Vhs in Rock & Pop Music

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"You Got Me [Single]" (01/24/2006) Rock & Pop VHS or Beta, Astralwerks (Record Label)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

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"Le Funk" (n/a) Rock & Pop VHS or Beta, Astralwerks (Record Label)VHS Or Beta: Zeck Buck, Craig Pfunder (guitar); Mark Palgy (bass); Mark Guidry (drums). Additional personnel includes: Stacy Blakeman, Kaiza Cumbler, Robyn Ferguson, Maiza Hixson, Jessica Linker (vocals); Aaron Todovich (saxophone); Ben Vandermeer (Fende Rhodes piano); Drew Peace (loaning bass rig); Matt Johnson (dejembe, conga); Hazen Frick (timbal). Recorded at Nonlinear Studios, Louisville, Kentucky. With song titles such as "Disco Parade," "Solid Gold," and "Teenage Dancefloor," a band name that suggests electronic experimentation, and a groovy-looking record sleeve, VHS or Beta could easily be thrown into a pile labeled electronic or house. House would be appropriate. But electronic? Not quite. Except for assistance from a few gadgets (effects pedals are the most popular here), VHS or Beta's fusion of house, funk, and disco is produced by guitar, bass, and drums. And the most unexpected thing about Le Funk is that it's irresistibly danceable. The two live tracks (including the jam-athon for "Flash") prove that it's no hoax. The band even mixes songs together, keeping the fluttering beat and bass alive and steady. Though Le Funk isn't as slick as Daft Punk's "Da Funk" and its house masterpiece, Homework, VHS or Beta's formula is undoubtedly inventive. ~ Kenyon Hopkin

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"First We Take Manhattan" (08/06/2001) Rock & Pop Warnes, Jennifer, Zounds MusicThis 17-track best of release features singer Jennifer Warnes and includes "The Huner," "Up Where We Belong," and "Rock You Gently," as well as a cover of Leonard Cohen's "First We Take Manhattan."

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"Night on Fire [Single] [Single]" (10/05/2004) Electronic VHS or Beta, Astralwerks (Record Label)Personnel: Mark Guidry (vocals, keyboards, drums); Chea Beckley (keyboards); James Mullen (programming). Additional personnel: Mocean Worker. Audio Mixers: Adam Dorn; Martin Brumbach. Audio Remixers: Mark Verbos; Tommie Sunshine. On their full-length debut, Night on Fire, VHS or Beta trade in the Daft Punk-esque filter disco of their EP for dance-punk with a new wave twist. At their best, as on the album's title track and "No Cabaret!," the band sounds like Robert Smith singing over Duran Duran remixes; like the similarly retro-minded Killers, they have a knack for distilling everyone's favorite new wave/post-punk moments into pop confections. This shiny pop veneer gives VHS or Beta an edge over the increasing, and increasingly tired-sounding, ranks of artists recreating the '70s and '80s' disco-punk hybrids -- instead of trying to attach any kind of deep significance to their rolling basslines, staccato riffs, and polyrhythms, they buff the style's rough edges into smooth stylishness. The only problem with the band's transformation from a dance-inspired band to a poppier one is that their songwriting isn't always as strong as their grooves are; "You Got Me" and "The Ocean" meander, proving that it's possible to sound driving but not compelling. The dance-punk instrumentals are particularly tepid: "Nightwaves"' chrome-plated guitar squeals and four-on-the-floor beat are squandered by stretching a three-minute idea out to five-and-a-half, while the nine-minute album closer, "Irreversible," goes nowhere and seemingly refuses to end. But Night on Fire's second half makes it a little more difficult to dismiss VHS or Beta as also-rans; perhaps not surprisingly, the band gets more interesting once it stops tracing the dance-punk template so closely. "Forever" is a gloriously cheesy disco ballad rife with vocoders, wah-wah guitars, and rippling keyboard arpeggios that recalls VHS or Beta's early work as well as Discovery-era Daft Punk. Though they don't quite achieve the transcendent takeoff that the French duo achieves so effortlessly, the track does sound fresher and more genuine than some of the posturing found elsewhere on Night on Fire. Likewise, "Dynamize" is another fun instrumental, a great big love letter to the big guitars 'n' drums sound of the '80s. VHS or Beta also do well when they indulge their poppier instincts: "The Melting Room" and "Alive" are two of the most danceable songs the Cure never wrote. Even though it's possible nobody will care about dance-punk by the time VHS or Beta get their next album out, Night on Fire is an uneven but promising debut album that suggests that the group may still create something distinctive. ~ Heather Phares

