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"Lazy-B" (10/26/2004) Electronic Lazy-B, Universal DistributionLazy-B/Lazyboy: Johnny Douglas (keyboards, scratches); Soren Rasted (keyboards, background vocals). Additional personnel: Toby Chapman, Ted Maynard, Andrea Grant (vocals); Patrick Allen, Jannie Friis, Julie Berry, Greg Giraldo, Chris Fairbank (spoken vocals); Phil Palmer (guitar); Stallion Danger (bass instrument). Lazyboy is a project of producers Johnny Douglas and Soren Rasted, the latter best known as a founding member of the Euro-dance combo Aqua. For Lazyboy TV, the duo layers the work of singers, voice-over artists, and other contributors over a bed of soft electronic programming and sampled instrumentation. Appropriately for an album with a song called "We Only Read the Headlines," Lazyboy is like humanism set on burst mode. It surveys culture through a series of statements, observations, and pointed questions ("Do you consider yourself ready for life?") pulled from pop culture and arranged to reflect peoples' universal need for life, love, and happiness. A blur of voices speak in the verses -- male, female, foreign, young, old, gay, and straight. Unified by rousing, diva-style choruses, their words become a patchwork of the human experience at the beginning of the 21st century. "Facts of Life" recites a litany of facts and averages ("Eskimos use refrigerators to keep food from freezing/41 percent of all people take people with curly hair less seriously"); the male and female narrators of "Man Woman (Yin-Yang)" fight their catch phrase-based battle of the sexes over upbeat Euro-house complete with a vocoder chorus; and "Desiderata" is an update of the 1971 Les Crane inspirational spoken word hit, this time around voiced by British actor Christopher Fairbanks. Yes, Lazyboy TV is all about the love. In fact, its final track is called "It's All About the Love" and features people from all walks of life talking about what love really means. There's also a cut explaining in no uncertain terms the method for preparing a marijuana cigarette, as well as the Internet download hit "Underwear Goes Inside the Pants," which features the acerbically funny social criticism of stand-up comic Greg Giraldo. ~ Johnny Loftus

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"Leslie on TV/ More Leslie on TV" (03/14/2006) Rock & Pop Uggams, Leslie, Collectables Records2 LPs on 1 CD: LESLIE UGGAMS ON TV (1962)/MORE LESLIE UGGAMS ON TV (1963). Personnel includes: Leslie Uggams (vocals); Mitch Miller & The Sing Along Gang. The 1962 album Leslie on TV and its 1963 sequel, More Leslie on TV, are resurrected on this 1999 release. Neither album charted and none of the songs were hits, but the CD adds as a bonus track Uggams' sole pop hit, "One More Sunrise (Morgen)," from 1959. This is a single that peaked at number 98, though, so what are the selling points for this package? Uggams was a popular television personality for one, and Mitch Miller's Sing Along Gang, of which Uggams was once a member, backs her on both albums. Uggams' style is classic pop with a touch of drama, more like Ann-Margret than Della Reese, and her material is likewise drawn from Broadway and the fund of pop standards. The two albums are so similar that they blend into one another and, as good as they are, "One More Sunrise (Morgen)" is still the standout track. ~ Greg Adams

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"Yes Darling, But is It Art? (Early Singles & Rarities)" (02/14/1995) Rock & Pop Television Personalities, SeedYES DARLING, BUT IS IT ART? contains Television Personalities' singles, B-sides and rare recordings from 1978 to the present. Subtitled "Early Singles and Rarities," this 24-track collection is far from complete, and is somewhat confusingly assembled in non-chronological fashion. On the other hand, this perfectly captures the shambolic essence of the Television Personalities, a group who have released more compilations and side projects than they have actual albums. Led by the charmingly adenoidal Daniel Treacy, whose disregard for the niceties of production and arrangement doesn't hide his deceptively brilliant lyrical and melodic abilities, the Television Personalities have been around since the late '70s, when they released such classic indie singles as the biting "Part Time Punks" (under the pseudonym The O-Levels), and "Where's Bill Grundy Now?" Later tracks such as the acoustic "I Know Where Syd Barrett Lives" and "The Prettiest Girl in the World," were hugely influential on the '80s UK indiepop scene, and more recent material like "A Girl Called Charity" and "Miracles Take Longer" reabsorb influences from those bands.

