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For Your Entertainment

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"The Rug *" (07/25/2005) Rock & Pop Big Ass Truck, Terminus RecordsBig Ass Truck includes: Robby Grant (vocals, guitar); Steve Selvidge (guitar, keyboards, background vocals); Grayson Grant (acoustic & electric basses); Robert Barnett (drums, percussion); Colin Butler (programming, loops, turntables). Recorded at Easely-McCain Studios, Memphis, Tennessee. Proof positive that eclectically for its own sake is not necessarily a good thing, this Memphis-based quintet's experimental rock sound is difficult to pin down. Sure, the lineup may seem normal at first glance, with vocals, two guitars, bass, drums, and a fifth man handling loops, beats, and turntables. But Big Ass Truck's sound jumps around more than hyperactive kangaroos listening to House of Pain, making The Rug a largely hit-and-miss proposition. The opening track, "The Path," may have you ready to compare them to Medeski, Martin & Wood, but the tweaked-out jazz-pop of "The Wardrobe" is so damn jumbled, you'll start to second-guess your first impression. The piano-driven pop of "Locked In" may remind you of a less compositionally mature Ben Folds, but the hypnotic percussion, spaghetti western guitar, and children's chant of "The Me" sounds like nobody you've ever heard before. Ultimately, Big Ass Truck comes across as either a young band still in search of its own sound, or a frustrated one who've been through the industry ringer enough times to just have fun and not give a damn what critics think. Either way, it makes for a frustratingly erratic listen. ~ Bret Love

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"Copperfields" (12/15/2004) Rock & Pop Dillards (The), Collectors' Choice MusicThe Dillards' second album with rock-influenced arrangements was not as barrier-busting as 1968's Wheatstraw Suite, and further removed from their bluegrass roots. However, it was a similarly eclectic and, for the most part, joyous romp through a fusion of bluegrass, rock, folk, and country, with a bit of pop and orchestration along the ride, and the group's superb vocal harmonies being the main constant. "Touch Her If You Can" was the number with the most pop and orchestration, and worked extremely well, with its achingly sad melody. If anything the Dillards did on Elektra could have been a hit single, this would have been a likely candidate. Their unusual a cappella arrangement of the Beatles' "Yesterday" caught some attention, and "Brother John" is another simultaneous detour and highlight, with its Dave Brubeck-influenced jazzy rhythms and guitar picking that recalled the Byrds' psychedelic era. While other tracks, like the bluegrass tune "Old Man at the Mill" and Eric Andersen's "Close the Door Lightly," were more in the standard country-rock mode, they're also good, with the musicians applying care and creative production to the material throughout the disc. ~ Richie Unterberger

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MORAL MINORITY

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"Moral Minority" (07/05/2003) Rock & Pop The Moral Minority, CD Baby (distributor)

