Home > Music > Instrumental Music

Instrumental Music

you're in Instrumental Music

Advertisement
Advertisement
sort by:
add tax & shipping for
 
 
Strange Beautiful Music by Joe Satriani (CD - 06/25/2002)
 

Strange Beautiful Music by Joe Satriani ...

starting at

$6
  • product
Strange Beautiful Music by Joe Satriani (CD - 06/25/2002)
"Strange Beautiful Music" (06/25/2002) Instrumental Satriani, Joe, Epic (USA)Personnel includes: Joe Satriani (acoustic & electric guitar, banjo, keyboards, bass); Robert Fripp (electric guitar); Pia Vai (harp); Eric Caudieux (keyboards); Matt Bissonette (bass); Jeff Campitelli, Greg Bissonette (drums); John Cunibert (percussion). Recorded at The Plant, Sausalito, California. "Starry Night" was nominated for the 2003 Grammy Awards for Best Rock Instrumental Performance. Personnel: Joe Satriani (guitar, acoustic guitar, electric guitar, banjo, autoharp, sitar, keyboards); Robert Fripp (electric guitar); Pia Vai (harp); Eric Caudieux (keyboards, computer); Jeff Campitelli (drums, percussion); Gregg Bissonette (drums); John Cuniberti (percussion). Audio Mixers: Leff Lefferts; Joe Satriani; John Cuniberti. Recording information: Studio 21; The Record Plant, Sausalito, CA. Photographers: Eric Caudieux; Jay Blakesberg. For his first album since dabbling with electronica on 2000's ENGINES OF CREATION, Joe Satriani returns to the bread-and-butter of straight-forward instrumental virtuosity with a few exotic nuances sprinkled throughout like musical parmesan cheese. Heavy synths and delays give "Oriental Melody" a sinister glint while fat guitar tones mix with Middle Eastern-flavored chord progressions on the intriguing "Belly Dancer." Fans put off by Satch's recent experimentation will have further reason to rejoice over the return of this prodigal son once they hear the thundering riffage of "Mind Storm," hook-filled "New Last Jam" and sassy snap of "Hill Groove." Elsewhere, the Long Island native distinguishes himself from the calculated playing associated with practitioners of this genre that he spawned on two cuts--the acoustic-guitar laced "You Saved My Life" and equally moving "Starry Night." The one non-original is a gorgeous cover of the Santo and Johnny '50s hit "Sleep Walk" featuring a cameo by Robert Fripp, a guitar god in his own right. STRANGE BEAUTIFUL MUSIC is a welcome return from one of music's more maddeningly gifted participants.

starting at

$6
The Infinite Steve Vai: An Anthology by Steve Vai (CD - 11/18/2003)
 

The Infinite Steve Vai: An Anthology by ...

starting at

$12
  • product
The Infinite Steve Vai: An Anthology by Steve Vai (CD - 11/18/2003)
"The Infinite Steve Vai: An Anthology" (11/18/2003) Instrumental Vai, Steve, Legacy RecordingsPersonnel includes: Steve Vai (acoustic & electric guitars, guitar, keyboards, bass, programming); T. M. Stevens (vocals, bass); Devin Townsend, David Coverdale (vocals); Mike Keneally (guitar, keyboards); David Weiner (guitar); Stuart Hamm, Philip Bynoe, Bryan Beller, John Sergio (bass); Terry Bozio (drums, percussion); Chris Frazier, Mike Mangini (drums). Producers: Steve Vai. Compilation producer: Jeff Magid. Includes liner notes by Jon Wiederhorn. Personnel: Steve Vai (guitar, acoustic guitar, sitar, keyboards, synthesizer, drum machine, drum programming); David Coverdale, Devin Townsend, Glenn Hughes, T.M. Stevens, Tommy Funderburk (vocals); Dave Weiner (guitar, sitar); Mike Keneally (guitar, keyboards); Larry Crane (lyre); Greg Degler (flute, clarinet); Tommy Mars (organ); Claude Gaudette, Eric Goldberg, David Rosenthal, Don Airey, Bob Harris (keyboards); Peggy Foster (fretless bass); Terry Bozzio (drums, percussion); Deen Castronovo, Gregg Bissonette, Mike Mangini , Tommy Aldridge, Tris Imboden, Chris Frazier (drums); Pete Zeldman (percussion); Kimberly Evans, Miroslava Mendoza Escriba, Tracey Lewis, C.C. White (background vocals). Audio Mixers: Eddie Kramer; Steve Vai. Liner Note Author: Jon Wiederhorn. Recording information: Cherokee Studios, Hollywood, CA (1984-2002); Fix Club, Thessaloniki, Greece (1984-2002); Grand Rex, Buenos Aires, Argentina (1984-2002); La Riviera, Madrid, Spain (1984-2002); Los Angeles, CA (1984-2002); Skyline Studios, Topanga, CA (1984-2002); Stucco Blue Studios (1984-2002); The Mothership, Los Angeles, CA (1984-2002); The Record Plant, Los Angeles, CA (1984-2002); Westwind Media, Burbank, CA (1984-2002). Photographers: Rocky Schenck; Neil Zlozower. This 2003 two-disc set offers up a generous sampling of Steve Vai tracks, focusing most sharply on the revered hard-rock guitarist's mid-to-late-1990s material. Highlights of the collection include "The Animal," a stomping metal number, and the emotive "For the Love of God," as well as the dynamic "Fire Garden Suite." While diehard Vai fans will likely own most songs on this compilation, ANTHOLOGY serves as a commendable, if slightly daunting, introduction to the amiable and inventive six-string hero.

