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"Lost Horizon [Bell]" (08/19/1997) Rock & Pop Original Soundtrack, Razor & Tie MusicWhen the motion picture musical Lost Horizon was unleashed upon the world in 1973, the reviews were unbelievably harsh and much of the criticism was aimed at composer Burt Bacharach and lyricist Hal David. However, even though many of the songs on this soundtrack are not as memorable as their more popular collaborations, this album is not that bad. In fact, many of the songs are quite catchy, including "The World Is a Circle" and "Reflections." Some of the vocals are sung by the actors, including Sally Kellerman and the late Bobby Van. Burt Bacharach has a certain knack for production of not-so-great singers (himself included) and, fortunately, it shows here with the actors. Other actors had their singing parts dubbed by more seasoned vocalists. Shawn Phillips is the singer on the title track. ~ Tim Griggs

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"Kidz Bop, Vol. 6" (08/10/2004) Rock & Pop Various Artists, Razor & Tie MusicAudio Mixer: Gary Philips. The sixth installment in the wildly popular KIDZ BOP series presents more kids singing pop and R&B songs (with some help from adult vocalists and musicians). Jessica Simpson's romantic "With You" is first up on this Kidz Bop Kids outing, followed by Maroon 5's amazingly catchy "This Love." As always, the children's vocals are at the forefront, backed by grown-up singers and synthesizer-based music. Other highlights of KIDZ BOP 6 include Beyonce's determined "Me, Myself & I," a string-filled take on Sheryl Crow's version of "The First Cut Is the Deepest," and a lively remix of Christina Aguilera's "Beautiful." This energetic sampling of popular kid-appropriate tunes is sure to please both children and their parents.

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"Another Happy Ending" (06/11/2002) Rock & Pop Clarks (The), Razor & Tie MusicThis is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Kathy Burdick (vocals); Jonathan Yudkin (strings). Audio Mixer: Justin Niebank. Recording information: Hounds Ear Studio, Franklin, TN; MCR Studio, Swissvale, PA. Photographer: C. Taylor Crothers. Unknown Contributor Roles: Dave Minarik; Rob James; Scott Blasey; Greg Joseph. There's no one named Clark in this quartet. The genesis of the name is a long, boring story you can read about on the band's website. More relevant is the fact that these guys are demi-gods in their native Pittsburgh, PA, one of the most popular live bands in town. With ANOTHER HAPPY ENDING, the hard-working band finally broke out nationally after several quality releases. The group's sound is what they used to call rock & roll; guitars, hook, melodies; no Korn-like angst or electronica updates. Comparisons to such contemporaries as the Wallflowers or Semsonic wouldn't be out of order. The Clarks certainly show as much songwriting expertise as those acts, and hopefully ANOTHER HAPPY ENDING will help them achieve commercial parity as well.

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"Restless Wind: The Legendary Billy Joe Shaver 1973-1987" (09/19/1995) Rock & Pop Shaver, Billy Joe, Razor & Tie MusicPersonnel includes: Billy Joe Shaver (vocals, guitar); Willie Nelson (vocals); Eddy Shaver (guitar); Dickey Betts, Charlie Daniels, Chuck Leavell. Compilation producer: Jimmy Guterman. Producers include: Kris Kristofferson, Bob Johnston, Brian Ahern. Recorded between 1973 and 1987. Includes liner notes by Jimmy Guterman. Personnel: Billy Joe Shaver (vocals, guitar). Liner Note Author: Jimmy Guterman. While Bear Family, the famous German reissue label, had issued a 25-track collection of Billy Joe Shaver in 1994 called Honky Tonk Heroes, domestic independent Razor & Tie have released an 18-cut retrospective covering virtually all of Billy Joe Shaver's career until his re-emergence in the 1990s. The Razor & Tie set is (far) less-expensive, its notes are just as comprehensive and well-written, and despite what's not here, it may indeed be a better bargain. At the very least this serves as a fine introduction to Billy Joe Shaver the man, myth, and magical songwriting storyteller. Beginning with a pair of tracks from his 1973 debut, Old Five and Dimers Like Me, this collection takes you through the various stages of a career marked by virtual anonymity among the record-buying public, and yet revered by his peers and would-be followers. Chances are, if you've listened to country music at all in the 1970s or 1980s, you've heard some of these songs, such as "I've Been to Georgia on a Fast Train," "Ride Me Down Easy" (covered by Carlene Carter on her Musical Shapes album), "When I Get My Wings," "Sweet Mama" (covered by the Allman Brothers), "I'm Just an Old Chunk of Coal," "Low Down Freedom," "Fit to Kill and Goin' out in Style," "Restless Wind," "Ragged Old Truck," "Amtrak (Ain't Comin' Back)," and "You Asked Me To," written with Waylon Jennings. Given the difficulty in coming across most of Shaver's catalog from this period, this collection is a good bet. Musically, it's as good as it gets. If you want the original outlaw singer/songwriter model, put your Willie Nelson, Jerry Jeff Walker, and Guy Clark records away and give this cat a listen. ~ Thom Jurek