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"The Layla Sessions: 20th Anniversary Edition [Box]" (09/18/1990) Rock & Pop Derek & the Dominos, Polydor (USA)Derek & The Dominos: Eric Clapton (electric & acoustic guitars, vocals), Duane Allman (electric & acoustic guitars, slide guitars), Bobby Whitlock (organ, piano, acoustic guitar, vocals), Carl Radle (bass, percussion), Jim Gordon (drums, piano, percussion). Engineers include: Ron Albert, Steve Rinkoff, Chuck Kirkpatrick. Producers: Tom Dowd, Derek & The Dominos, Bill Levenson. Recorded at Criteria Studios, Miami, Florida from August to October 1970. This box set was digitally remixed and remastered by Bill Levenson and Steve Rinkoff at The Power Station, New York from May to June 1990. Includes a 16-page booklet with session notes, annotations and an essay by Gene Santoro. Personnel: Eric Clapton (vocals, guitar); Bobby Whitlock (vocals, piano, organ); Dickey Betts, Duane Allman (guitar); Albhy Galuten (piano); Jim Gordon (drums, percussion); Butch Trucks (drums); Carl Radle (percussion). Audio Mixer: Steve Rinkoff. Liner Note Author: Gene Santoro. Recording information: 08/26/1970-10/02/1970. By digitally remixing and remastering these sessions, the producers have resurrected one of Eric Clapton's greatest achievements, his instrumental and songwriting peak. Musically, Clapton was inspired by his new rhythm section and challenged by fellow guitar hero Duane Allman, whose torrid slide guitar makes blues-blasts like "Nobody Knows You When You're Down And Out" and "Key To The Highway" so compelling. And from the classic title song (with drummer Jim Gordon's famous piano coda), to rivetting performances of "Why Does Love Got To Be So Sad," "Have You Ever Loved A Woman," and Jimi Hendrix's "Little Wing" each and every metaphor is etched in blood and longing, framed in wailing guitars. Disc 1 is the legendary LAYLA double-LP. The jams which comprise disc 2 illustrate the evolution of the session, while the alternate masters, jams and outtakes on disc 3 will certainly be of interest to casual fans and completists alike. All in all, few rock albums from this era have the staying power and poetic immediacy of LAYLA. In the years after Cream disbanded and his collaboration with Steve Winwood in Blind Faith had sunk, Eric Clapton teamed with keyboardist Bobby Whitlock, drummer Jim Gordon, bassist Carl Radle, and guitarist Duane Allman under the name Derek & the Dominos to write and record some new material. The result was this 1970 masterpiece. Shot through with a passion informed by the tumultuous nature of Clapton's own life and career at the time, LAYLA AND OTHER ASSORTED LOVE SONGS plays like a primer for classic rock, with incendiary dueling guitars, swirling organ, blues-styled vocals, and punchy bass and drums. Covers of "Nobody Knows You When You're Down and Out" and Hendrix's "Little Wing" are given fresh interpretations, and the originals, most of which Clapton co-wrote with Whitlock, are by turns fierce, melancholic, and celebratory. The epic "Layla," clocking in at seven minutes and featuring blazing solos all around, pushes the album to its culmination. Throughout, Clapton's playing, spurred by Allman's stellar leads, is beautiful enough to induce cardiac arrest, and LAYLA ranks among the most inspired, soulful, and affecting works in his entire discography.

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"Girls to Chat & Boys to Bounce" (05/23/2006) Rock & Pop Foghat, Wounded Bird RecordsPersonnel: Lonesome Dave Peverett (vocals, guitar); Erik Cartwright (guitar, background vocals); Nick Jameson (keyboards, background vocals); Roger Earl (drums, shaker). By the time Girls to Chat & Boys to Bounce hit record stores in 1981, it had been ten years since Foghat had released their first American single "I Just Want to Make Love to You," and even though the veteran London blues/boogie rock outfit had a rather long list of commercial accomplishments, the wavering quality and focus of their music in the late '70s had shaken the band's core fan base and slight critical appeal. The stomp and the swagger were replaced by glitter and global tours, rust turned to chrome, howlin' blues to raunch and roll. So bandleader Lonesome Dave Peverett continued an experiment he had tentatively begun a year earlier on Tight Shoes: drawing on new musical influences from the burgeoning punk and new wave scene in and around London. While not exactly a new wave recording, certain tracks on the Bearsville release, especially the ode to London pub thuggery "Wide Boys," are decidedly minimal, modern, and just plain un-bluesy. In general, the arrangements on the record are sparse, the songs and solos are short, and the sound is tighter throughout -- with tracks like "Let Me Get Close to You," "Wide Boys," and "Delayed Reaction" being the best examples of the bizarre commingling of a Elvis Costello influence with Foghat's reflexive blues sensibilities. An interesting effort, Girls to Chat & Boys to Bounce might actually captivate extremely open-minded new wave fans and Foghat completists. ~ Vincent Jeffries