starting at

$12
The Complex by Blue Man Group (CD) [IMPORT - Hong Kong]
 

The Complex by Blue Man Group (CD) [IMPO...

starting at

$3
  • product
The Complex by Blue Man Group (CD) [IMPORT - Hong Kong]
"The Complex" (04/22/2003) Instrumental Blue Man Group, Lava/AtlanticThis is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Blue Man Group: Matt Goldman (cimbalom, upside-down bass, air poles, low-octave PVC, big drum, drumbone, backpack PVC, shaker gong, Utne drum, ribbon crasher, dumpster); Phil Stanton (cimbalom, air poles, drumbone, tubulum, Utne drum, mid-octave PVC, extenstion cord bull roarer, ribbon crasher, dumpster, Phil drum, backpack tubulum, timpani, drum wall); Chris Wink (cimbalom, tubulum, high-octave PVC, air poles, piano smasher, cuica, doppler toms, drum wall, drumulum, drumbone, dumpster, backpack tubulum, Utne shakers). Additional personnel includes: Dave Matthews, Tracy Bonham, Josh Haden, Esthero, Gavin Rossdale, Venus Hum, Rob Swift, Arone Dyer, Peter Moore (vocals); Spalding Gray (spoken vocals). Recorded at Blue Man 3rd Street Studio, New York, New York. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Lyricist: Spalding Gray. Personnel: Blue Man Group (cimbalom, dulcimer, drums, cuica, percussion, sound effects); Avram Glietsman (vocals, guitar); Peter Moore (vocals, keyboards); Dave Matthews, Esthero, Gavin Rossdale, Dave Mathews, Annette Strean, Josh Haden, Arone Dyer, Tracy Bonham, Venus Hum (vocals); Brooke Ferris, Spalding Gray (spoken vocals); Christian Dyas (guitar, baritone guitar, E-bow, zither, harpsichord); Larry Heinemann (guitar, zither, Chapman stick); Dave Steele, Jeff Turlik (guitar, zither); Nels Cline, Chris Traynor (guitar); Byron Estep (dobro); Elvis Lederer (zither); Todd Perlmutter (drums, percussion, programming); Ian Pai, Jeff Quay , Todd Waetzig, Dave Anania (drums, percussion); Jeff Torton, Matthew Kriemelman, Crag Rodriguez, Nick White , Chris Bowen, Jordan Cohen, Vince Verderame, Josh Matthews, Wendy Day, Peter Simpson, Jeff Tortora (drums); Dan the Automator (programming); Kid Koala (sampler); Rob Swift (turntables). Audio Mixers: Andrew Schneider; Rich Costey. Recording information: Blue Man 3rd Street Studio, NY. Director: Seth Freed. Unknown Contributor Roles: Larry Heinemann; Chris Wink; Matt Goldman; Phil Stanton; Blue Man Group. Arrangers: Ian Pai; Dave Steele; Jeff Turlik; Peter Moore. Tubular percussion abounds on the cerulean trio's second album, which intersperses instrumental segments from the ever-expanding organization's show with guest spots from Tracy Bonham, Bush's Gavin Rossdale, and Dave Matthews, among others. Musically, the Blue Men concoct a kind of quirky metal from their collection of found and conventional instrumentation that's effective in settings such as "The Current," where they're combined with Rossdale's grunge-lite vocals. But the Men are also good at being laid-back and slightly sinister when occasion demands, one example being the accompaniment to Dave Matthews's distinctive vocal on the infectious "Sing Along." The outfit's crowd-pleasing version of Jefferson Airplane's "White Rabbit" is an ideal vehicle for Esthero's Beth Gibbons-like vocal, shedding the retro-jocularity of the live show version for something darker and more explicit. Ultimately THE COMPLEX neatly sidesteps any questions about translating the Blue Man oeuvre to a non-visual medium, with a combination of quirky arrangements and strategically placed guest stars.

