |
|
|
Carmen Jones [Original Broadway Cast] [Bonus Track] $16.98 Carmen Jones is lyricist/librettist Oscar Hammerstein II’s restyling of Georges Bizet’s opera Carmen. Where Bizet and his lyric collaborators Henri Meilhac and Ludovic Hal? vy took novelist Prosper M? rim? e’s setting among Spanish gypsies working at a cigarette factory in Seville for their 1875 French opera, Hammerstein put it in a parachute factory in South Carolina in the present day and wrote it for an all-black cast. But the story of love, betrayal, and death remained the same, as did the music, minus a couple of arias and in slightly re-orchestrated form, courtesy of Robert Russell Bennett. Casting was a challenge for two reasons: first, the vocal demands of the score meant that, as with the opera, two casts had to be employed to alternate performances for the eight-times-a-week schedule, and second, in the still racially restricted time, it was hard to find African-Americans with enough voice training. Luther Saxon, who played one of the Joes (aka Don Jos? ) and does so on this recording, was working in a naval yard when he was cast; Glenn Bryant, who became Husky Miller (Escamillo), was a New York police officer on leave. But when they all turned up on Broadway on December 2, 1943, the result was a triumph. Carmen was given a new lease on life in a version in which the “Habanera” became “Dat’s Love,” the “Toreador Song” was “Stan’ up and Fight,” and the “Chanson Boh? mienne” was now “Beat Out Dat Rhythm on a Drum.” The show ran 502 performances. It is unfortunate that Decca Records was able to record only one of the two casts, so that, while Muriel Smith’s Carmen is impressive, succeeding generations will not be able to compare it with Muriel Rahn’s. But this was in the early days of recording Broadway shows, and we can be thankful there is any record of this masterpiece. (The 2003 reissue contains a sticker proclaiming, “First Time on CD,” which is not quite true. There was a Japanese CD on MCA, and, in Europe, where the album is out of cop… |
|
|
Carnivores concert at Daytrotter Studio on 30 Apr 11 $0 We’ve heard that there’s a dirty south, a place that gets a little nasty, does things a little differently. And we’ve heard – though not seen any of the corroborating evidence in-person – that the city of Atlanta is a hotbed for this quintessential southern dirtiness. Working out of those thorny and steamy deeps is the rock and roll band, Carnivores, themselves a foursome of people who do nothing at all to dispel any of that dirtiness, that scuzziness that is being suggested here. The group tattoos the dirtiness all over their bodies, lets it seep out of their pores and into their hair follicles, into the wiring of their beards and mustaches, or whatever they have or don’t have at any given times. Philip Frobos, Nathaniel Higgins, Caitlin Lang and Ross Politi seem to believe in the beauty that can exist in the trainwreck of certain matters of living. It’s as if they’re able to find the glints of goodness out of the shit – or at least, they’re able to dress that shit up a little, in rough and ragged bunting, in tattered threads, to present to us in the manner of their latest album, “If I’m Ancient.” It’s a fuzzy document that leads us into spooked alleyways, the ones that we’d never walk down at night, even in gigantic clusters of people. These are the alleyways for the rats and the sharks, for the knives and the shadows and we’re hearing the privileged secrets of these sinister spots through the dark and torrential lyrics. ?? Lang sings, as an opening line to “Salts To Mine, “This world grows fast and cruel/I’ve pulled out the string and fell off the spool,” setting the groundwork for an album that gets us into the thoughts of thing being in the toilet, or getting into the crapper sooner rather than later. It’s one of those, give it some time and it’s sure to get there, things. Carnivores get to love in a roundabout way, caking the thoughts with skid marks and screeching guitars, giving the idea some frightful fits, as if it’s something chasing you down with a mach |
|
|
Chameleon Street $26.99 Wendell B. Harris wrote, directed, and stars in Chameleon Street, a sly comedy based loosely on the real-life exploits of conman William Douglas Street, who demonstrates a gift for becoming what people want him to be. The film opens with Street (Harris) being interviewed by a prison psychiatrist. In this scene, he expresses what is basically his mantra, “I think, therefore I scam.” The film then flashes back to Street’s earlier days, living with his parents, and working for his taciturn father installing burglar alarms. Street eventually marries a beautiful, intelligent woman, Gabrielle (Angela Leslie), who sends him off each day with the same message — “Make some money.” Overcome by boredom and desperate for cash, Street concocts a shakedown scheme that completely backfires when his accomplice, Curtis (Anthony Ennis), signs Street’s name to the extortion note, and sends it to the local papers. Ironically, no charges are pressed, and the scam turns Street, briefly, into a media darling. He finds he enjoys the spotlight. Gabrielle is less pleased. Street next tries to pass himself off as a writer from Time Magazine in order to interview a women’s basketball player (Paula McGee, who plays herself). “She had the four ‘B’s,” he exults, “Black, Beauty, Brains, and Basketball.” As his relationship with his now pregnant wife disintegrates, Street engages in his most ambitious scheme yet — posing as an Harvard-educated intern at a local hospital. Everything is going smoothly until he’s called upon to perform a hysterectomy. Harris’ low-budget film won the grand prize at the Sundance Film Festival, but only received limited theatrical distribution. Harris disappeared from national view until his memorable supporting role in Steven Soderbergh’s Out of Sight in 1998. He also had a small part in the 2000 teen comedy Road Trip. ~ Josh Ralske, Rovi |
|
|
Christopher Denny concert at Daytrotter Studio on 09 Apr 08 $0 There is a story that Christopher Denny’s friend tells about the young Arkansas songwriter that probably only affected the lad on a subconscious level and yet it may have been as oddly life-changing as it was told to have been. He’d seen Denny playing live numerous times, always wowing with that voice that is enriched with the ghost of Roy Orbison and the ghosts that Bob Dylan dances and co-writes with, but never working out the performance aspect that should go along with sounds. Here was a guy who had been touched by that dust, the gold stuff that is potent and scarce, and he wasn’t the part. He was a vector, just an agent of this miraculous talent, living with his words when he wanted to, when they came to him at the fishing hole or when the room hung thick with cigarette smoke, but not in front of the people that they were being played to. All of this changed with Denny went and got inked up with tattoos for all to see, said his buddy. Like a light switch, he was a man, a REAL man who embodied all of the heartbroken, tears in beers songs that he wrote into the forms of modern day classics before they had time to catch their breaths or to wipe the birth gook off of their little song bodies. At a Hot Freaks party during the South By Southwest Festival, Denny had his favorite short-brimmed hat (one Keith Richards and Johnny Depp would applaud him for) on, jean shorts that had been sloppily converted from their former state and boots that I believe are called frog stompers where he’s from – and he was raring. Everything did match. He looked like the Tom Sawyer figure that he was cut out to be, one that could have easily been seen with a twig of straw hanging out of the corner of his mouth, but with a set of pipes and a writer’s intuition that soon enough will be recognized as timeless. He’s always been that boy from the country – humble and polite – but he now had a little bit of the visible snake bite that could serve as proof that these things had really happened |