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Beatles 1

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"1" (11/14/2000) Oldies Beatles (The), Capitol/EMI RecordsThe Beatles: John Lennon, Paul McCartney, George Harrison, Ringo Starr. Includes a 30-page color booklet documenting artwork for all the number one singles recorded by The Beatles. Engineers include: Norman Smith, Geoff Emerick, Barry Sheffield. Recorded at Apple, Olympic Sound, Trident and Abbey Road Studios, London, England; Pathe Marconi, Paris, France, between 1962 & 1970. Includes liner notes by George Martin. Digitally remastered by Peter Mew (2000, Abbey Road Studios, London, England). Personnel: John Lennon, George Harrison (vocals, guitar); Paul McCartney (vocals); Ringo Starr (drums). Recording information: EMI Abbey Road Studios, London, England (09/11/1962-??/??/1969); Olympic Sound Studios, London, England (09/11/1962-??/??/1969); Path? Marconi, Paris FR (09/11/1962-??/??/1969). Introduction by: George Martin. Photographer: Richard Avedon. For the six years the Beatles were recording for Capitol Records, the Fab Four ascended to top of the American and British charts an astonishing 27 times. This single-disc compilation brings those hits together in one place to span every phase of the foursome's highly influential career. Early Merseybeat-flavored sides like "Love Me Do" (the band's first Stateside hit), "She Loves You," and "I Want To Hold Your Hand" struck a chord early on with hordes of screaming teens. Unfortunately, this found the band temporarily dismissed as mere teen idols despite these numbers coming as a result of the vaunted Lennon/McCartney songwriting partnership. The timeless "Yesterday" struck a worldwide chord (and subsequently became one of the most played songs of all time) and Liverpool's favorite sons soon found themselves shifting gears. They were soon dabbling with flower power ("All You Need is Love"), character-driven storytelling ("Eleanor Rigby"), and allowing glimpses behind the Beatles curtain ("Hey Jude," "The Ballad of John & Yoko"). By the time "The Long and Winding Road" became the Beatles' chart-topping swan song, popular music's landscape had been permanently altered.

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too much love

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"Too Much Love" (06/10/2005) Rock & Pop Harlan T Bobo, Goner RecordsHarlan T. Bobo: H.T.B. (vocals, guitar); Jeremy Scott (vocals, bass guitar); Brendan Spengler (organ); Shane Callaway (drums). Personnel: Harlan T. Bobo (vocals, guitar); Brendan Lee Spengler (organ). Recording information: Easley-McCain Studios, Memphis, TN (2003). On the surface, Harlan T. Bobo's Too Much Love could seem like just another breakup record, but once the music starts, it quickly transcends such labels. Ostensibly a record chronicling "the best and worst of loving Yvonne Bobo," Too Much Love is a breakup record whose musical tide mirrors the peaks and valleys of an emotional roller coaster. Cinematic and magical, opening track "Only Love" has a languid, nearly tropical sway that sounds like a clandestine jam session between David Lynch, Tim Burton/Danny Elfman, and Roy Orbison. Eerie and beautiful, the song is soft and sparse, but immediate and powerful. Nick Cave wishes his melancholy rang half as true as Bobo's. The simplest lines are often the sharpest. Bobo strikes a universal chord with the spoken intro of "Stop," declaring "I called you on the phone/Your roommate said you weren't at home/But I could hear you talking in the background." The album is populated with countless other lines that are equally heart-rending. He sings quietly, but with lyrics like this, there's no need to yell. Over the course of a few more songs, Bobo's hushed, talky vocal style begins to bring to mind Beck's softer moments. Unlike Beck, Bobo doesn't seem to get bogged down in self-conscious attempts to be an artfully eclectic hipster. An album highlight, the title track calls to mind a fiery, agitated take on American Music Club. Elsewhere, with dirty guitars, organ, and hoarse late-night vocals, "Mr. Last Week" rocks like something out of the Compulsive Gamblers' gritty back catalog (specifically "Mind in the Gutter"). Although there are plenty of musicians in the mix at any given moment, Too Much Love maintains an understated feel. The instruments and vocals all have plenty of breathing room. In an age when it's so easy, and often very tempting, to add endless layers, effects, and overdubs, Bobo's album sounds refreshingly easygoing and organic. Musically, the album is as thoughtful and nuanced as Bobo's lyrics. The ace musicianship is little surprise considering his group -- and guest musicians -- include current and former members of fine outfits such as Viva l'American Death Ray Music and the Reigning Sound. ~ Karen E. Graves