starting at

$3
Acoustic Christmas [Favored Nations] by Various Artists (CD - 08/10/2004)
 

Acoustic Christmas [Favored Nations] by ...

starting at

$5
  • product
Acoustic Christmas [Favored Nations] by Various Artists (CD - 08/10/2004)
"Acoustic Christmas [Favored Nations]" (08/10/2004) Instrumental Various Artists, Favored Nations Records (USA)Personnel: Rick Rossano (vocals, acoustic guitar, slide guitar); George Anderson (vocals, drums, sleigh bell); Charles Gonzalez (vocals); Andy Timmons, Pete Huttlinger (guitar); Mimi Fox (acoustic guitar, electric guitar); Johnny Hiland, Peppino d'Agostino (acoustic guitar); Rick Krive (piano); Timothy Hayden (keyboards); Mark Fain (electric bass); Brian Fullen (drums, percussion); Tim Bulkley (drums); Joe Craven (percussion). Audio Mixers: Nick Sparks; Marty Friedman; John Herrera. Recording information: Great Divide Studios, Aspen, CO (??/??/2001-03/25/2004); House Of Drum (??/??/2001-03/25/2004); Jo's Room, Notting Dale, London, England (??/??/2001-03/25/2004); Mountain Side Studio, Nashville, TN (??/??/2001-03/25/2004); Palace Cleaners, Irving, TX (??/??/2001-03/25/2004); Remote Planet, Milwaukee, WI (??/??/2001-03/25/2004); San Francisco, CA (??/??/2001-03/25/2004); San Pablo Recorders, Berklee, CA (??/??/2001-03/25/2004); Saturn sound Studios, West Palm Beach, FL (??/??/2001-03/25/2004). Arrangers: Marty Friedman; Mimi Fox; Andy Timmons. Acoustic Christmas features a cross-section of guitarists from the Favored Nations stable (FN is the label started by Steve Vai) performing Christmas classics and a few holiday-themed originals. The style here is mostly some form of solo acoustic, like on Andy Timmons' tasteful opening reading of "Greensleeves," or the percussive, reedy blues guitar run through "God Rest Ye Merry Gentlemen" by Greg Koch. Adrian Legg's "Jingle Bells" hums with electronic tweaking, Dillengers contribute a slightly surfy bar band version of "Run Rudolf Run" (with vocals), and Mimi Fox puts "Winter Wonderland" into comfortable jazz territory. Acoustic Christmas is a nice pickup for guitar enthusiasts, as well as listeners looking for holiday party music with some stature and adventurism. ~ Johnny Loftus

starting at

$5
Guitar Soli by Robbie Basho (CD - 09/03/1996)
 

Guitar Soli by Robbie Basho (CD - 09/03/...

starting at

$8
  • product
Guitar Soli by Robbie Basho (CD - 09/03/1996)
"Guitar Soli" (09/03/1996) Instrumental Basho, Robbie, TakomaProducers: Ed Denson, Robbie Basho. Compilation producer: Bill Belmont. Recorded on February 9, 1966. Personnel: Robbie Basho (vocals, steel guitar). Audio Remasterer: Joe Tarantino. Liner Note Authors: ED Denson; Will Ackerman; Steffen Basho-Junghans; Glenn Jones . Recording information: 02/12/1965-02/09/1966. Photographer: Paul Kagan. Unknown Contributor Role: Robbie Basho. The Takoma record label came to prominence in the late '60s, bringing idiosyncratic folk artists to the attention of young rock fans and earning a reputation for high-quality homespun acoustic music. While John Fahey, Takoma's founder, and Leo Kottke earned well-deserved followings and critical plaudits, Robbie Basho, an influence on both of these players, remained a virtual unknown despite making some masterful recordings in his distinctive acoustic style. The 1996 release of GUITAR SOLI, a collection of Basho's best work from his long-out-of-print records, is a well-chosen, extremely long-awaited introduction to this under-appreciated artist. Basho's gritty fingerpicked style of steel-stringed guitar playing contains marked Eastern influences, as well as Cajun and Celtic elements. The result is a style that is utterly individual. From the ghostly whistling on "Oriental Love" to the burnished beauty of "Sansara in Sweetness After Sandstorm (The Seal of the Blue Lotus)," Basho's compositions are imbued with a rough-hewn, gemlike perfection. This will be a welcome addition to the collection of anyone who appreciates the sound of six steel strings.

starting at

$8
Snaps Crackles Pops by Pimmon (CD - 08/11/2003)
 

Snaps Crackles Pops by Pimmon (CD - 08/1...