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"The Music from The O.C.: Mix 1" (03/30/2004) Rock & Pop Original Soundtrack, Warner Bros. Records (Record Label)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Audio Mixers: Jim Eno; Mike McCarthy; Britt Daniel. Photographer: Cynthia Levine. A sampling of songs featured on the hit TV show, THE O.C.: MIX 1 is an eclectic collection of alternative music that expertly reflects the various moods and personalities of the program's teen characters. Given that the series takes place in California, this compilation presents a surprisingly large number of UK artists, including South (the orchestral waves of "Paint the Shine"), Doves (the majestic "Caught By the River"), and Turin Brakes (the melancholy "Rain City"). Welsh performer Jem also makes a strong showing with the bouncy, Dido-gone-funky sound of "Just a Ride." Bringing things stateside is singer/songwriter Joseph Arthur, who contributes the hushed, lovelorn lullaby "Honey and the Moon." Other Americans include the Dandy Warhols (the electronic-laced rocker "We Used to Be Friends") and Phantom Planet, who bring things full circle with the power pop of the show's theme song, "California."

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"Buffy the Vampire Slayer: Radio Sunnydale [PA]" (09/30/2003) Rock & Pop Original Soundtrack, Virgin Records (USA)Producers: Ralph Sall, Steve Brown, Robert Civillies, Davie Coles, Matthew Sweet, Fred Maher, Gavin MacKiiop, The Divinyls, Charley Drayton, Duane Baron, John Purdell, Rob Halford, Nick Terzo. Engineers: Toby Wright, Acar S. Key, Peter McCabe, Lloyd Puckitt, Gavin MacKillop, Duane Baron, John Purdell. Liner Note Authors: John Michael King; Joss Whedon. Photographer: Dennis Keeley. Unknown Contributor Roles: Dashboard Prophets; Devics. Arranger: Sarah McLachlan. When speaking of the Zeitgeist of late '90s teen television and culture, it would not be fair to merely call "Buffy the Vampire Slayer" simply a tolerable element for people past the age of 20. "Buffy" stands on its own as one of the more intelligent, unique, and lively shows of the past decade. The commitment to quality carries over to the show's soundtrack, a blend of appealing alterna-rock--about half new and half previously issued--based on the show's occult themes. Guided By Voices' "Teenage FBI" from DO THE COLLAPSE is quite possibly Robert Pollard's most appetizing concoction to date. Bif Naked surprises with the enticingly ethereal ballad "Lucky" as does Black Lab, with the nugget "Virgin State of Mind." The soundtrack abounds with simple, indisposable pop tunes from virtual unknowns like Hepburn, with its jangle-pop gem "I Quit" and Superfine, with its country-tinged punk rabble-rouser "Already Met You." Finally, on any soundtrack worth its salt there is that one selection from a few years back that shoulda, woulda, coulda been a hit in a more perfect world. They choose the Sundays' Rolling Stones cover "Wild Horses." Perfect.

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"Desperate Youth, Blood Thirsty Babes" (03/09/2004) Rock & Pop TV on the Radio, Touch & GoThis is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. TV On The Radio: Kyp Malone (vocals, guitar, loops); Tunde Adebimpe (vocals, loops); David Andrew Sitek. Additional personnel: Katrina Ford (vocals); Nick Zinner (guitar); Martin Perna (flute); Jaleel Bunton (drums). This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Brooklyn trio TV ON THE RADIO first started creating a stir in 2003 with their Liars/Yeah Yeah Yeahs connections and striking debut EP, which made many year-end best-of lists despite its short length. The band's much-anticipated debut full-length is essentially a stylistic continuation of the sound forged on the EP. There's a strong influence of what could only be called art-rock; singer Tunde Adebimpe's voice strongly resembles that of Peter Gabriel, and the band conjures thick, atmospheric clouds of multi-layered keyboards. However, there's also a distinctively punk side to DESPERATE YOUTH, BLOOD THIRSTY BABES that's a reflection not only of the band's peers, but of homage subtly paid to the post-punk likes of PiL or Pere Ubu. Tension, emotion, and friction reign throughout, as a current of unease drifts through the album, making the listening experience simultaneously rich and slightly unsettling.