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"The Lost Christmas Eve" (10/12/2004) Rock & Pop Trans-Siberian Orchestra, Lava Records (USA)Trans-Siberian Orchestra: Jennifer Cella (vocals); Al Pitrelli (guitar, keyboards); Dave Wittman (guitar, bass guitar, drums); Chris Caffery, Alex Skolnick, Paul O'Neill, Angus Clark, Tristan Avakian (guitar); Amy Helm (whistle); John Clark (horns); Jon Oliva, Robert Kinkel (piano, keyboards); Jane Mangini (piano); Carmine Giglo, Mee Eun Kim (keyboards); David Z. , Johnny Lee Middleton, Jeff Allegue (bass guitar); Jeff Plate, Takanori Niida, John O'Reilly (drums). The great cosmic fable of THE LOST CHRISTMAS EVE posits angels on earth, snow princesses in the galaxies, and Christmas in the hearts of hardened businessmen and New York City street kids. Trans-Siberian Orchestra's prog-rock opera (the third in a trilogy of Christmas-themed concept albums) traverses time and space to tell the story of a lonely man who discovers the deeper implications of love on a dark night before that merriest of days. Composer and producer Paul O'Neill favors big, theatrical arrangements and booming production, often utilizing vocal choirs (both gospel and classical), orchestral instruments, and a rock/big-band ensemble to achieve maximum oomph. His compositions are a catalog of emotion-stirring styles, as he glides from piano-pounding pop ("Christmas Nights in Blue") to bouncy fusion ("Christmas Jazz") to hard-edged rock ("Christmas Jam") to chamber music ("Remember"). Traditional carols appear amongst--and sometimes within--O'Neill's exciting originals. This dual approach is used most strikingly on "For the Sake of Our Brother," on which vocalist Daryl Pediford twines a heartrending "O' Come All Ye Faithful" into an impassioned Tom Waits-like ballad about faith and trust. With THE LOST CHRISTMAS EVE, Trans-Siberian Orchestra has created another classic backdrop for celebrating the season of hope and goodwill.

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"Away from the Sun" (04/29/2003) Rock & Pop 3 Doors Down, Universal DistributionContains an untitled hidden track following "Sarah Yellin'." 3 Doors Down: Brad Arnold (vocals); Matt Roberts, Chris Henderson (guitar); Todd Harrell (bass). Additional personnel includes: Josh Freese (drums). Recorded at London Bridge, Seattle, Washington; Greenhouse, Burnaby, Canada and Ocean Way Studios, Hollywood, California. "When I'm Gone" was nominated for the 2003 Grammy Awards for Best Rock Song and Best Rock Performance By A Duo Or Group With Vocal. This is a Hybrid Super Audio CD playable on both regular and Super Audio CD players. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. 3 Doors Down: Brad Arnold (vocals); Chris Henderson , Matt Roberts (guitar); Todd Harrell (bass guitar). Additional personnel: David Campbell (strings); Rich Hopkins (Hammond b-3 organ); Josh Freese (drums); Matthew Burgess (percussion). After almost two years of constant touring, 3 Doors Down return as stronger songwriters and equally passionate musicians with AWAY FROM THE SUN. Instantly catchy, singable choruses, as on "When I'm Gone," are emblematic of what thrust the group's debut album (A BETTER LIFE) into the hearts and minds of rock fans. Hints of a Creed influence peek through on the title track, while an early Pearl Jam vibe permeates "Running Out Of Days." Fans are sure to hold their lighters high overhead for ballads such as "Here Without You." Producer Rich Parashar returns to the helm for AWAY WITH THE SUN, and in-demand session drummer Josh Freese pounds out solid grooves.