starting at

$6
  • product
Snaps Crackles Pops by Pimmon (CD - 08/11/2003)
"Snaps Crackles Pops" (08/11/2003) Instrumental Pimmon, Tigerbeat6Audio Remixer: Paul Gough. Recording information: Cambridge Manor (1999-2002); Zemanock Studios (1999-2002). Photographer: Whitney Hubbs. Arranger: Paul Gough. Pimmon's take on pop music sounds like an incredibly dirty but not yet skipping CD at times and a fading radio station other times, and is wholly engaging all the time. Pimmon has mentioned that pop music recordings were used as the foundation for the album but they've been manipulated well past recognition. It's all right to forget where these sounds come from, since Snaps Crackles Pops works just fine without the back story. Pimmon takes great care when constructing the pieces, giving each piece a definite foundation for the chaotic noises and dissonant melodies to flow through. Air hockey tables, bagpipes, and Pimmon's own children on a Korg MS20 synthesizer provide some of the more identifiable moments in an otherwise otherworldly sounding album. The stuttering "Frosty Pink" and downright hypnotic "Over the Black Dot" provide some of the more musical moments, and the laptop sound that has been so identifiable on glitch recordings is fairly transparent. You could swear he's relying on an old-school digital delay, making the album feel like If, Bwana and Christian Marclay's more subdued moments. It ends up being one of the more mature and approachable releases from Tigerbeat6. ~ David Jeffries

starting at

$6
The Legend Of Vernon McAlister [1/31] *
 

The Legend Of Vernon McAlister [1/31] *

starting at

$8
  • product
The Legend Of Vernon McAlister [1/31] *
"Legend of Vernon McAlister" (01/31/2006) Instrumental Johnson, Richard Leo, Cuneiform RecordsPersonnel: Richard Leo Johnson (guitar). Recording information: Attic Studio, Savannah, GA (2005). On this album of instrumental guitar music, the self-taught Arkansas musician Richard Leo Johnson plays a 1930s National steel-bodied guitar (once owned by the eponymous Vernon McAlister), whose sound he twists and distorts, Jimi Hendrix-style. His eccentric technique produces idiosyncratic fingerpicking and strange, electronic-sounding drones (though the entire album is acoustic); sometimes the guitar sounds like it's being played backwards. Like his fellow experimenter, the late John Fahey, Johnson is constantly in pursuit of the unexpected. Highlights include folk-influenced tunes like "Uncertain Weather," brief musique concrete pieces like "Quarter Tone Soldiers Marching on the Mill," disturbing blues like "First Night Alone," and the dark, mysterious "Eaten by Wolves at Midnight."

starting at

$8
Jazz Ambassador: Scott Robinson Plays the Compositions of Louis Armstrong by Scott Robinson (CD - 05
 

Jazz Ambassador: Scott Robinson Plays th...

starting at

$8
  • product
Jazz Ambassador: Scott Robinson Plays the Compositions of Louis Armstrong by Scott Robinson (CD - 05
"Jazz Ambassador: Scott Robinson Plays the Compositions of Louis Armstrong" (05/04/2004) Instrumental Robinson, Scott, ArborsPersonnel includes: Scott Robinson (tenor, baritone & bass saxophones, scho cornet, double bell euphonium, trombonium); Larry Ham (piano, organ); Mark Shane (piano); Mike LeDonne (organ); Pat O'Leary (bass); Klaus Suonsaari (drums); Indigenafrica (african drums). Personnel: Scott Robinson (soprano saxophone, tenor saxophone, baritone saxophone, bass saxophone, cornet, euphonium, ophicleide); Mark Shane (vocals, piano); Pat O'Leary (double bass); Indigenafrica (percussion); Larry Ham (piano, organ); Mike LeDonne (organ); Klaus Suonsaari (drums). Recording information: National Theatre Of Ghana, Accra, Ghana (09/17/1992-08/16/2002); Nola Studios, New York, NY (09/17/1992-08/16/2002); RCA Studios, New York, NY (09/17/1992-08/16/2002). Director: Mister Afari. While most jazz listeners and critics name Louis Armstrong as the genre's foremost innovator, Scott Robinson still believes that certain Armstrong contributions have been overlooked. Whereas Armstrong has received credit for his improvisations and his scat-style singing, few recall his compositions. Jazz Ambassador: Scott Robinson Plays the Compositions of Louis Armstrong makes just such a case, with multiple instrumentalist Robinson and a handful of other players offering interpretations of 14 pieces written or co-written by Armstrong. What's strange, and kind of neat, is how elastic many of these Armstrong compositions are. One would assume that his music would be played in New Orleans or Dixieland style jazz, but Robinson performs "Hear Me Talkin' to Ya," first played in the '20s, as though it were bebop, and "Someday You'll Be Sorry" as a smooth bit of bossa nova. "Wild Man Blues" features a stripped-down arrangement with Robinson on baritone sax, Pat O'Leary on bass, and Mike LeDonne on organ, altering this oldie into '60s soul-jazz. There's one nice vocal by pianist Mark Shane on "Red Cap," and a bizarre, post-bop take, bordering on free jazz, on the closer "Tears." Jazz Ambassador makes a strong case for Armstrong's compositional skills, and will be an eye opener for those who've long since pigeonholed this early jazz pioneer. ~ Ronnie D. Lankford, Jr.