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"Lay Down & Love It Live" (06/25/2002) Rock & Pop Sonia Dada, CalliopeSonia Dada: Shawn Christopher, Paris Delane, Michael Scott (vocals); Phil Miller, Dan Pritzker (guitar); Chris Hambone (piano, Hammond B-3 organ); Erick Scott (bass); Hank Guaglianone (drums). Additional personnel includes: Sam Hogan (vocals); Ken Partyka (saxophone); Bob Perna (trumpet); Tony Wolters, Jim Martin (trombone). Producers: Erik Scott, Scott Steiner, Dan Pritzker. Recorded live in Colorado and California between November and December 1998. All tracks have been digitally mastered using HDCD technology. Live recordings can have a way of separating the men from the boys and the women from the girls. Bands that are short on talent, chops, or substance might be able to hide behind technology when they're in the studio, but when they take it to the stage, their weaknesses become painfully obvious. But if a band is as substantial and as meaty as Sonia Dada, it doesn't need studio gloss to sound great -- and make no mistake, Sonia Dada sounds great on Lay Down & Love It Live, the Chicagoans' first live album and fourth album overall. True, an artist can use studio technology to "improve" an inferior live recording, but Lay Down never sounds artificial. The band's vitality comes through loud and clear on this CD, which contains mostly post-Sam Hogan recordings from 1998 (including a sweaty cover of Sly Stone's "I Want to Take You Higher") but also boasts three 1996 performances that were made before the singer's departure: "Goodnight," "Never See Me Again," and "You Ain't Thinking (About Me)." Without or without Hogan, Sonia Dada sounds consistently focused and never comes across as superficial. Recalling such soul/rock groups as Ike & Tina Turner, Sly & the Family Stone, and the Neville Brothers, gems like "Anna Lee" and "Amazing Jane" take us back to a time when artists lived for the stage and went that extra mile for audiences. Lay Down & Love It Live may very well be Sonia Dada's most essential release of the '90s. ~ Alex Henderson

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"The Chemistry" (04/19/2005) Rock & Pop Chemistry (The), Razor & Tie MusicThe Chemistry: Danny Mitchell (vocals, guitar); Jared Valencia (bass instrument); Tommy Hamilton, Thomas Scriven, Justin Shultz. Personnel: Danny Mitchell (vocals, guitar); Jared Valencia (vocals); Tommy Hamilton, Thomas Scriven (guitar); Justin Shultz (drums). Audio Mixer: Gabriel Heredia. Recording information: The Plant Recording Studios, Sausalito, CA. Photographers: Trisha Leeper; Jeff Gros. The Chemistry tend to fall into the glut of power pop or emo-punk bands in the vein of Jimmy Eat World or Taking Back Sunday. With the opening "From Within," the gloss and polish of a radio-friendly tune is ever present, but there are enough twists and turns to keep you interested. The middle portion, though, veers briefly into the "screamo" domain, something Alexisonfire is more experienced with. The musicianship is quite solid, especially on the darker groove running through "About You," although its chorus is far too sappy. Unfortunately, they seem rather bland and prepackaged on the limp "Deja Vous," which is very d?j? vu. "The Same" has a bit more urgency yet doesn't pass the bar, although the high harmonies and melody do have some strength. The group nails "Hopeless," although some might consider it a throwaway filler track. Slower and a tad softer, the band's full talents are on display, relying on the songwriting more than the hook to drive the neo-power ballad home. "At a Glance" tends to disappoint, resembling Simple Plan if they were doing a Spin Doctors cover. The Chemistry then opt for a string-laden winding ditty entitled "Jones," which is adequate but far from spectacular. "Still Alive," however, veers into rock territory that groups like Incubus previously mined, with added crowd vocals on the chorus during this quasi-political rant. The theme of this album seems to be good but rather safe at the same time, especially on "Fear of Falling," which is perfect Vans Warped Tour material. The tender, Extreme-ish ballad "Last Impression" is a surprisingly good tune. Overall, this is a good album, but one where nothing smacks of greatness. ~ Jason MacNeil