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"Gold" (08/24/2004) Rock & Pop Fucking Am, Drag CityFucking Am: Tim Green (vocals, guitar, organ, Mellotron, electric keyboard, synthesizer, Moog synthesizer, bass instrument); Tim Soete (vocals, guitar, synthesizer); Sebastian Thompson (vocals, drums); Nathan Means (synthesizer); Philip Manley (bass instrument); Jon Theodore. Personnel: Tim Green (vocals, guitar, electric piano, organ, Mellotron, synthesizer, Moog synthesizer); Tim Soete (vocals, guitar, organ, guitar synthesizer); Philip Manley (vocals, acoustic guitar, electric guitar); Sebastian Thomson (vocals, drums); Jillian Iva (vocals); Roger Levy (violin); Nathan Means, Casey Ward (synthesizer); Matt Hall (double bass); Jon Theodore (drums). Recording information: Louder (02/2003-01/2004); National Recording Studio, Washington D.C (02/2003-01/2004); SF (02/2003-01/2004). A rewarding collaboration between members of the San Francisco metal band the Fucking Champs and the D.C. retro synth-rockers Trans Am, GOLD has the feel of a heavy rock goof-off that has taken on a life of its own. The twin-guitar attack of "Bad Leg" and "Doing Research for an Autobiography" not only references hot-button 1970s bands like Boston and Thin Lizzy, but also fuels a unique sound that's often surprisingly compelling. This imaginative and affectionate mayhem reaches its pinnacle on the mesmerizing "Electrico Gomez," the last piece of the "Gomez" trilogy that closes the set.

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"Scary Sound Effects" (09/06/1994) Rock & Pop Sound Effects, Rhino Records (USA)Personnel: Regina Klein, Andrew Albright, Daniel Liebowitz, Houston Emerson, Jeffrey Freeman, Valerie Harada, Josh Miller, Laura Perez, Greer Tallant, Dione Wren (vocals), Gary Hoffman (Theremin). Recorded at Sunburst Recording, Culver City, California. Personnel: Gary Hoffman (Theremin). Recording information: Sunburst REcording, Culver City, CA. Illustrator: Jaime Hernandez. Released in 1994, Rhino's Scary Sound Effects was designed by Dr. Demento for use on Halloween as children dress up strangely and roam their neighborhoods loudly demanding free candy. The album begins with 15 brief spoken phrases like "Welcome," "Go Home," "Get Away from Here" and "We're Digging for Your Treats." What follows are the usual mix of evil laughs, growling wolf men, haunted house and sci-fi noises. Robert C. Wayne is listed as "composer," George Emerson as "conductor," Gary Hoffman plays the Theremin, and screams are credited to Houston Emerson, Jeffery Freeman, Josh Miller, and Dione Wren. It's interesting to note how what in many cultures is a traditional Holy Day for ancestor reverence (Samhain, pronounced "Sowen," also known as All Hallows Eve prior to the Day of the Dead) has become such a vulgar, kitschy occasion with its thematic roots in Hollywood's cheesiest monster movies. This being said, sound effects records (and scary sound effects records, in particular) come in a full range of qualities, from the sleazy, cheap, and badly produced to the creative, well-conceived, and even artistically rewarding. Rhino's Scary Sound Effects lands more or less betwixt and between the two extremes. Its weakest moments occur during cheap theatrical stunts like "Witch Casts a Spell" and "Voodoo Chant," the latter being a throwback to the Universal film company's xenophobic ignorance regarding traditional Afro-Caribbean religious beliefs. "Grave Robbing Gone Wrong" and "Monsters in the Bat Cave" are good, clean fun, but "Haunted House" and "Very Scary Mansion" are more intriguing, and along with portions of the Flying Saucer series, could have artistic merit if taken out of context. And it is well away from the Halloween context that the last three tracks of this collection really seem to have potential. "Theremin Orchestra" and its sequel "The Phantom Theremin Orchestra" are only surpassed by a magnificent interlude titled "Pipe Organ and Bassoon." Tracks like these work fine for the kids on Halloween, but can also be enjoyed as weirdly satisfying strata that fairly cry out to be sampled and utilized elsewhere. ~ arwulf arwulf