starting at

$8
Thinking Big by Scott Robinson (CD - 11/18/1997)
 

Thinking Big by Scott Robinson (CD - 11/...

starting at

$8
  • product
Thinking Big by Scott Robinson (CD - 11/18/1997)
"Thinking Big" (11/18/1997) Instrumental Robinson, Scott, ArborsPersonnel: Scott Robinson (flute, clarinet, tenor saxophone, baritone saxophone); Bucky Pizzarelli (guitar); David Robinson (trumpet, cornet); Dan Barrett (trombone); Mark Shane (piano, celesta); Richard Wyands (piano); Klaus Sounsaari, Klaus Suonsaari (drums). Scott Robinson always thinks big. He has appeared in all types of jazz settings including on the dixieland scene, playing hard bop and in very adventurous big bands, playing virtually every type of reed (and sometimes brass) instrument. The music on this CD is mostly comprised of vintage tunes from the '20s to the '40s. Robinson, who is joined by up to six other musicians (including trumpeter David Robinson, trombonist Dan Barrett and guitarist Bucky Pizzarelli), sticks to reeds here: clarinet, bass clarinet, C-melody sax, soprano, alto, tenor, baritone, bass sax, contrabass sax, contrabass sarrusophone and the very haunting theremin! From the first cut, Lil Hardin's "My Heart" (recorded by Louis Armstrong's Hot Five) on which Robinson plays tenor a bit like Stan Getz, it is obvious that this is going to be an unusual but very musical date. Robinson uses the bizarre sounding theremin on "Mood Indigo" and in place of Kay Davis' wordless voice on Duke Ellington's "On a Turquiose Cloud." He only plays the contrabass sarrusophone on "Mandy, Make Up Your Mind" (which in 1924 had the only other recorded sarrusophone solo) and his playing falls short of Sidney Bechet's maiden effort. No matter, his bass sax work (showcased on "Sleepy Time Gal," "It's Magic" and "Stompin ' at the Savoy") is fluent but sounds like a toy compared to the mighty (and very rare) contrabass sax, which certainly makes its presence felt on Ellington's "Ko Ko" and "Basso Profundo; " that instrument is over six feet tall! This good-humored and swinging CD will certainly stick in one's memory. ~ Scott Yanow

starting at

$8
C Tune by Henry Flynt (CD - 02/14/2006)
 

C Tune by Henry Flynt (CD - 02/14/2006)

starting at

$10
  • product
C Tune by Henry Flynt (CD - 02/14/2006)
"C Tune" (02/14/2006) Instrumental Flynt, Henry, LocustPersonnel includes: Henry Flynt (fiddle); C.C. Hennix (tamboura). Personnel: Henry Flynt (fiddle); C.C. Hennix (tamboura). More first-rate Henry Flynt material from Chicago's Locust imprint, C TUNE captures Flynt and longtime collaborator C.C. Hennix serving up an extended improvisation on fiddle and tambura. Over the course of this 50-minute 1980 performance, Flynt vacillates between meditative drones and unrestrained old-timey-styled fiddling while Hennix wobbles slowly up and down unsettling microtonal scales. The result is a dense but often mesmerizing work that recalls the early minimalist experiments of Terry Riley, particularly his landmark 1964 piece, IN C.

starting at

$10
Danger High by Double Naught Spy Car (CD - 04/23/2002)
 

Danger High by Double Naught Spy Car (CD...