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"Horror [PA]" (08/19/2003) Rock & Pop Cannae, ProstheticCannae: Adam DuLong (vocals); Jason Zucco, Stephen Columbo (guitar); Daniel Campenella (bass); Michael Boutillette (drums). Recorded at Zing Studio, Westfield, Massachusetts. Personnel: Adam DuLong (vocals); Jason Zucco, Stephen Colombo (guitar); Michael Boutillette (drums). Recording information: Zing Studio, Westfield, MA.

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"Beneath Medicine Tree" (03/25/2003) Rock & Pop Copeland, Militia MuzikCopeland: Aaron Marsh (vocals, guitar, piano, organ, Mellotron); Bryan Laurenson (guitar, piano); James Likeness (bass, background vocals); Rusty Fuller (drums). Additional personnel includes: The Crystal Ninja String Ensemble (strings). Recorded at Glow In The Dark Studios, Atlanta, Georgia between November 2002 & January 2003. Personnel: Aaron Marsh (vocals, guitar, piano, organ, Mellotron); Bryan Laurenson (guitar, piano); Matt Goldman (guitar, percussion); Rusty Fuller (drums). Recording information: Glow In The Dark, Atlanta, GA (11/04/2002-01/01/2003). Arranger: Copeland.

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"In Motion [Slipcase]" (03/22/2005) Rock & Pop Copeland, The Militia GroupInitial pressing includes bonus acoustic EP. Copeland: Aaron Marsh (vocals, guitar, keyboards); Bryan Laurenson (guitar, keyboards); James Likeness (bass instrument); Jon Bucklew (drums, percussion). Copeland's second full-length disc was recorded on the heels of a rigorous touring schedule that included 400 gigs over a 15-month period. The band members' musical familiarity with each other is obvious here, as serpentine guitar lines, tinkling keyboards, and sweet vocal harmonies intertwine as gracefully as veteran ballet dancers. The group combines the best elements of power-pop and emotive rock into an intriguing whole that's equal parts Beach Boys and Jeff Buckley. Frontman Aaron Marsh shares Buckley's propensity for high drama, and also strongly recalls Rufus Wainwright on the melancholy piano ballad "Kite." "Choose the One Who Loves You More," on the other hand, seems inspired by 1980s New Wave of the Tears for Fears variety, complete with synth-like fuzz bass and a danceable beat, while "Pin Your Wings" is catchy, jangly pop of the highest order. Throughout IN MOTION, Copeland drifts through various pop/rock subgenres, while consistently remaining true to its top-notch songcraft.

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"Heritage" (03/16/2004) International Irish Tenors, Razor & Tie MusicThe Irish Tenors: Anthony Kearns, Ronan Tynan, Finbar Wright. Additional personnel: Arnie Roth (conductor); The London Symphony Orchestra. Recorded at LSO St. Luke's Centre, London, England. The Irish Tenors once again prove that interpreting the classics of the Emerald Isle's rich musical repertoire is handled best by homegrown talent. Anthony Kearns, Ronan Tynan, and Finbar Wright are steeped in the traditions of Irish balladry, and HERITAGE demonstrates that they rank among the foremost exponents in the field. Each is an accomplished singer in his own right, but when they join their voices together, they breathe new life into familiar tunes such as "Fields of Athenry," "Whiskey in the Jar," and "The Parting Glass." They even manage to make the ubiquitous war-horse "Danny Boy" sound fresh and vibrant. In addition to celebrating Ireland's own timeless songs, the album explores the island's influence on music beyond its shores. Fine examples of this include "Red Is the Rose," "I'll Take You Home Again Kathleen," and even "South of the Border," the inclusion of which may seem out of place, but not when considering that its composer, Jimmy Kennedy, is a native son of County Tyrone. Following in the footsteps of John McCormack and Frank Patterson, the Irish Tenors take obvious pride in their role as Ireland's musical ambassadors.