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"The Happiest Days of Our Lives" (11/04/2003) Rock & Pop My Favorite, Double Agent RecordsMy Favorite: Michael Crace Jr. (vocals, melodica, piano, synthesizer, vocoder); Andrea Vaughn (vocals, melodica, synthesizer); Darren Amadio (guitar, piano, synthesizer, percussion); Gilbert Abad (bass); Todbot (drums, percussion). Additional personnel: Tara Emelye Needham (guitar); Leigh Tsai, Vika Paranyuk (violin); Raffi Yegparian (bass, background vocals). Personnel: Darren Amadio (vocals, guitar, piano, synthesizer, percussion); Michael Grace, Jr. (vocals, melodica, piano, synthesizer, vocoder); Andrea Vaughn (vocals, melodica, synthesizer); Raffi Yegparian (bass guitar, background vocals). "The ghosts of dead teenagers sing to me while I am dancing/And they'll be sad and young forever." Sound familiar? It does if you grew up in the 1980s, when chilly and lovelorn Sarah Records pop transformed traditional teen angst into a mortal issue, and made loneliness a badge of clammy-skinned honor. The line above -- from album standout "Homeless Club Kids" -- is just one of the clever My Favorite couplets that illustrate the NYC band's throwback mix of dreamy and dreary, of burbling basslines, chiming guitars, and cold synth lines lifted from the era in their entirety. But while those references and the familiarly foggy moods they create are utterly inescapable, My Favorite's music is still somehow wholly its own. This is likely due to the strength of songwriting, which Happiest Days of Our Lives displays over the 16 tracks compiling the band's out of print "Joan of Arc" material. (The liners include a wild-eyed essay imagining that titular heroine as the absolute of teenage fatalism.) Andrea Vaughn's pretty lilt is the perfect foil to Favorite principal Michael Grace's deadpan detachment, and each paean to star-crossed youth lovin' ("Cathedral at Night") or dormitory melodrama ("L=P") seems perfectly realized and nuanced, like an illuminated manuscript imagineered into journal form. It was only a matter of time before America's teen rebel ideal was mixed up in this scenario, and his ghost finally wafts forth for "James Dean (Awaiting Ambulance)," which is sort of a fantasmical dream pop version of J. Frank Wilson's "Last Kiss." The aforementioned "Homeless Club Kids"'s puttering drum programming is punctuated by keyboard trills and washes of Johnny Marr guitar, while "Burning Hearts" manages to shimmer with sugary melody while telling a tale of young lovers caught in the Hiroshima blast. "All of this snow has made us glow in the dark," Vaughn and Grace harmonize over plaintive guitar and keys -- it would all be hopelessly, horribly overwrought if the song wasn't so damned beautiful. Happiest Days of Our Lives is augmented with a remix disc, wherein underground types like Flowchart, Soviet, and Leisure Enthusiast patch My Favorite's C-86 update into glitch and IDM soundscapes. Soviet's choppy, coolly professional take on "Badge" is a highlight, as is Leisure Enthusiast's "Suburbs Are Killing Us," which probably has the Pet Shop Boys kicking themselves that they didn't create its decadent dancefloor hush. ~ Johnny Loftus