|
|
Classic Albums: Machine Head $11.98 Deep Purple’s 1972 masterpiece Machine Head raised the bar for hard rock and heavy metal and its importance is recognized 30 years later with a volume in Eagle Vision’s Classic Albums documentary DVD series. Even if “Smoke on the Water” was the only great track, that’s important enough to make it worthy, but factor in other monsters like “Highway Star,” “Pictures of Home,” and “Space Truckin’” and you’ve got a keeper for the time capsule. Pretty amazing for an album recorded quickly during wintertime in the corridors of the Grand Hotel in Montreux, Switzerland. As with any music documentary, the most thrilling thing is seeing rare archive footage, and this one is no exception. All five members of the definitive “Mark II” lineup — vocalist Ian Gillan, guitarist Ritchie Blackmore, keyboardist Jon Lord, bass guitarist Roger Glover, and drummer Ian Paice — are also featured in extensive new interviews, as is engineer Martin Birch. Blackmore is a brilliant guitarist, yet it’s Guitar World editor Brad Tolinski who makes the key point that what separated Deep Purple from other hard rock bands was the sound of Lord’s organ work. Lord demonstrates how he got his vicious sound from his Hammond organ, named “The Beast,” by running it through a Marshall guitar amplifier. Blackmore discusses his “Smoke on the Water” and “Space Truckin’” riffs while playing them on an acoustic guitar. Machine Head was self-produced, which meant the power plays bubbled up during mixing when each member jockeyed for prominence. Traces of sadness creep in the interviews when the splintering of the lineup is examined. Paice believes a six-month break would have prevented it, and Glover says they were too afraid to stop working and therefore burned themselves out. Classic Albums recognizes Deep Purple’s greatness — maybe the Rock and Roll Hall of Fame will someday too. ~ Bret Adams, Rovi |
|
|
Colombiana $30.99 A woman becomes a professional killer in order to seek revenge against the ruthless gangster who murdered her parents in this action thriller from director Olivier Megaton and writer/producer Luc Besson. As a young girl, Cataleya (Zoe Saldana) saw her parents killed in cold blood. Now Cataleya is all grown up, and she’s determined to settle the score. Going to work for her uncle, Cataleya methodically begins working her way up through the criminal underworld, taking out every criminal in her path on an obsessive quest to bury the man who single-handedly destroyed her life. ~ Jason Buchanan, Rovi |
|
|
Colombiana [Unrated] [Blu-ray] $35.99 A woman becomes a professional killer in order to seek revenge against the ruthless gangster who murdered her parents in this action thriller from director Olivier Megaton and writer/producer Luc Besson. As a young girl, Cataleya (Zoe Saldana) saw her parents killed in cold blood. Now Cataleya is all grown up, and she’s determined to settle the score. Going to work for her uncle, Cataleya methodically begins working her way up through the criminal underworld, taking out every criminal in her path on an obsessive quest to bury the man who single-handedly destroyed her life. ~ Jason Buchanan, Rovi |
|
|
Continuum [Revised] $22.98 Anybody who was initially confused by singer/songwriter John Mayer’s foray into blues with 2005′s Try! John Mayer Trio Live in Concert could only have been further confounded upon listening to the album and coming to the realization that it was actually good. And not just kinda good, especially for guy who had been largely labeled as a Dave Matthews clone, but really, truthfully, organically good as a blues album in its own right. However, for longtime fans who had been keeping tabs on Mayer, the turn might not have been so unexpected. Soon after the release of his 2003 sophomore album, the laid-back, assuredly melodic Heavier Things, Mayer began appearing on albums by such iconic blues and jazz artists as Buddy Guy, B.B. King, and Herbie Hancock. And not just singing, but playing guitar next to musicians legendary on the instrument. In short, he was seeking out these artists in an attempt to delve into the roots of the blues, a music he obviously has a deep affection for. Rather than his blues trio being a one-off side project completely disconnected to his past work, it is clear now that it was the next step in his musical development. And truthfully, while Try! certainly showcases Mayer’s deft improvisational blues chops, it’s more of a blues/soul album in the tradition of such electric blues legends as Jimi Hendrix and Stevie Ray Vaughan, and features songs by Mayer that perfectly marry his melodic songcraft and his blues-slinger inclinations. In fact, what seemed at the time a nod to his largely female fan base (the inclusion of “Daughters” and “Something’s Missing” off Heavier Things) was actually a hint that he was bridging his sound for his listeners, showing them where he was going.That said, nothing he did up until the excellent, expansive Try! could have prepared you for the monumental creative leap forward that is Mayer’s 2006 studio effort, Continuum. Working with his blues trio/rhythm section of bassist Pino Palladino and drummer Steve Jordan, a… |
|
|
Copeland concert at Daytrotter Studio on 15 Aug 09 $0 The underlying feeling that Aaron Marsh leaves us with as his sweet voice breathes and trails away like a pleasing scent, sensed in its invisibility and lost the same way, is that we’re going to make it, come hell or high water. It’s all about affirmation, the music his band, Copeland, makes, offering mementos for those who’d prefer to look on the bright side of life if they can help it at all. It’s all capped with spirited iciness and loaded with shimmering grayness – that which is the main ingredient in the overcast, but here is like a pillow or a security blanket, working out all of the dumpiness that could make one touchy or upset. Marsh has a voice that splits the difference between a falsetto and the birds, making it sound as if it’s partially our inner voices and partially the lullabies of the night sky – the pinks and oranges all harmonizing for the full sound expression, exposing a magnitude of protectiveness and safety. Copeland songs are ones that welcome us all in as if we’re all involved in a scene from a motion picture involving a wide open, grassy field with two people who love each other rushing in from the sides of the frame – love in their eyes and gaping smiles spread across their faces, their arms and in their rush – moving in slow motion so that it all could be absorbed in the right capacity. They are friends that stand by you – the narrators that Marsh sings the voices of on the band’s latest album, “You Are My Sunshine.” They are going to be there for you through the thicks and the thins – all of them, from now until forever. They offer advice that – while it might not be novel and could be that which comes from a loving father, given to a daughter – hits the mark when it comes from a peer. Darlins’ are told to wake up their eyes and smile a bit more, to stop feeling sorry for themselves and licking their wounds. There’s a lot of seizing the day or inferences that it would be a smart thing to do. We’ve all got to get over this, and we will tog |
|
|