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"Sleep Is the Enemy [Bonus Track]" (05/23/2006) Rock & Pop Danko Jones, Razor & Tie MusicPersonnel: John Garcia (vocals). Audio Mixer: Victor Florencia. Recording information: Feldman Studios, Palm Springs, CA; Record High Productions UK, Toronto, Canada. Photographer: Erik Und?hn. If there's one thing Danko Jones know how to do at this point, it's how to rock. They did it in We Sweat Blood, and it's exactly what they do again in their fifth full-length album, Sleep Is the Enemy. The formula for both these albums has been pretty consistent: fast power chords with a distorted bass echoing the guitar; loud, driving drums; and vocals that fluctuate from a low growl to a mellifluous croon to a full-out scream. But that doesn't mean the new album is ever boring: there's too much raw emotion and sexual energy to allow anyone even a brief moment to nod off. For the band, this is a very important thing; the name of the record is Sleep Is the Enemy, after all, and the simple, to-the-point choruses are just meant to be shouted along to in packed, sweaty stadiums. Jones himself is all testosterone and bravado and is in great form vocally, expressing his indifference toward a jaded lover in "Baby Hates Me," instructing the less confident in when and how to give "The Finger," and angrily yelling his plans for revenge in "Time Heals Nothing." Yes, the themes here, like they always have been with the band, are women and sex and aggression, which are practically the same thing for Jones, but in Sleep Is the Enemy his willingness to explore the ambiguity of the topics shows his (slightly greater) maturity. In "She's Drugs" (which contains the fantastically catchy chorus "She's drugs, she's drugs/Just one look and you get addicted/She's drugs, she's drugs/You take a look and now you're hooked, that's what I predicted"), he chides a friend for being seduced by a dangerous woman, but then in "Invisible," he goes on to list a number of extreme things he'll do for another who isn't noticing him (burning his house down, maxing out his credit card, and making his mother cry being three of the least violent examples). Yeah, Sleep Is the Enemy isn't musical genius by any standard, but it is a loud, confident, straightforward, and fun album that skips guitar solos and instrumental frills to focus on what truly matters to Danko Jones: rocking. ~ Marisa Brown If there's one thing Danko Jones know how to do at this point, it's how to rock. They did it on We Sweat Blood, and it's exactly what they do again on their fifth full-length album, Sleep Is the Enemy. The formula for both these albums has been pretty consistent: fast power chords with a distorted bass echoing the guitar; loud, driving drums; and vocals that fluctuate from a low growl to a mellifluous croon to a full-out scream. But that doesn't mean the new album is ever boring: there's too much raw emotion and sexual energy to allow anyone even a brief moment to nod off. For the band, this is a very important thing; the name of the record is Sleep Is the Enemy, after all, and the simple, to-the-point choruses are just meant to be shouted along to in packed, sweaty stadiums. Jones himself is all testosterone and bravado and is in great form vocally, expressing his indifference toward a jaded lover in "Baby Hates Me," instructing the less confident in when and how to give "The Finger," and angrily yelling his plans for revenge in "Time Heals Nothing." Yes, the themes here, like they always have been with the band, are women and sex and aggression, which are practically the same thing for Jones, but in Sleep Is the Enemy his willingness to explore the ambiguity of the topics shows his (slightly greater) maturity. In "She's Drugs" (which contains the fantastically catchy chorus "She's drugs, she's drugs/Just one look and you get addicted/She's drugs, she's drugs/You take a look and now you're hooked, that's what I predicted"), he chides a friend for being seduced by a dangerous woman, but then in "Invisible" he goes on to list a number of extreme things he'll do for another who isn't noticing him (burning his house down, maxing out his credit card, and making his mother cry being thr

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