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The Best Of Lite FM

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"Ultimate 16: Lite FM Best Of" (09/26/2005) Rock & Pop Various Artists, Madacy DistributionUltimate 16: Lite FM Best Of is an almost perfect collection of '70s soft rock tunes by some of the biggest names of the era. Michael McDonald ("I Keep Forgettin'"), Seals & Crofts ("Diamond Girl"), America ("Ventura Highway"), and Chicago ("Just You 'n' Me") are some of the heavy hitters here; Leo Sayer ("More Than I Can Say"), Nicolette Larson ("Lotta Love"), Robert John ("Sad Eyes"), Henry Gross ("Shannon"), and Orleans ("Still the One") are some of the lightweights who turn in heavyweight performances. Add ballads from Todd Rundgren ("Hello It's Me") and Alice Cooper ("Only Women Bleed"), and you've got a representative and entertaining collection that serves as either a perfect entry point to the world of soft rock or the only disc you might ever need. ~ Tim Sendra

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"Good Morning America!" (01/31/2006) Soundtracks Zimmer, Hans, MilanPersonnel: Hans Zimmer (synthesizer); Hans Zimmer; Walt Fowler (trumpet); Bob Daspit (guitar); Emil Richards (percussion). Audio Mixer: Jay Rifkin. Liner Note Author: Emmanuel Chamboredon. Recording information: AIR Studios; Columbia Studios, Los Angeles, CA; Lyndhurst Studio; Media Ventures, Los Angeles, CA; Snake Ranch; Sony Studios, Los Angeles, CA. A collection of Hans Zimmer movie scores written for five productions, including BEYOND RANGOON, BACKDRAFT, and POINT OF NO RETURN, GOOD MORNING AMERICA showcases the German-born composer's remarkable command of cinematic mood. His spare melodies mostly eschew unnecessary drama, as evidenced by his work on RANGOON, but, as the excerpts from BACKDRAFT prove, he's more than capable of bringing out the big orchestral guns when the situation demands.

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"New Music for Silent Films" (09/13/2005) Rock & Pop Original Soundtrack, Accurate RecordsAlloy Orchestra: Caleb Sampson (synthesizer); Ken Winokur (percussion); Terry Donahue (percussion, accordion). Additonal personnel: Neil Leonard (saxophone). Engineers: Carl Plaster, George Hicks, Ken Winokur. All songs written by Alloy Orchestra except "Deep Water" (Neil Leonard). Personnel: Terry Donahue (accordion, percussion); Neil Leonard (saxophone); Caleb Sampson (synthesizer); Ken Winokur (percussion). Recording information: Chicken Loft Studios. Photographers: James Walker ; Ken Winokur. A splendid collection of compositions from scores created by Alloy Orchestra (keyboard player Caleb Sampson, percussionist Ken Winokur, and accordionist/percussionist Terry Donahue, with prominent appearances by saxophonist Neil Leonard.) Fitting new music to silent movies is a tricky business that involves producing wall-to-wall sound without it being overly intrusive for a good part of the time. The selections here indicate a great deal of expertise along with the requisite musical ability. A large percussion array is used to extremely good effect on many of the tracks, while Sampson puts his keyboards to majestic use -- layers of thick, fat string sounds vying with rippling, flowing harp tones that balance lightly against shaken tambourines and tinkling chimes. This is excellent music for imaginative meditation as well as for its intended use. ~ Steven McDonald

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Deals on Amazon.com in Rock & Pop Music. Visit BizRate to find the best deals on Rock & Pop Music. See which Music stores have the Amazon.com that you want. Read reviews on Music merchants and buy with confidence. Find savings on Billboard Top 10 Karaoke: 1990's, Vol. 3 by Karaoke/Sybersound (CD - 10/31/2006) - Playlist: The Best of REO Speedwagon [Digipak] by REO Speedwagon (CD - 12/16/2008).