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"Le Funk" (09/20/2005) Rock & Pop VHS or Beta, Astralwerks (Record Label)VHS Or Beta: Zeck Buck, Craig Pfunder (guitar); Mark Palgy (bass); Mark Guidry (drums). Additional personnel includes: Stacy Blakeman, Kaiza Cumbler, Robyn Ferguson, Maiza Hixson, Jessica Linker (vocals); Aaron Todovich (saxophone); Ben Vandermeer (Fende Rhodes piano); Drew Peace (loaning bass rig); Matt Johnson (dejembe, conga); Hazen Frick (timbal). Recorded at Nonlinear Studios, Louisville, Kentucky. VHS or Beta: Zeke Buck, Craig Pfunder (guitar); Mark Palgy (bass instrument); Mark Guidry (drums). With song titles such as "Disco Parade," "Solid Gold," and "Teenage Dancefloor," a band name that suggests electronic experimentation, and a groovy-looking record sleeve, VHS or Beta could easily be thrown into a pile labeled electronic or house. House would be appropriate. But electronic? Not quite. Except for assistance from a few gadgets (effects pedals are the most popular here), VHS or Beta's fusion of house, funk, and disco is produced by guitar, bass, and drums. And the most unexpected thing about Le Funk is that it's irresistibly danceable. The two live tracks (including the jam-athon for "Flash") prove that it's no hoax. The band even mixes songs together, keeping the fluttering beat and bass alive and steady. Though Le Funk isn't as slick as Daft Punk's "Da Funk" and its house masterpiece, Homework, VHS or Beta's formula is undoubtedly inventive. ~ Kenyon Hopkin

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"Cinema Beer Goggles" (11/10/1995) Rock & Pop Various Artists, HopelessPerformers include: Face To Face, Guttermouth, NoFx, Circle Jerks, The Vandals.

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"Yesterday Once More [1998]" (08/19/1999) Rock & Pop Carpenters (The), A&M Records (USA)The Carpenters: Karen Carpenter (vocals, drums); Richard Carpenter (keyboards, background vocals). Additional personnel includes: Tony Peluso, Tim May (guitar); Joe Osborn (bass); Hal Blaine, Jim Gordon, Larrie London, Ron Tutt, Ed Greene (drums). Producers: Richard Carpenter, Karen Carpenter, Jack Daugherty. Includes liner notes by Paul Grein. Digitally remastered by Richard Carpenter. The first of many CD compilations of Karen and Richard Carpenter's dozens of hit singles, 1985's YESTERDAY ONCE MORE contains 28 of the siblings' best songs--from their first hit, 1969's "Ticket To Ride," to their last, 1981's "Touch Me When We're Dancing." The two-CD set eschews chronological order, sequencing the songs by mood instead. As such, it's probably the most listenable of the Carpenters' compilations, serving both as a perfect introduction to the duo's best work and as a handy sampler for longtime fans. The set was remastered by Richard Carpenter in 1998 as part of a general overhaul of the Carpenters' A&M catalogue.

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"On Her Soapbox" (07/01/2002) Rock & Pop Pierce, Chonda, Word DistributionVideotaped live at the Ryman Auditorium, Nashville, Tennessee.

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"Black Box: A Video Retrospective, Vol. 1" (1994) Rock & Pop Various Artists, Wax Trax! Records (USA)This is the first volume in a two-part retrospective that contains nearly every video made for the Wax Trax! Records label. While many of these artists rode the cutting edge of industrial music in the late '80s and early '90s, unfortunately their videos weren't quite so revolutionary. Most of the clips featured on Black Box, Vol. 1 simply suffer from a low budget, although there are some standouts -- Laibach's hilarious "Geburt Einer Nation" (a demolition of Queen's "One Vision") and My Life With the Thrill Kill Kult's bouncy "Sex on Wheels" brighten things up a bit. Other, less-distinguished offerings from Sister Machine Gun ("Not My God," which comes across as a poor man's "Head Like a Hole") and KMFDM's amateurish early clips for "Money" and "Vogue" are a little dull. Meanwhile, Clock DVA turn in a hypnotic visual for "The Hacker," and the concert clip of Revolting Cocks' "Attack Ships on Fire" benefits from its ragged live energy. Be ready for lots of strobe lights! ~ Andy Hinds

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"VH1 Divas Live" (10/06/1998) Rock & Pop Various Artists, Epic (USA)This is the limited edition digipack version of DIVAS LIVE. Includes liner notes by Wayne Isaak. In an undeniably canny move, VH1 brought together the most beloved singers from the country, R&B and pop worlds for an all-out diva-fest. As a marketing strategy, producing a concert including Mariah Carey, Gloria Estefan, Shania Twain, Celine Dion and Aretha Franklin is an infallible plan. As the recorded document of that event makes clear, the participants and their pocketbooks weren't alone in benefiting from the experience, though. Fans of any and/or all of these celebrated female vocalists are treated to some stellar live performances that benefit from the energy only a concert experience can provide. Most of the singers get solo spots, where they attack their respective classics with renewed fervor. The most interesting aspect of DIVAS LIVE, though, is the collaboration that enlivens "You've Got A Friend," "A Natural Woman" and "Testimony," where the vocalists combine their musical might for a rousing finale that glows with the warmth of sisterhood.

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