Count Basie and His Orchestra concert at Newport Jazz Festival on 03 Jul 64 $7.98 Following a successful stint with Roulette Records from 1957 to 1962, a productive period which primarily highlighted the compositions and arrangements of Neal Hefti, Count Basie began a new working relationship with Verve Records and handed over the reigns to new composer-arranger Billy Byers, who brought a new modern sheen to the band with his writing and arranging, which can readily be heard on Basie Land, the Count’s Verve album (recorded in March of 1964, just a few months before his appearance at the ’64 Newport Jazz Festival). However, Basie decided to showcase only one new Byers tune at his Friday evening performance, choosing to go with some old reliable numbers from his repertoire along with a couple of more obscure offerings. Ironically, they open their July 3rd set with a Neal Hefti tune, “Splanky,” which was introduced on 1957′s The Atomic Mr. Basie. Paced by the rock steady rhythm section of Basie, bassist Buddy Catlett, drummer Payne and rhythm guitarist Green, this easy-swinging opener sets a quintessential Basie-esque tone with the Count’s sparse piano comping and the dynamic shout choruses from the horns. It also features an outstanding tenor sax solo from Foster, a member of the Basie band since 1953. They keep the tempo in the same easy-going vein on “Sassy,” a chugging bluesy number written by Byers and dedicated to singer Sarah Vaughan (whose nickname was Sassy). On the 1964 album Basie Land, this tune was a flute feature for Basie’s longtime reedman, Frank Wess. However, Wess left the band prior to this Newport appearance, so the piece becomes a flute feature for Eric Dixon. Al Aarons is also showcased on muted trumpet, playing unisons along with Dixon on the head before stepping out for a soulful solo of his own. A rendition of “All Of Me” opens with some impromptu ivory tickling from the Count before he settles into the familiar melody, backed only by Catlett’s walking bass, Payne’s subtle brushwork and Green’s chunking rhythm guitar. The |
|
|
Cousin Emmy concert at Ash Grove on 06 Jul 63 $9.98 Born in 1903 in an area known as the Barrens near the small southern town of Lamb, Kentucky, Cynthia May Carver (later known as Cousin Emmy) was the youngest of eight children. Her father was a sharecropper who raised tobacco and Cynthia May began working in the fields as a child. From as far back as anyone remembers, Cynthia May entertained her family in the fields by singing and creating musical skits. A self-described “natural show-off,” she began teaching herself to play any musical instrument she could get her hands on, beginning on fiddle and banjo. She grew up hearing the traditional ballads and fiddle tunes of rural Kentucky and with only two years of formal education, allegedly learned how to read by studying Sears-Roebuck mail order catalogues. During her teen years, two of her cousins, Noble “Bozo” Carver and Warner Carver had a popular string band and in 1927 they became one of the first regional groups to make a record. Soon they were making a decent living performing live and on a radio station broadcasting out of Kansas City and invited Cynthia May to join them. In 1935, she returned to Kentucky and her career and recognition as a musician took another leap forward when she became banjoist with Frankie Moore’s Log Cabin Boys. It was Moore who named her Cousin Emmy and he had his own live radio show on WHAS out of Louisville, which increased in popularity upon Cousin Emmy’s arrival. By this point, Cousin Emmy had become proficient at numerous other instruments, including guitar, piano, ukelele, harmonica, and more unusual items like jaw harp and singing hand saw. Her brash personality and raw musical talent led to her own radio show on WHAS, which gained her an even larger following by 1936. That same year she became the first woman to win the National Old Fiddlers contest. Over the course of the next decade, Cousin Emmy would become one of the most popular radio stars of the era, performing around the South and Midwest like an unstoppable cyclone. |
|
|
Da Doo Ron Ron: The Very Best of the Crystals $12.99 When Phil Spector formed his own label, Philles Records, in 1961, he had written, played guitar, and sung backup vocals on 1958? s ? To Know Him Is to Love Him? (which hit the top of the pop charts that year) as part of the Teddy Bears, and worked for a time as part of the production team for Leiber & Stoller, co-writing ? Spanish Harlem? for Ben E. King and playing guitar on the Drifters’ ? On Broadway,? and had produced minor sides for LaVern Baker and Ruth Brown, among others, but there was really little to distinguish him from any number of other hopefuls clustered around the pop music scene at the time. But Spector was driven, single-minded, and stubborn, and he had a sound in his head. Now with his own label in place, he set out to record a series of singles he termed ? little symphonies for the kids? that are now regarded among the most distinctive and influential recordings in the history of pop music. Combining massed pianos, guitars, string arrangements by Jack Nitzsche, tons of layered percussion, and huge washes of echo, working with the West Coast? s best session players (including Hal Blaine, Tommy Tedesco, Larry Knechtel, Leon Russell, and Harold Battiste — the so-called Wrecking Crew), and leaning heavily on his engineer Larry Levine to catch all of this in the small confines of Gold Star Studios in Los Angeles, Spector developed his ? Wall of Sound? production approach, controlling every aspect of the recordings until, even though he wasn? t singing or even playing an instrument, they became — in essence — Phil Spector records. This is not to diminish the singers he used — the Crystals, in the case here. Already an intact quartet led by vocalists La La Brooks and Barbara Alston when they fell into Spector’s world, he ended up owning the Crystals name and inserting other vocalists — most notably Darlene Love — into the equation whenever it suited him. One can say, that? s the music business, and Spector was far from a huma… |
|
|
Dakota Staton concert at Newport Jazz Festival on 02 Jul 60 $12.98 A dynamic performer with a dramatic delivery, the under-appreciated vocalist Dakota Staton was a wonderful interpreter of ballads as well as an inveterate swinger. And while she may not have enjoyed the widespread acclaim and commercial success as such jazz vocal legends as Billie Holiday, Ella Fitzgerald, and Sarah Vaughan, the sheer expressive power of her voice was undeniably compelling and her stage presence commanding. Staton’s performance at the 1960 Newport Jazz Festival was one of the highlights of that all-star Saturday evening, which also included performances from Lambert, Hendricks & Ross, the Horace Silver Quintet, and headliner Ray Charles. Backed by a tightly-knit trio consisting of bassist Sonny Wellesley, drummer Khalil Madi, and veteran jazz pianist John Malachi, who came up in Billy Eckstine Bebop Orchestra in the mid-1940s before working as an accompanist for such regal singers as Pearl Bailey, Dinah Washington, and Sarah Vaughan, Staton energized the Newport crowd with a scintillating set. They open with a swinging rendition of “The Best Thing for You,” which appeared on the singer’s 1959 Capitol recording Time to Swing. Staton holds nothing back here, oozing personality from bar to bar as she makes her way through Irving Berlin’s lyrics. From that uptempo ditty, they segue smoothly into the deep blues of “I Need Your Love So Bad,” a hit in 1956 for R&B singer Little Willie John, who also composed the tune. Dakota channels her inner Dinah Washington in delivering the painful lyrics, and she belts out with cathartic gusto at the tag of that earthy torch song. Moving right along in their fast-paced set, Staton and company launch into the oft-covered Vincent Rose number “Avalon,” a tune introduced in 1920 by Al Jolson and subsequently covered by such Swing Era jazz stars as Benny Goodman, Django Reinhardt, and Cab Calloway. This uptempo burner has remained in the repertoire of modern day jazz stars and has more recently been covered by the likes |
|
|