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"Kill Your Television" (10/22/2002) Rock & Pop Reunion Show (The), Victory Records (USA)The Reunion Show: Mark Thomas (vocals, guitar, keyboards); Brian Diaz (vocals, bass); Derrick Sherman (guitar, background vocals); Skully (drums, percussion, background vocals). Audio Mixer: Nick Raskulinecz. Recording information: Sonora Studios, Los Angeles, CA (07/07/2002-07/21/2002). Photographers: Kevin Scanlon; Mark Thomas "MTK" Kluepfel. The Victory label is not generally known for power pop -- old-school hardcore is more its usual style. But at the recommendation of label mainstays Taking Back Sunday, Victory signed this young pop quartet and released what turned out to be one of the most exciting debut albums of 2002. Combining big, distorted guitars with Moog synthesizer, thickly layered harmonies, and insanely catchy melodies, Kill Your Television harks back to the sounds of the new wave 1970s while also drawing on the sonic power of late-'90s pop-punk. With an average track length of just over two and a half minutes, this album is, above all, a piece of disciplined pop art; these guys are not ashamed to sing love songs and are not above putting on a fake British accent every so often, and the melodies are so consistently solid that the occasional affectation is easily forgiven. In fact, it's almost impossible to single out any particular tracks as highlights -- from "Television" at the beginning to "Dedication" at the end, every one of them features punchy, economical verses and hook-laden choruses that will stick in your head for days. Those that stand out do so mainly by virtue of unusual lyrics (lines like "Feel as nervous as a Christian Scientist" or "I'm sick and tired of this alligator love trap," for instance). Very highly recommended. ~ Rick Anderson

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"Queer as Folk: The Fourth Season" (06/22/2004) Rock & Pop Original Soundtrack, Tommy BoyAudio Mixer: Burnside Project. Liner Note Authors: Daniel Lipman; Ron Cowen. Arranger: Goldfrapp. Queer as Folk: The Fourth Season continues the move toward rock and pop and away from the dance music that dominated the soundtracks from the show's previous seasons. True, Burnside Project's "Cue the Pulse to Begin," Jason Nevins' "I'm the Main Man," Kodo's "Strobe's Nanafushi," and Origene's "Sanctuary" all have a dance edge in greater or lesser degrees, but most of the soundtrack seems more oriented toward headphones or living rooms than a night on the tiles. The bittersweet pop of the Eels' "Love of the Loveless" and the Reindeer Section's brighter-sounding but just as earnest "You Are My Joy" are the best examples of this trend, but it's also reflected in the post-post-punk of the Uncut's "Understanding the New Violence" and the nu-new wave of Ima Robot's "Scream." Goldfrapp's slinky, driving "Train" and TV on the Radio's cryptically kinetic "Satellite" are two of Queer as Folk: The Fourth Season's best tracks, and two of the album's best reconciliations between electronic and rock leanings. And while it's not as decadently romantic as Suede's heyday, "Attitude" is certainly witty and stylish enough to earn a place here; likewise, the gender-bending cabaret of Andrea Menard's "If I Were a Man" adds a playful wink to the proceedings. It may not be the most cohesive of the Queer as Folk soundtracks, but Queer as Folk: The Fourth Season is the most diverse of the bunch, and a good indicator of the show's increasing complexity and maturity. ~ Heather Phares