starting at

$11
  • product
Danger High by Double Naught Spy Car (CD - 04/23/2002)
"Danger High" (04/23/2002) Instrumental Double Naught Spy Car, Pascal RecordsDouble Naught Spy Car: Paul Lacques (guitar, steel guitar); Marcus Watkins (guitar, banjo); Joseph Berardi (vibraphone, drums, percussion); Marc Doten (bass). Producers: Double Naught Spy Car, Steven Rhodes. Personnel: Marcus Watkins (guitar, banjo); Paul Lacques (guitar); Dave Markowitz (violin); Kevin Mitchell (cello); Marc Doten (keyboards); Joe Berardi (vibraphone, drums, percussion); Michael Tempo (drums). Audio Mixer: Steven Rhodes. Recording information: Tiki Hut; Trend Coma. Photographer: Paul Lacques. Danger High is visual music of such sheer delight, it does the near-impossible task of being better than the group's accomplished first album, Comb in Blue Water. Double Naught Spy Car is not a readily compartmentalized band. There are too many good points to get across in this instrumental outfit of two guitars, bass, and drums. Of course, there will also be cello, banjo, cowbell, and violin. Obviously there will be vibes, bells, and rayguns. And yes, rest assured, a brass marching band starts the CD. What's important about all these (literal) bells and whistles is that this is not some Spike Jones sound-effect gimmick. Good songs prevail, and there's always a sturdy tree beneath the ornaments. All points between sinister and goofy, every note invests in mood, attitude, and panache without being fluff. The presence of accomplished co-producer Steven Rhodes likely adds some brave gravy to the mix, and his engineer background keeps things sparkling clear without flattening the energy. The title cut, "Danger High!," is a glistening switchblade number that darts to and fro from the classroom to the pool hall. "Lily St. Cyr" (a longtime staple in their live sets) is a slow rock smoldering diva in sunglasses at one a.m. -- campy and melodramatic, with Stan Ridgway drummer Joseph Berardi stoically sentencing his skins to life without parole. "Macedonia 6-5000" is a delicious Fender Stratocaster sheik of the high desert, a bellydancer on a surfboard. The quartet takes turns spazzing out on their magic carpets, and it sends a giddy chill up your camel's spine. "What's Your Hurry" is an iguana in a zoot suit, slinking along Sunset Boulevard looking for a handout. There is a recognizable warmth in every twang and reverence in every crash. "Helicopter" is a great showcase; it dares you not to giggle -- a pseudo-Jetsons theme hopscotching between disco and ska, with Marc Doten deftly flipping the pages of his bass, which further gives way to a babbling debate between Paul Lacques and Marcus Watkins on dueling wah-pedal guitars. "Someone's Creeping in My Yard" is a ballroom of exhausted tuxedos and martini hangovers, twirling in a dreamy haze of memory, with Berardi's brushwork shuffling acrobatically through vibraphone street lamps. "Kay Sara Sarah" is a sparkling beauty -- an Aloha TV Christmas Special closing theme song, with Lacques' rubbery slide melody carrying the listener away on clouds of '50s kitchen countertop nostalgia. A couple of tracks, like "Crosseyed San Paku," trudge along in a more straightforward manner that dispenses with the polish, but even these less-memorable passages have teeth. Another staple from their live show, "Marina Del Hayride," whispers out a Shaft theme that morphs into an amazing guitar bone-saw rhythm section epileptic seizure, and hats off to Watkins for keeping time as the world around him breaks apart repeatedly in a wonderful rock chaos (see them live if you can). "The Mayor's Procession" is an unsettling close to the disc; a country-bumpkin grim reaper marching into the swamp. The freak show is almost too much to bear, but its cinematic scope actually becomes the icing on the cake. When all the sweat dries, Danger High is music for musicians, a hidden treasure and a triumphant soundtrack for all those brilliant squares out there. ~ Glenn Swan

starting at

$11
Whitewater by California Guitar Trio (CD - 08/17/2004)
 

Whitewater by California Guitar Trio (CD...

starting at

$12
  • product
Whitewater by California Guitar Trio (CD - 08/17/2004)
"Whitewater" (08/17/2004) Instrumental California Guitar Trio, Inside Out MusicThis release by former members of Robert Fripp's League of Crafty Guitarists is filled with both virtuosity and sensitivity. Each member of the ensemble listens and plays well with each other, creating a rich musical sympathy. Various styles of music commingle on this album. For example, there is the delicate baroque-influenced piece, "Prelude Circulation BWV 988." This work simulates the sounds of a harpsichord as the ensemble weaves together a myriad of circular countermelodies. Other tracks such as "Led Foot" and the title track, "Whitewater" are more complex, angular, and even percussive. Then there is "Cosmo Calypso," a playful tune that invokes the feel and style of Caribbean music. The final track on the album is an intense arrangement of Eddy Arnold's country classic "Ghost Riders in the Sky," which morphs into the Doors classic "Riders on the Storm." The California Guitar Trio moves vigorously through the song's melody, transforming the western ballad into a turbulent gallop. Overall, WHITEWATER unfolds in exciting and often unexpected ways and the trio creates a musical environment that transcends the perceived boundaries of the guitar itself.

starting at

$12
Futurlieder [4/10]
 