Damaged Goods $13.98 In Brad Chesivoir’s cover photograph for Nils Lofgren’s tenth solo studio album, Damaged Goods, Lofgren appears asleep, surrounded by guitars, and elsewhere in the packaging, Lisa Pampillonia’s design focuses on extreme close-up shots of guitars in heightened colors. These are good indications of the album’s contents. Lofgren remains, in essence, a guitar hero, and on the album’s 12 tracks, he seems to have spent more time working on the riffs and textures he could get out of his guitars than on anything else. He is accompanied by drummer Andy Newmark and bassist Roger Greenawalt (who also produced, engineered, and mixed the record), with some string and choral parts added here and there, and Branford Marsalis sitting in on saxophone on a couple of tracks. The songs all have lyrics and vocals, but those seem to have come after the fact, as addenda to complete tracks built out of Lofgren’s guitar playing. Sometimes he sings of love gone wrong, other times he sings in the identities of characters. (“Only Five Minutes” is about an ex-con who falls off the wagon and goes back to jail on New Year’s Eve; “Trip to Mars” details the complaints of a veteran police officer.) Occasionally, he seems to be singing from the heart, or at least the head, as in the philosophical “Life” (co-written with Lou Reed). But it’s still the guitar work that matters. “Heavy Hats” concerns a man’s taking on responsibility as his child is about to be born, and “Nothin’s Fallin’” sounds like a sincere account of an adult son dealing with an aging father’s illness. But even on these songs, the guitar parts tend to overwhelm the tracks. As such, it’s no wonder than Lofgren remains best known as a hired gun for artists capable of writing more substantial songs, and that, at this juncture in his career, he is recording for a small independent label in Georgetown, CT. ~ William Ruhlmann, Rovi |
|
|
Dance Education: Basic Principles and Models for Nursery and Primary School $0.95 Used – English translation by Margaret Murray. This book has grown out of many years work with Orff-Schulwerk. In contrast to other “pure” methods of dance education, it shows the relationship of music to movement, to language and to poetry, as well as to pictorial or dramatic ideas or objects. Barbara Haselbach offers colleagues without professional dance training some stimulation for working with dance education for children of various ages, both inside and outside the school, and provides ext |
|
|
Dance Education: Basic Principles and Models for Nursery and Primary School $15.4 New – English translation by Margaret Murray. This book has grown out of many years work with Orff-Schulwerk. In contrast to other “pure” methods of dance education, it shows the relationship of music to movement, to language and to poetry, as well as to pictorial or dramatic ideas or objects. Barbara Haselbach offers colleagues without professional dance training some stimulation for working with dance education for children of various ages, both inside and outside the school, and provides exte |
|
|
Dance Education: Basic Principles and Models for Nursery and Primary School $13.2 New – English translation by Margaret Murray. This book has grown out of many years work with Orff-Schulwerk. In contrast to other “pure” methods of dance education, it shows the relationship of music to movement, to language and to poetry, as well as to pictorial or dramatic ideas or objects. Barbara Haselbach offers colleagues without professional dance training some stimulation for working with dance education for children of various ages, both inside and outside the school, and provides exte |
|
|
Dance Education: Basic Principles and Models for Nursery and Primary School $0.99 Used – English translation by Margaret Murray. This book has grown out of many years work with Orff-Schulwerk. In contrast to other “pure” methods of dance education, it shows the relationship of music to movement, to language and to poetry, as well as to pictorial or dramatic ideas or objects. Barbara Haselbach offers colleagues without professional dance training some stimulation for working with dance education for children of various ages, both inside and outside the school, and provides ext |
|
|
Dark Touches $14.98 After a mediocre response to The Handler, Sean Tillmann put his Har Mar Superstar persona on hiatus for five years. In that time, as well as working on on film projects as a screenwriter/actor, he maintained his musical chops by touring with Neon Neon, playing music as his indie alter ego Sean Na-Na, and ghost-writing songs for other pop stars. Endowed with a knack for knowing what makes the perfect, sexy pop song, (he has songwriter credits on hits by Kelly Osbourne, Eve, and Jennifer Lopez), Tillmann shopped “Girls Only” to the Cheetah Girls and “Tall Boy” to Britney Spears, both of whom declined. Too bad for them. Unfazed that the lyrics were primarily about sexing up boys at the club, Har Mar took the beats back and embraced them as his own, fine-tuning them into two of his biggest party jams. With a floor-rattling hook and an acidic electro-bassline worthy of FutureSex/LoveSounds, “Tall Boy” works equally well as a dedication to Budweiser king cans as it does as a lusty ode to basketball players. Meanwhile, “Girls Only,” features Har Mar on a Ladies Night escapade, strutting his stuff while promoting grrrl power and singing about his cute little manicure. It’s a strange juxtaposition, but for those who bought into the sex-symbol status of a little chubby balding dude without question, believing that his sexiness transcends gender shouldn’t be much of a stretch. Unfortunately, even with the added element of androgyny, after putting out four albums and 50 songs, the Superstar shtick is old-hat. As with his other releases, there are some misses (the purposely dated NKOTB/New Edition-flavored “Almond Joy” and “Dope-Man” come to mind). That said, Har Mar Superstar’s never been known for solid full-lengths. He’s a song-based artist, and Dark Touches features some of his best singles. ~ Jason Lymangrover, Rovi |
|
|
Daybreak $16.98 Greg Reitan has continued to grow as a pianist with each successive CD for Sunnyside. His third release for the label is once again a trio date with bassist Jack Daro and drummer Dean Koba. The obvious benefit of using a working group is that it is inevitably better prepared when entering the recording studio. One can hear numerous influences in the pianist’s playing, but he isn’t a clone of any of them, finding his own voice whether playing a timeless ballad or a breezy original. Reitan shows a surprising maturity for an artist still in his thirties, finding new ways to voice familiar songs. His rendition of Michel Legrand’s “Once Upon a Summertime” is a masterful, restrained performance of under three minutes. His interpretation of Thelonious Monk’s “Monk’s Mood” brings out its often neglected lyricism, with his trio pretty much staying in the background. Reitan is able to give even an oft-recorded gem like Billy Strayhorn’s “Chelsea Bridge” a fresh setting that avoids the typical approaches. The pianist’s beautifully improvised introduction to “Blue in Green” is impressionistic without tipping its hand immediately as to its final destination; once Reitan reveals the modal masterpiece’s theme, he takes it from a ballad setting into breezy bop. Reitan’s originals are just as impressive. His inventive, twisting “Five Four” has the energy of Denny Zeitlin’s work, a intriguing, shape-shifting performance with Daro and Koba providing the fuel for his flight. His infectious jig-like “Iridescence” is a rapid-fire bop vehicle showcasing Koba’s excellent brushwork. Greg Reitan is ample proof that there are still plenty of possibilities playing with a jazz piano trio. ~ Ken Dryden, Rovi |
|
|