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"Cult TV and Film Themes" (08/31/2004) Rock & Pop Original Soundtrack, MetroMost popular culture fans would agree that "cult TV and film themes" are good things. But this compilation of 23 such items -- most of them instrumental, and most from adventure/suspense/spy serials -- would be a most idiosyncratic way to collect them. The biggest concern, perhaps, is that not all of them are by any means the actual original themes (and nor are the brief liner notes much help in figuring out which might be original and which might not). The optimal way to execute a project such as this would be to present the original and/or most famous versions, and make clear in the annotation what's what. Instead, it's a hodgepodge of (with just a couple exceptions) 1960s and 1970s versions of themes, most of them licensed from the Sanctuary catalog, and most of them recorded by British easy listening-jazz orchestras. So you get "Hawaii Five-O," for instance, by Victor Silvester & His Ballroom Orchestra, "The Pink Panther" by the Alan Tew Orchestra, and "M*A*S*H*" by the Tony Hatch & His Orchestra. Plus, bizarrely, you hear the "Batman" theme as an extract from a live Kinks medley from their 1967 album Live at Kelvin Hall, while "Fireball XL5" is done by the early-'60s British instrumental rock group the Flee-Rekkers. Too, a number of these themes are going to be far more familiar to British listeners than North American ones (though that's not true of the most famous theme here, "The Avengers," thankfully presented in its most renowned version from the original series, as cut by the Laurie Johnson Orchestra). All that said, there's still a good bit of fun to be had through what's here, even if some of the lesser interpretations tend toward the stiffly anonymous. Ron Grainer (known for the Dr. Who theme, which is not here) contributes the snazzy spy tune "A Man in a Suitcase"; the Barry Gray Orchestra offers goofy surf-ish music with incredibly cheesy organ on "Joe 90," as well as a mating of loopy cartoonish sound effects with typically spy-jazz tuneage on "Captain Scarlet"; and Edwin Astley, father-in-law of Pete Townshend, composed the suave go-go suspense of "Department S," presented here by the Cyril Stapleton Orchestra. In the vocal department, there's Gary Miller's enjoyably hokey "Stingray" (backed by the ever-reliable Barry Gray Orchestra), the same singer also handling the melodramatic Stingray end theme, "Aqua Marina." ~ Richie Unterberger

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"Young Liars" (07/08/2003) Rock & Pop TV on the Radio, Touch & GoContains an untitled hidden track following "Young Liars". TV On The Radio: Tunde Adebimpe (vocals); David A. Sitek, Jason Sitek. Despite their connections to the New York rock scene -- the band is based in Brooklyn's Williamsburg district and keyboardist/sound manipulator David Andrew Sitek has produced releases by the Liars and the Yeah Yeah Yeahs -- TV on the Radio's debut EP, Young Liars, is difficult to place, musically or geographically speaking. The angular, arty feel that informs the bands that Sitek has worked with is evident in TV on the Radio's music too, but in a cool, implosive way; combined with the keyboards and electronics that make up the backbone of their songs and Tunde Adebimpe's richly melancholy vocals, they don't sound like any other band out there. Elements of electronica, post-rock, film music, even spirituals and traditional African vocal music combine and recombine throughout Young Liars' five songs so organically that it's clear that TV on the Radio isn't striving to be "eclectic" or "atmospheric": the band is simply using their naturally diverse elements and influences to create something wholly distinctive. And Young Liars delivers just that, starting with the opening track, "Satellite," which begins with a martial, crunchy drumbeat and ominously droning synths before blossoming out into flutes and Adebimpe's close harmonies. Sitek and Adebimpe's collaboration is nothing less than inspired, with Sitek's skills as a sound sculptor providing the perfect foil for Adebimpe, who is something of a rarity in the world of indie music: a vocalist who can really sing. His falsetto on "Staring at the Sun" gives it an added depth, while his circular, layered vocals on the stunning "Blind" make the song's simple lyrics ("I seen a girl with a guy/Her hair like yours from what I remember/It's been so long since last December") truly moving. Likewise, "Young Liars" itself conveys a soulful paranoia that ties into the spiritual undercurrent of the entire EP and is expressed most literally by its hidden track, a radical cover of the Pixies' "Mr. Grieves." Part doo wop and part spiritual, it's almost completely unrecognizable to the original, but once again it proves that TV on the Radio doesn't travel obvious routes. More promising than most full-length debuts, Young Liars needs to be heard by anyone who values smart, challenging music. ~ Heather Phares