Futurlieder [4/10]

starting at

$12
  • product
Futurlieder [4/10]
"Futurelieder" (04/10/2006) Jazz Instrument Franco Casavola, LTMThis album was released by the boutique reissue imprint Le Temps Moderne, better known in many circles for their reissue of obscure U.K. indie and post-punk releases on the Factory and Sarah labels. Also, it features cover graphics derived from exactly the same poster by Italian futurist Fortunato Depero that Peter Saville had already cribbed for the front cover artwork for New Order's debut album, Movement, back in 1981. This may lead some to assume that the album has a strong connection to the U.K. post-punk aesthetic, but in fact, Futurelieder is the real thing, a collection of music by a key figure in the aesthetic movement that most heavily informed that rockist scene. Franco Casavola (1891-1955) was an Italian composer today inextricably linked to the futurist movement that flourished in his homeland in the teens and '20s, although he broke with the movement around the same time that it started to get intertwined with Benito Mussolini's fascists in the late '20s. The 28 pieces on Futurelieder are taken from the last years of Casavola's time with the futurist movement, 1922-1927. Performed by pianist Daniele Lombardi and soprano Susanna Rigacci for Italian radio between 1994 and 2002, these performances emphasize Casavola's links to the late Romantic era (he had been a student of Ottorino Respighi, composer of The Birds, early on in his studies), which softens the music's harsher edges. Futurelieder contains most of Casavola's best-known works, including La Danza delle Scimmie [Dance of the Monkeys] and Tango Viola da "Cabaret Epilettico" along with some of Casavola's more playful works, such as the jazzy Fox-Trot Zoologico and Campari, a sprightly 30-second tune that was written for the makers of the aperitif. Yep, it's a jingle. Given how much the U.K. post-punk scene took from the futurists in terms of inspiration (besides the New Order reference above, Adam & the Ants name-checked the futurists on the early Dirk Wears White Sox album, and the Art of Noise took their name from the title of the key futurist manifesto), Futurelieder is a fine way for fans of Le Temps Moderne's reissue campaigns to find out first-hand what this music sounded like. ~ Stewart Mason

starting at

$12
Killing Time *
 

Killing Time *

starting at

$13
  • product
Killing Time *
"Killing Time" (2005) Rock & Pop Massacre, Fred RecordsOf the many obscure and wonderful albums recorded by members of the downtown avant-garde elite in the early 1980s, this is one of the most obscure and most wonderful. Massacre (despite its heavy-metallish moniker) was a challenging but quirkily charming "power trio" consisting of guitarist Fred Frith, bassist Bill Laswell and drummer Fred Maher, all of whom had already established themselves as movers and shakers in the experimental-music world. Some of the tunes, such as the charmingly offbeat "Legs" and "Aging With Dignity" were clearly composed ahead of time -- probably by Frith, given his already-established penchant for combining weird instrumental textures and unusual time signatures with cute melodies. Others, just as clearly, are group improvisations. Those who think they don't care for improvised music are advised to give "Subway Heart" and "Tourism" a try before making any judgments. Again, the credit for the consistent appeal of these performances goes largely to Frith, whose bag of sonic tricks is bottomless and who (unlike most of his peers) seems genetically incapable of making an uninteresting note choice. It's difficult to imagine anyone with a taste for unusual rock & roll not being seduced by this rough gem of an album. (Massacre reunited, though with a different drummer, in 1998 to record My Funny Valentine on the Tzadik label.) ~ Rick Anderson

starting at

$13
Learn To Talk / The Country Of Blinds *
 

Learn To Talk / The Country Of Blinds *

starting at

$18
  • product
Learn To Talk / The Country Of Blinds *
"Learn to Talk/The Country of Blinds [Fred]" (2005) Rock & Pop Skeleton Crew (80's), Fred RecordsSkeleton Crew (80's): Fred Frith (vocals, guitar, violin, piano, 6-string bass, drums); Zeena Parkins (electric harp, accordion, organ, drums); Tom Cora (cello, bass guitar, drums).

starting at

$18
Strange Beautiful Music by Joe Satriani (CD - 09/10/2002)
 

Strange Beautiful Music by Joe Satriani ...