Denon DN-X1600 4-Channel Digital DJ Mixer $1299.99 The DN-X1600 Digital DJ Mixer, offers superb sound quality, durability, reliability, operability and visibility. Based on the same core engine as Denon DJ’s flagship DN-X1700, the DN-X1600 is an extremely affordable and versatile four-channel digital mixer with a variety of features perfect for all DJs and electronic musicians, from professional club and touring DJs, to party DJs and bedroom mix artists. Denon’s engineers have provided every capability professional DJs will require: working with vinyl, CD, digital files, DJ software applications via laptops and USB storage devices. In addition to its stellar digital mixing capabilities, the DN-X1600 provides an exclusive MIDI control UI area for functionality and ease-of-use for the rapidly growing PC DJ market. The DN-X1600 features a simple spacious layout, with highly tactile controls widely and logically laid out to enable easy operation during performance. This unit features large high-quality rubberized knobs, studio quality 60-mm Alps custom channel faders, high-visibility VFD display and extended 16-point LED channel and output metering. A first for any DJ mixer introduced to date, the DN-X1600 is also equipped with V-LINK, a function developed by Roland Corporation® that allows DJ performers to simultaneously integrate audio and video. Connecting devices that support V-LINK to the mixer’s MIDI terminals (such as the EDIROL V-4 or V-8) make it possible to perform a wide range of visual effects linked with the tempo of the music. |
|
|
Disco Worms $24.99 You don’t necessarily need arms and legs to boogie with the best, as evidenced in this playful tale of an adventurous worm who strives to keep the insect world dancing to the funky sounds of classic disco. Barry is an optimistic invertebrate at the bottom of the food chain. Just when it starts to seem that Barry will wind up working a desk job at the local compost industry, his father gives him an old box of office supplies with a vintage disco record buried deep inside. From the moment those first notes hit his ears, Barry’s body starts to move and he’s completely hooked. This is his ticket to a more exciting life, and if he can assemble a band in time they may have a shot at winning the upcoming annual song contest. Just as Barry sets out in search of some talented musicians, however, the contest organizers inform him that worms are ineligible to compete. Undaunted, Barry continues his efforts to form a band that isn’t afraid of the funk. Just as the band begins to get in the groove, tragedy strikes and they are scooped out of the ground and prepared to be sold as live bait. Now, with his band in a vending machine and his future as the king of disco on the line, Barry must summon the courage to keep boogie fever alive despite the fact that the odds are stacked overwhelmingly against him. ~ Jason Buchanan, Rovi |
|
|
Do It! $18.98 Clinic chug along like a coal-burning engine churning out thick black smoke on Do It!, working further into their cryptically dour art-punk/psych/soul/folk niche. Granted, that’s a pretty specific niche, but as on their previous album, Visitations, it feels more like a groove than a rut. More than most bands, Clinic write songs in styles, and Do It! features most of their quintessential types: the excellent “Corpus Christi” is a menacing, whispery slow-burner like Walking with Thee’s “Come into Our Room” before it, with a singsong lilt that makes it all the creepier; “Emotions” is one of Clinic’s soulful ballads, this time boasting a thick fuzz bassline that runs through the song like a scratch; and “Shopping Bag” is this album’s version of the band’s noise-punk outbursts, now with a shrieking saxophone solo. While Do It! doesn’t abandon Clinic’s well-defined sound and approach, it does underscore how they innovate within their self-imposed limitations, even if they don’t make radical changes. Almost suffocating distortion is one of Do It!’s main motifs, along with songs that swing from mood to mood rapidly. “Memories” uses both, shifting from heavy, ugly, deeply acidic psych-garage riffs to melancholy organs and autoharps as Ade Blackburn intones “Memories are all you own” (though it sounds more like he’s singing “Memories are all you’re on,” comparing thoughts to drugs ? la the Electric Prunes’ “I Had Too Much to Dream Last Night”). “Free Not Free” is nearly as trippy, jumping between brash riffs and mellow flutes while setting lyrics like “when the hoax is in the mirror” to one of the album’s prettiest melodies. All of this is to say that despite Do It!’s direct name, Clinic are as elliptical as ever. They’re rarely better than when they’re telling someone off, even if they do it so cryptically that the feeling is the only thing that translates. “High Coin” sounds like the perfect soundtrack to skewering a voodoo doll, its sinister organ… |
|
|
Dodge’s Bullets $5.15 Used – All Webster Dodge wants is to make a living playing music, but his band doesn’t get many paying gigs, so he can’t quit his day job. His father, a police sergeant, pushed him to take a job on the force, but Dodge just couldn’t stand working for “The Man,” and dropped out of the Academy the day before graduation. Now, using a booth at the local cyber cafe as his “office,” Dodge works as a Private Eye, prowling the rainy streets of Seattle on the trail of cheating spouses, deadbeat dads and |
|
|
Dodge’s Bullets $0.99 Used – All Webster Dodge wants is to make a living playing music, but his band doesn’t get many paying gigs, so he can’t quit his day job. His father, a police sergeant, pushed him to take a job on the force, but Dodge just couldn’t stand working for “The Man,” and dropped out of the Academy the day before graduation. Now, using a booth at the local cyber cafe as his “office,” Dodge works as a Private Eye, prowling the rainy streets of Seattle on the trail of cheating spouses, deadbeat dads and |
|
|
Doggumentary Music $39.41 New – High Quality Content by WIKIPEDIA articles! Doggumentary is the upcoming 11th studio album by American rapper Snoop Dogg. The album is scheduled to be released on March 8, 2011. Snoop Dogg first announced that he was working on a sequel to his 1993 debut album Doggystyle during a studio session with Hip hop producer and rapper Swizz Beatz the two stated they knocked out eighteen tracks and Snoop ended the video out saying he gave him some gangsta tracks, some R&B tracks and some Hip Hop tr |
|
|
Doggumentary Music $54 New – High Quality Content by WIKIPEDIA articles! Doggumentary is the upcoming 11th studio album by American rapper Snoop Dogg. The album is scheduled to be released on March 8, 2011. Snoop Dogg first announced that he was working on a sequel to his 1993 debut album Doggystyle during a studio session with Hip hop producer and rapper Swizz Beatz the two stated they knocked out eighteen tracks and Snoop ended the video out saying he gave him some gangsta tracks, some R&B tracks and some Hip Hop tr |
|
|
Dogma [Blu-ray] $19.99 Would you believe that the last living descendent of Jesus Christ is a woman working at an abortion clinic in Illinois? And that she’s been sent on a holy mission with two minor characters from Clerks and Mallrats as her guides? Prepare to suspend any and all disbelief as you watch the religious satire Dogma, the fourth film from writer/director Kevin Smith. Bethany (Linda Fiorentino) has been disappointed in life and has found her faith severely tested after her husband leaves her when she discovers she cannot have children. So Bethany is all the more puzzled when she’s approached by Metatron (Alan Rickman), a grumpy angel. Metatron wants her to help him stop Bartleby (Ben Affleck) and Loki (Matt Damon), two fallen angels who were ejected from paradise, have escaped from exile and are heading to New Jersey. If they are able to pass through the arc of a certain church, it will prove God is fallible and the world will come to a swift end. Bethany has no idea what to do or why she’s been given this project, but she heads out anyway, with her assigned assistants Jay (Jason Mewes), an appallingly rude former dope dealer and self-styled ladies man, and Silent Bob (Kevin Smith). Along the way, Bethany picks up more helpers, including a celestial muse named Serendipity (Salma Hayek) and Rufus (Chris Rock), who claims to have been the 13th apostle and that Jesus owes him 12 dollars. Boasting a huge supporting cast — including George Carlin, Jason Lee, Janeane Garofalo, Bud Cort, and Alanis Morissette (as God) — Dogma proved to be highly controversial even before its release. Miramax Pictures, owned by Disney, financed the film, but several weeks before Dogma’s world premier at the Cannes Film Festival, they announced they would not release the picture and intended to sell it to another distributor (which would turn out to be Lions Gate Films). Director Smith, however, has always contended that Dogma is a film about the importance of faith, if not organized religion. ~ … |