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"Adventure [Bonus Tracks] [Remaster]" (09/23/2003) Rock & Pop Television, Elektra/RhinoTelevision: Tom Verlaine (vocals, guitar, keyboards); Richard Lloyd (guitar, background vocals); Fred Smith (bass, background vocals); Billy Ficca (drums). Recorded at Sound Masters and Record Plant, New York, New York. Originally released on Elektra (133). Includes liner notes by Alan Licht. Personnel: Tom Verlaine (vocals, guitar, keyboards); Richard Lloyd (vocals, guitar); Fred Smith (vocals); Billy Ficca (drums). Audio Remasterer: Dan Hersch. Liner Note Author: Alan Licht. Recording information: Record Plant, New York, NY; SoundMixers. Photographers: Gerrit Van Der Meer; Lynn Goldsmith; Richard Robinson ; Corbis Bettman; Godlis; Daniel Lain?; Stephanie Chernikowski. Television's second album arrived a year after the band's remarkable 1977 debut, MARQUEE MOON. The eight songs again feature the intertwining guitars of Tom Verlaine and Richard Lloyd in a way that recalls both the glory days of San Francisco ballroom bands and the finesse of shimmering pop music. In the late '70s, Television was lumped together with other bands that came out of a New York City scene that had an epicenter at the club CBGB. As time has passed, the band has truly become an entity unto itself. Television's music shows none of the dulling effects of age, and its first two albums are essential. Rhino's expanded 2003 reissue of Television's fine second album, Adventure, helps shine a light on this unfairly neglected sequel to Marquee Moon. Though it is ironically not as adventurous as its predecessor, time has treated it well; it may be softer and more produced than Marquee Moon, but Tom Verlaine's songwriting remained sharply intelligent and his guitar interplay with Richard Lloyd is one of the wonders of rock, so it's always nice to hear. And that's why the bonus tracks are worthwhile -- any chance to hear Television at their prime play is welcome. The most noteworthy addition is "Adventure," a would-be title track that fits nicely into the album, while the early version of "Glory" is a bit rougher, but essentially the same. There are two alternate versions of "Ain't That Nothin'" -- a single edit, which is worth having here for historical purposes, and an unlisted early run-through that's a bit more interesting, primarily because it crackles with raw energy. All in all, this reissue of Adventure is more than worthwhile for the dedicated cult of Television -- the packaging is good, the sound is great, and the extras are interesting, all adding value to an already fine album. ~ Stephen Thomas Erlewine

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"Felicity" (05/11/1999) Rock & Pop Original Soundtrack, Hollywood RecordsPersonnel: Amy Jo Johnson, Neil Finn (vocals, guitar); Larry Klein (guitar, keyboards). Audio Mixer: Helix Hadar. Recording information: Market Street Studios. Given that the WB's Felicity is light years beyond other contemporary teen dramas in its note-perfect portrayal of young adult life, it's no real surprise that Felicity's success is simple -- by and large, these are actually artists that a college freshman like the title character might be listening to circa 1999, from Lilith Fair icons like Sarah McLachlan ("Good Enough") to hip electronic acts like Air ("All I Need"). The addition of notable performers like Neil Finn ("She Will Have Its Way"), Ivy ("I've Got a Feeling"), and Peter Gabriel ("Here Comes the Flood") further cements the disc as worthwhile listen even for those less-than-diehard viewers. Only the omission of Beth Orton's "Sweetest Decline" -- included on a mix-tape Noel made for Felicity in one memorable episode -- hits a sour note; slap it onto a second volume and all will be forgiven. ~ Jason Ankeny