starting at

$13
  • product
Strange Beautiful Music by Joe Satriani (CD - 09/10/2002)
"Strange Beautiful Music" (09/10/2002) Instrumental Satriani, Joe, Epic (USA)Personnel includes: Joe Satriani (acoustic & electric guitar, banjo, keyboards, bass); Robert Fripp (electric guitar); Pia Vai (harp); Eric Caudieux (keyboards); Matt Bissonette (bass); Jeff Campitelli, Greg Bissonette (drums); John Cunibert (percussion). Recorded at The Plant, Sausalito, California. "Starry Night" was nominated for the 2003 Grammy Awards for Best Rock Instrumental Performance. This is a multi-channel Super Audio CD playable only on Super Audio CD players. This is a Super Audio CD playable only on Super Audio CD players. For his first album since dabbling with electronica on 2000's ENGINES OF CREATION, Joe Satriani returns to the bread-and-butter of straight-forward instrumental virtuosity with a few exotic nuances sprinkled throughout like musical parmesan cheese. Heavy synths and delays give "Oriental Melody" a sinister glint while fat guitar tones mix with Middle Eastern-flavored chord progressions on the intriguing "Belly Dancer." Fans put off by Satch's recent experimentation will have further reason to rejoice over the return of this prodigal son once they hear the thundering riffage of "Mind Storm," hook-filled "New Last Jam" and sassy snap of "Hill Groove." Elsewhere, the Long Island native distinguishes himself from the calculated playing associated with practitioners of this genre that he spawned on two cuts--the acoustic-guitar laced "You Saved My Life" and equally moving "Starry Night." The one non-original is a gorgeous cover of the Santo and Johnny '50s hit "Sleep Walk" featuring a cameo by Robert Fripp, a guitar god in his own right. STRANGE BEAUTIFUL MUSIC is a welcome return from one of music's more maddeningly gifted participants.

starting at

$13
...en Hillbilly Caliente [Digipak] * by Atomic 7 (CD - 07/06/2004)
 

...en Hillbilly Caliente [Digipak] * by ...

starting at

$9
  • product
...en Hillbilly Caliente [Digipak] * by Atomic 7 (CD - 07/06/2004)
"...en Hillbilly Caliente [Digipak] *" (07/06/2004) Instrumental Atomic 7, Mint RecordsAtomic 7: Brian Connelly . Atomic 7 are back, with another solid offering of rocking instrumentals and some of the best song titles of the new millennium. It's got the same sound as their debut, and pretty much the same sound as Shadowy Men on a Shadowy Planet, but guitarist Brian Connelly and his crack rhythm section handle this stuff with such skill and ease that it doesn't get tiresome. There's a bit of country flavor on some of these tunes, with "Devil's Mittens" sounding like it was lifted from the Speedy West & Jimmy Bryant songbook, but they fit perfectly with the more surf-inspired sounds. Just like the first album, the quality of the songs never dips, and it's almost surprising how many catchy tunes they can come up with. If you've got a jones for some modern surf/country instros, you can't go wrong with Atomic 7. ~ Sean Westergaard

starting at

$9
Legs to Make Us Longer by Kaki King (CD - 10/05/2004)
 

Legs to Make Us Longer by Kaki King (CD ...

starting at

$7
  • product
Legs to Make Us Longer by Kaki King (CD - 10/05/2004)
"Legs to Make Us Longer" (10/05/2004) Instrumental King, Kaki, Epic (USA)Personnel: Kaki King (guitar); Erik Friedlander (cello); David Torn (piano, bass guitar, drums); Conrad Korsch (double bass); Will Calhoun, Ben Perowsky (drums). Acoustic-guitar virtuoso Kaki King's sophomore effort improves on the dynamic instrumental compositions of her debut to include a wider range of textures, moods, and ever-evolving structures. King is also backed by a cadre of supremely sensitive musicians on LEGS TO MAKE US LONGER, and the cello, violin, upright bass, and drums add rich, complex color to King's already-sophisticated playing. Except for an electric guitar on the eerily quiet "Can the Gwot Save Us?" and King's under-the-radar singing on "My Insect Life," the spotlight is on the guitarist's stunning technique, which, even through its rapid-fire bass lines and ringing harmonics, never sounds flashy or forced. Based on the meditative, space-filled opener, "Frame," listeners might associate King's work with the moody, avant-garde ambient jazz often found on the ECM label. The comparison is an apt one--King spins atmospheric landscapes from her fretboard, whether via nimble finger-picking (the spiraling melodies on "Doing the Wrong Thing") or the mathematical, push-pull patterns of "Solipsist." Regardless of her associations, King is a distinctive, accomplished musician. Her instrumental prowess is almost easy to overlook, in fact, because it is employed so artfully in the service of her hypnotic, nuanced, and lovely music.

starting at

$7
Instrumental Music calling your name? Find all of the top Music gear that you want at BizRate. Compare prices from top brands like as well as . Browse ratings from merchants that sell Instrumental Music and other Music. Narrow your choices down by price range, brand, merchant, and more. Find the product that's right for you: Strange Beautiful Music by Joe Satriani (CD - 06/25/2002) - The Infinite Steve Vai: An Anthology by Steve Vai (CD - 11/18/2003).