|
|
Don’t Tell Mom the Babysitter’s Dead [P&S] $5.99 Christina Applegate stars in this convoluted comedy that comes across as a teen fantasy combination of Home Alone and Working Girl. The premise is all in the title — when the mother (Concetta Tomei) of a sniveling group of surly kids goes on a much-deserved summer vacation, she leaves her kids under the charge of an elderly distaff granny (Eda Reiss Merin). When granny ups and dies, the kids load her dead body in a trunk and deposit the package on the steps of the local funeral home. The kids are ecstatic thinking that with the big wad of cash Mom has left, they can have a summer of consumer madness. But when they find out that the money has been buried with the baby-sitter, the kids have to fend for themselves to make ends meet. Dream teen Sue Ellen (Christina Applegate) tries working at a fast food restaurant but she can’t stand the grease. So, she puts together a false resume and, posing as a twenty-eight-year old, she applies for a job as a receptionist at a garment manufacturing company. The company vice president, Rose (Joanna Cassidy), is so impressed by her resume that she hires her on the spot as her executive assistant. Her deception looks to be working out great — Sue Ellen manages to hold off the office lady killer Gus (John Getz), avoids exposure by the embittered receptionist, borrows money from the company’s petty cash box for household incidentals, and continues her relationship with restaurant employee Bryan (Josh Charles). But suddenly, the clothing firm is set to go under, and Sue Ellen must use her teen fashion sense to save the company and her job . . . and she has to get the rest of the brood involved. ~ Paul Brenner, Rovi |
|
|
Dr. Manhattan concert at Daytrotter Studio on 23 Dec 08 $0 It would behoove any of you contemplating it to never allow any of the members of Dr. Manhattan perform any variety of medical procedure on your body, no matter how sterile they say their tools are and no matter how many times they say they’ve made that incision. It’s just simply not true and those tools are grotesquely soiled and/or rusted. It would lead to a poisoning of some kind – blood poisoning or a nasty infection – you can be assured of that. It’s because they aren’t real doctors, but like those learned men in white coats the members of the Wauconda, Ill., band do things in their work that just can’t be fully understood by regular folks and they have matching shabby handwriting to boot. These manners and actions that Dr. Manhattan toy with are the conventions that suggest that music needs structure for it to not get lost on people, for those listening to just glaze over and hear it as the white noise. There’s a lengthy section in the band’s song “Baton Rogue” where they give the greatest demonstration of working off the grid and off-roading. It’s more than that though, it’s as if they’re just having the chuckles for themselves and for the chuckle’s sake. It’s a deviation of what should be and what needs to be in a song. For almost a minute, those four young men just blurt out some mumbling murmurs, the kinds of which should be heard coming out of the droopy mouths of phantoms and ghosts, zombies of the night set on filling the silence with the language that they know best. It’s a showcase in loopiness, in getting away with it because there is no sheriff to say that something is improper. At the tail end of the song’s unsuspecting hiatus, you hear lead singer Matt Engers start jabbering about specific chords and when certain things like choruses might need to pick back up, with the full-frontal electronic attack getting revived about that same time, give or take. It’s almost a comedy routine for the Marx Brothers or Tenacious D, but it feels oddly appropri |
|
|
Dragon Hill $14.99 An evil wizard exiled to a magical world where dragons roam free plots his escape to the human realm in this Goya Award-winning animated adventure for the entire family. Dragon Hill is a wondrous world protected by four gates: Fire, Water, Earth, and Air. Only the guardian dragon Ethelbert holds the secret to traveling between the dragon and human worlds, occasionally permitting humans of various ages and centuries into Dragon Hill at his sole discretion. Ethelbert knows that should the evil wizard Septimus escape from Dragon Hill, it would most certainly spell doom for the human world. Now, after years of scheming, Septimus has finally found a way to escape his fantastical prison. But in order to carry out his plan, Septimus will need the help of a young innocent named Kevin. Fortunately for all of mankind, Kevin’s dragon friend Elfy and a 21st Century scientist named Maud have caught wind of Septimus’ plan. Perhaps by working together, they can thwart his escape and ensure that the balance between the dragon world and the human world remains stable. ~ Jason Buchanan, Rovi |
|
|
Dumb Angel: The Life and Music of Dennis Wilson $7.87 Used – “Dumb Angel,” the first working title of “Smile,” is said to have been an expression of Brian Wilson’s insight into the character of his brother Dennis.Dennis Wilson started out as drummer with the Beach Boys, a ’60s teenage pin-up and the only true surfer in the group. He died prematurely in 1983, shortly after marrying his cousin’s illegitimate love child. In between, he indulged copiously in sex and drugs, hung out with Charles Manson, married on three other occasions, wrote and sang o |
|
|
Dumb Angel: The Life and Music of Dennis Wilson $163.79 New – “Dumb Angel,” the first working title of “Smile,” is said to have been an expression of Brian Wilson’s insight into the character of his brother Dennis.Dennis Wilson started out as drummer with the Beach Boys, a ’60s teenage pin-up and the only true surfer in the group. He died prematurely in 1983, shortly after marrying his cousin’s illegitimate love child. In between, he indulged copiously in sex and drugs, hung out with Charles Manson, married on three other occasions, wrote and sang on |
|
|
Dumb Angel: The Life and Music of Dennis Wilson $109.56 New – “Dumb Angel,” the first working title of “Smile,” is said to have been an expression of Brian Wilson’s insight into the character of his brother Dennis.Dennis Wilson started out as drummer with the Beach Boys, a ’60s teenage pin-up and the only true surfer in the group. He died prematurely in 1983, shortly after marrying his cousin’s illegitimate love child. In between, he indulged copiously in sex and drugs, hung out with Charles Manson, married on three other occasions, wrote and sang on |
|
|
Dumb Angel: The Life and Music of Dennis Wilson $12.4 Used – “Dumb Angel,” the first working title of “Smile,” is said to have been an expression of Brian Wilson’s insight into the character of his brother Dennis.Dennis Wilson started out as drummer with the Beach Boys, a ’60s teenage pin-up and the only true surfer in the group. He died prematurely in 1983, shortly after marrying his cousin’s illegitimate love child. In between, he indulged copiously in sex and drugs, hung out with Charles Manson, married on three other occasions, wrote and sang o |
|
|