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"For Love or Country: The Arturo Sandoval Story" (10/24/2000) Rock & Pop Original Soundtrack, Atlantic (USA)Personnel includes: Oscar DeLeon (vocals); Ramon Stagnaro (guitar); Dan Higgins (alto saxophone); Larry Williams (tenor saxophone); Arturo Sandoval, Gary Grant, Bob Karon, Jerry Hay, Charlie Davis (trumpet); Charles Loper, William Riechenbach (tenor trombone); John Stephens (piano); Carlos Del Puerto (bass); Ernesto Simpson (drums); Andy Garcia (congas, chekere, cowbell, background vocals); Luis Conte (congas); Cheito Quinones, Lazaro Galarraga (background vocals). Producers: Jellybean Benitez, Andy Garcia, Arturo Sandoval. Recorded at Capitol Recording Studios, Hollywood, California and Turi's Music Studios, Miami, Florida. Includes liner notes by Andy Garcia and Arturo Sandoval. The soundtrack to For Love or Country: The Arturo Sandoval Story, the HBO original biopic starring Andy Garcia, presents a cross-section of the modern-day trumpet legend's career. Several historically crucial recordings from prior to Sandoval's 1990 defection are included -- spots with Irakere and Dizzy Gillespie's United Nations Orchestra, the latter of which united Sandoval with a primary influence. While not the best overall introduction to Sandoval's music, For Love or Country is a highly listenable sampler and will doubtlessly whet the listener's appetite for more. ~ Steve Huey

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"CSI: Crime Scene Investigation" (09/24/2002) Rock & Pop Original Soundtrack, Hip-O RecordsOriginal score composed by John M. Keane. Personnel: Kathryn Williams (vocals). Audio Mixers: Bliss; Zero 7. Audio Remixer: Fatboy Slim. Editor: Scott Roewe. Unknown Contributor Role: Zero 7. Arranger: Bliss. CBS-TV's crime drama CSI: Crime Scene Investigation was the top-rated network television series in the U.S. in the fall of 2002, when this soundtrack album was released. At least a part of that success could be attributed to the music used on the show, which is featured here, starting with the theme song, the censored single edit of the Who's 1978 Top 20 hit "Who Are You," on which one of the few curse words that still cannot be uttered on network television is replaced by one that can, resulting in the taunt "Who the hell are you?" instead of the more obscene version heard on the band's Who Are You album, which frequently slips by on classic rock radio. The Wallflowers single "Everybody Out of the Water (New Frontier)" is also featured, available six weeks before its release on that band's album Red Letter Days, and proves to be a typical effort from them. Following that introduction, the various-artists album is filled with electronic dance-rock music by the likes of New Order, Hooverphonic, and Bliss, useful no doubt in both action sequences and moodier moments on the show. The sequencing causes the music to get softer and more dominated by instrumentals as it goes along, ending in two excerpts from composer John M. Keane's actual soundtrack cues for the show, "Investigation Suite" and "Grissom's Overture." To those who have something else to do at nine p.m. on Thursday nights, the result may seem like a miscellany, but fans of the show are bound to recognize tunes associated with favorite episodes, which is what a TV soundtrack album is all about. ~ William Ruhlmann

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"Felicity: Senior Year" (01/01/2006) Rock & Pop Original Soundtrack, Nettwerk AmericaJust when Felicity was joining other teen soaps like Dawson's Creek and Roswell in the cancellation bin, along comes FELICITY: SENIOR YEAR, the second collection of songs drawn from this Keri Russell-driven series. Soundtrack album producer Maria Alonte did a fine job assembling this mix of well-known artists and equally deserving sleepers. Among the obscure talents whose contributions particularly stand out are Maren Ord (the very Jewel-like "Perfect"), Jude's (the winsome "King Of Yesterday"), and Kendall Payne (the delicate, acoustic "Scratch"). Alonte's choices of previously released material also rings true, and include Barenaked Ladies' melancholy "Call And Answer," Shelby Lynne's slinky come-on "Bend," Chantal Kreviazuk's dream-poppy "Far Away," and Ryan Adams's gorgeous "La Cienega Just Smiled." Skip the absurd time-machine series finale and instead go straight to this honest and heartfelt collection of music.

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Deals on Cds tv in Rock & Pop Music. Visit BizRate to find the best deals on Rock & Pop Music. See which Music stores have the Cds tv that you want. Read reviews on Music merchants and buy with confidence. Find savings on Lazyboy TV [CD & DVD] - Return to Cookie Mountain by TV on the Radio (CD - 09/12/2006).