Earl Hines Quartet concert at Newport Jazz Festival on 01 Jul 67 $5.98 A modern jazz piano pioneer, Earl Hines was a major influence on a generation of players including Teddy Wilson, Joe Sullivan, Nat King Cole, and Erroll Garner. A member of Louis Armstrong’s groundbreaking Hot Five ensemble from the mid-1920s, he is immortalized for his brilliant playing on “West End Blues,” “Basin Street Blues,” and most significantly for his revolutionary duet with Armstrong on 1928′s “Weather Bird.” Hines remained a consistently imaginative, vital player and sparkling soloist well into his 70s. He appeared at the 1967 Newport Jazz Festival at age 64, fronting his working quartet of distinctive saxophonist and longtime collaborator Budd Johnson (he played in Hines’ orchestra during the 1930s), bassist Bill Pemberton, and drummer Oliver Jackson. For this abbreviated set, we hear the end of one tune, which is essentially an extended drum solo by Oliver Jackson. Hines then launches into a rococo solo piano intro that segues to a mellow rendition of the Jule Styne-Sammy Cahn ballad “It’s Magic,” which is underscored by Jackson’s supple brushwork and Pemberton’s sparse, resounding tones on the upright bass. Johnson enters with some bracing soprano sax work at the two-minute mark, fairly singing the melancholy melody recorded in 1948 by Doris Day and Sarah Vaughan (and subsequently parodied by Bugs Bunny in the 1951 Warner Bros. cartoon “Rabbit Every Monday”). Hines’ cascading piano work coming out of Johnson’s solo is old school in its purely rhapsodic quality. By the 4:35 mark, he lays down some strong left hand comping, effectively emulating a rhythm guitar player while launching into more single note embellishments with the right hand (a technique later employed by Erroll Garner). Johnson’s dramatic, long toned cadenza at the end of this tune is breathtaking. The quartet closes out in briskly swinging fashion with an uptempo rendition of the Tin Pan Alley number “Love is Just Around the Corner” that prominently showcases his virtuosic keyboard ti |
|
|
Eddie Money concert at Berkeley Community Theatre on 24 May 80 $12.98 Edward Joseph Mahoney, aka Eddie Money, was born on March 21st, 1949 in New York City. He was the son of a NYC police officer, who moved the family to Long Island during Eddie’s childhood. He started singing for local bands in high school and was forced to enroll in the New York Police Academy, so he would not be drafted into the Vietnam War. Though his career was never going to be on the Force, Money worked as a police cadet for a few years, but was quickly disillusioned by the harsh behavior of many of his peers. “I grew up with respect for the idea of preserving law and order, and then all of a sudden cops became pigs and it broke my heart.” By the mid-’70s, Money was out of the force and en route to San Francisco. He worked retail, while working to get involved in the local scene. In 1977, he released his debut self-titled album. The album was a huge success with its lead single, “Two Tickets to Paradise,” becoming a smash hit on radio. It also features an excellent version of the Smokey Robinson number, “You’ve Really Got a Hold on Me.” The album hit #37 on the charts, and established Money as a rising star in the rock scene. Through the end of the ’80s, Money released six more albums, most of which were big successes. His two biggest successes, No Control (1982) and Can’t Hold Back (1986), combined to sell over seven million copies. While he penned many songs that would hit big, none would hit bigger than “Take Me Home Tonight” from Can’t Hold Back. The track is an absurdly catchy, passionate duet with Ronnie Spector, the lead vocalist of the Ronettes, and has since become one of the most iconic songs of the decade. Though his star significantly dipped in the ’90s, he continues to release records and tour. He is very active in numerous philanthropic endeavors, such as the Elizabeth Glaser Pediatric AIDS Foundation. He has also appeared on network television, on such shows as Kevin James’King of Queens and The Rosie O’Donnell Show. He currently splits time |
|
|
Electric Music for the Mind and Body $11.99 Their full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band’s swirl of distorted guitar and organ at its most inventive. In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn’t quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible — in fact, often delightfully witty — body of psychedelic music the first time out. Ranging in mood from good-timey to downright apocalyptic, it embraced all of the facets of the band’s music, which were startling in their diversity: soaring guitar and keyboard excursions (“Flying High,” “Section 43,” “Bass Strings,” “The Masked Marauder”), the group’s folk roots (“Sad and Lonely Times”), McDonald’s personal ode to Grace Slick (“Grace”), and their in-your-face politics (“Superbird”). Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results — given the prodigious talents and wide-ranging orientation of this group — might’ve scared off most major record labels. Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance. The CD reissue also has the virtue of being one of the best analog-to-digital transfers ever issued on one of Vanguard Records’ classic albums, with startlingly vivid stereo separation and a close, intimate sound. ~ Richie Unterberger & Bruce Eder, Rovi |
|
|
English Settlement $15.98 Andy Partridge’s discovery of the 12-string guitar set the tone for English Settlement, an album that moved away from the pop gloss of Black Sea in favor of lighter, though still rhythmically heavy, acoustic numbers with more complex and intricate instrumentation. There are plenty of pop gems — “Senses Working Overtime” stands as one of their finest songs — but the main focus seems to be the more expansive sound; most of the songs are drawn out to near-epic length, ultimately taking some of the impact of the songs away. Despite several terrific tracks, English Settlement seems more a transitional album than anything else, although the textural sound of the album is quite remarkable, indicating the direction they would take in their post-touring incarnation. ~ Chris Woodstra, Rovi |
|
|
Even If It Kills Me $19.98 With punk-pop stalwarts blink-182 now out of the running, Motion City Soundtrack could very well be crowned the genre’s new torchbearers. Theirs is a punk-pop untainted by emo, unfazed by hardcore, and firmly focused on the latter element — pop music. To that end, Even If It Kills Me finds the band working with (among others) Cars co-founder and veteran knob-twiddler Ric Ocasek, who piles their harmonies and distorted guitars into crunchy blocks of radio gold. Motion City Soundtrack shares more than a few similarities with Ocasek’s former group — their dedication to the pop genre, for instance, with roots in something harder — and his presence is a warm tribute to a band whose efforts deserve some veteran recognition. As before, frontman Justin Pierre is the star of this album, whether he’s doing his part to liven up a semi-sedate ballad (“The Conversation” — one of the album’s only downer tracks) or channel the commercial spirit of former single “Everything Is Alright.” In fact, Even If It Kills Me does seem to consciously aim for commercial acceptance, but rarely at the expense of the quirks and literate lyrics that first endeared Motion City Soundtrack to its fans. There’s simply more radio-minded material here, from the beefy bass-driven “This Is for Real” to the mix of synthesized pop/rock and latter-day Guster in “Hello Helicopter.” By splitting productions duties between power pop veteran Adam Schlesinger, Eli Janney, and the aforementioned Ocasek, Motion City Soundtrack also avoids the seventh inning stretch — that nebulous point on Memory and I Am the Movie where the albums’ final tracks began to suffer from being so similar to their predecessors. There’s no lull here, just fast-paced fun — which, given the band’s motion-centric name, is both apporpriate and tuneful ~ Andrew Leahey, Rovi |
|
|
Evolution: The Road to Giant Steps $19.95 Arguably the first of John Coltrane’s great album masterpieces, 1960? s Giant Steps hardly came out of nowhere, as this four-disc set clearly shows. Featuring key tracks with Coltrane working as both a bandleader and as a sideman in sessions with the likes of Miles Davis, Sonny Rollins, Thelonious Monk, Red Garland, Hank Mobley, and others recorded for the Prestige, Savoy, Columbia, and Blue Note labels between 1957 and 1960, plus some 40 minutes of radio and other interviews with the saxophonist, this fascinating collection culminates with the complete Giant Steps album from Atlantic Records. ~ Steve Leggett, Rovi |
|
|
Exile on Main St. [Deluxe Edition] $30.99 Legendary as it may be, Exile on Main St. presents a challenge for deluxe remastered reissues. Much of its myth lies in its murk, how its dense, scuzzy sound is the quintessential portrait of rock stars in decadent isolation, the legend bleeding into its creation so thoroughly it is impossible, and unnecessary, to separate one from the other. Without this nearly tactile sound, Exile wouldn? t be Exile, so remastering the record is a tricky business because it should not be too clean. The remaster on the 2010 reissue — available in a myriad of editions containing variations of a single-disc remaster and a second disc expanded with ten unreleased tracks – doesn? t quite avoid that trap. When ? Rocks Off? kicks off the record, what was previously dulled like aged silver is now is too bright: Mick Jagger? s vocals leap and the keyboards ring clearly. Because this is Exile on Main St., a record recorded in a decaying French mansion, it? s impossible to scrape all the grime away from its layers, but the overall impression is that the original master tapes are now presented in high definition: it? s possible to hear what most individual instruments are doing on each track, which may lead for a greater appreciation of the Stones’ monumental musicianship, but it? s somewhat at the expense of the album? s mystique.Another pitfall in the plans for this deluxe expansion: there aren? t a whole lot of completed unreleased songs. The Stones had a habit of working leftovers from the prior album into a finished product, sometimes taking years to complete a song — a practice that resulted in great songs but not much left in the vaults. Which isn? t to say there was nothing left behind from Exile? s sessions: the Stones were living where they were recording, so they produced an enormous amount of music, working out the kinks in a song (represented here by alternate takes of ? Loving Cup? and a Keith Richards-sung ? Soul Survivor? ), or wholly reworking an existi… |
|
|
Familiar to Millions $9.99 The Gallagher brothers’ boundless, boorish, boasting bluster and blather only felt like brazen British working class moxie as long as they made great records that backed up their obnoxious arrogance. So when the songwriting fell off the last six years, on the bloated Be Here Now and Standing on the Shoulder of Giants, it was like watching helium hiss out of an overstuffed blimp. After all the bellicose babble, and the posturing prattle, Oasis’s U.S. sales plummeted like the Hindenberg over Lakehurst. The pompous Wizard has been exposed and humbled, bringing joy to thousands of Totos tugging on Oasis’s huffy pantleg, glad to see such massive egos get stuffed like smelly socks back up their big mouths. So leave it to Oasis to resort to the biggest, emptiest rock gesture of all: the huge-stadium live LP! Their popularity remains unchanged in home England, which still worships the group uncritically like the equally-diminished, figurehead Royal Family. So the brothers give us this document of Wembly stadium and its Canyonesque acoustics, with its cheering, singing throngs of 70,000 people. Just contemplating the 98-minute, double CD Familiar to Millions, you think, “They don’t get it, do they?” So how come the group were actually able to pull this off, instead of dropping an overbearing embarrassment on us? It’s because Oasis always deliver their material with conviction live, with the music as the focus in lieu of some bogus floor-show. And because they play a best-of set, going all the way back to their initial singles “Supersonic” and “Shakermaker,” and such enduring tunes as “Acquiesce,” “Roll With It,” and “Live Forever,” Familiar is a reminder of the substance they retain, even as they doggy-paddle along, stuck for bearings. Strong Noel-sung covers of Neil Young’s “Hey Hey, My My” and The Beatles’ “Helter Skelter” are also delivered in their hard-working, serve-the-song demeanor-this is no ghastly Rattle and Hum trip. Most of all, the band plays… |
|
|
Favourite Worst Nightmare $17.98 Breathless praise is a time-honored tradition in British pop music, but even so, the whole brouhaha surrounding the 2006 debut of the Arctic Monkeys bordered on the absurd. It wasn’t enough for the Arctic Monkeys to be the best new band of 2006; they had to be the saviors of rock & roll. Lead singer/songwriter Alex Turner had to be the best songwriter since Noel Gallagher or perhaps even Paul Weller, and their debut, Whatever People Say I Am, That’s What I’m Not, at first was hailed as one of the most important albums of the decade, and then, just months after its release, NME called it one of the Top Five British albums ever. Heady stuff for a group just out of their teens, and they weathered the storm with minimal damage, losing their bassist but not their sense of purpose as they coped in the time-honored method for young bands riding the wave of enormous success: they kept on working. All year long they toured, rapidly writing and recording their second album, Favourite Worst Nightmare, getting it out just a little over a year after their debut, a speedy turnaround by any measure. Some may call it striking when the iron is hot, cashing in while there’s still interest, but Favourite Worst Nightmare is the opposite of opportunism: it’s the vibrant, thrilling sound of a band coming into its own. The Arctic Monkeys surely showed potential on Whatever People Say I Am, but their youthful vigor often camouflaged their debt to other bands. Here, they’re absorbing their influences, turning their liberal borrowings from the Libertines, the Strokes, and the Jam into something that’s their own distinct identity. Unlike any of those three bands, however, the Arctic Monkeys haven’t stumbled on their second album; they haven’t choked on hubris, they haven’t overthought their sophomore salvo, nor have they cranked it out too quickly. That constant year of work resulted in startling growth as the band is testing the limits of what they can do and where they can go. Favourite … |
|
|
Fe-Vers: Feeling Verses for Children $28.82 New – “Poetry is consistently used by children and teens to express deeply held feelings that are not allowed to come out any other way. The writing of poetry, so often relegated to the MUSE within us, is actually our unconscious understandings, coming out in the rhythm and music of words, especially in metaphor.” From the Introduction to Fe-Vers. Gustavson, with her Fevers workbooks, has created a new method for working with children through poetry. Her own poetry inspires the children of abuse |
|
|
Fe-Vers: Feeling Verses for Children $37.95 New – “Poetry is consistently used by children and teens to express deeply held feelings that are not allowed to come out any other way. The writing of poetry, so often relegated to the MUSE within us, is actually our unconscious understandings, coming out in the rhythm and music of words, especially in metaphor.” From the Introduction to Fe-Vers. Gustavson, with her Fevers workbooks, has created a new method for working with children through poetry. Her own poetry inspires the children of abuse |
| Filed Under: Music Tagged with community, reference, social, tools, web2.0, working out to music, working out to music article, working out to music free, working out to music videos |
Recommend Related Products
Add this to: