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Schumann: Carnival, Papillons, etc / Nelson Freire
 

Schumann: Carnival, Papillons, etc / Nel...

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Schumann: Carnival, Papillons, etc / Nelson Freire
Schumann: Carnival, Papillons, etc / Nelson Freire

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$10
Solos - Solo Works of Daniel Asia - (CD - 05/10/2005)
 

Solos - Solo Works of Daniel Asia - (CD ...

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Solos - Solo Works of Daniel Asia - (CD - 05/10/2005)
Release Date: 2005-05-24, Audio CD, Summit(Classical)

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Greatest Hits: Sound & Vision [CD & DVD] [3/7] *
 

Greatest Hits: Sound & Vision [CD &a...

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Greatest Hits: Sound & Vision [CD & DVD] [3/7] *
"Greatest Hits: Sound & Vision" (03/07/2006) Rock & Pop Blondie, Capitol/EMI RecordsBlondie: Deborah Harry (vocals); Chris Stein, Clem Burke, Jimmy Destri. Producers: Mike Chapman, Giorgio Moroder, Richard Gottehrer, Craig Leon. Compilation producer: Kevin Flaherty. Recorded between 1977 & 1998. Includes liner notes by Steve Pafford. All tracks have been digitally remastered. Blondie: Debbie Harry. Most devoted Blondie fans will already have the majority of the songs included on the first disc of this double-disc set. Alongside the band's biggest hits--"Heart of Glass," "Tide is High," "Call Me," and "Rapture"--GREATEST HITS also includes favorites like "One Way or Another" and "Sunday Girl" and lesser-known gems like "Picture This" and "Union City Blue." But the real benefit of this package comes with disc number two, which features 15 videos of the band in its prime. For fans who never got to see Blondie back in the day, the "vision" portion of this SOUND & VISION set is invaluable, lending a filmic dimension to the band's glamorous blend of punk, new wave, disco, and irresistible pop.

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Party Central by Various Artists (CD - 01/08/2002)
 

Party Central by Various Artists (CD - 0...

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Party Central by Various Artists (CD - 01/08/2002)
"Party Central" (01/08/2002) Rock & Pop Various Artists, Capitol Records (USA)All tracks have been digitally remastered. Party Central is a collection of popular dance and pop songs from the '80s and '90s thrown onto one disc. Where most collections like this try to blend a few tracks that do not really fit in throughout the album, this particular album tries a method that is quite agreeable: simply put the offending songs at the very end of the album. Everything up until C&C Music Factory's "Things That Make You Go Hmmm" is good, recognizable dance music (with the possible exception of the Expos? track). But after that point, minor hits from Pebbles, Sheena Easton, and Dino bring up the rear with their mildly recognizable dance anthems. Cathy Dennis' "All Night Long (Touch Me)" is actually the very last track, and it arguably does not belong among the last tracks. But what that leaves the listener with is at least 13 songs that can be played back-to-back without much fuss, and at least one more song at the very end that is equally as good. That is a very good average for the dance CD market, making this an appealing buy for someone looking for a party-friendly disc that does not involve skipping every other song. ~ Bradley Torreano

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The Colour and the Shape by Foo Fighters (CD - 09/09/2003)
 

The Colour and the Shape by Foo Fighters...

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The Colour and the Shape by Foo Fighters (CD - 09/09/2003)
"The Colour and the Shape" (09/09/2003) Rock & Pop Foo Fighters, Roswell RecordsFoo Fighters: Dave Grohl (vocals, guitar, drums); Pat Smear (guitar); Nate Mendel (bass); William Goldsmith (drums). Recorded at Grand Master Studios, Hollywood, California; Bear Creek, Woodinville, Washington and WGNS Studios, Washington, D.C. THE COLOUR & THE SHAPE was nominated for a 1998 Grammy for Best Rock Album. "Monkey Wrench" was nominated for a 1998 Grammy Award for Best Hard Rock Performance. Personnel: Dave Grohl (vocals, guitar, drums); Pat Smear (guitar); William Goldsmith (drums, hand claps); Lance Bangs, Chris Bilheimer, Ryan Boesch (hand claps). Audio Mixer: Chris Sheldon. Recording information: Bear Creek Studios, Woodinville, WA (1997); Grand Master Recorders, LTD (1997); Grand Master Recorders, Ltd, Hollywood, CA (1997); WGNS Studios, Washington DC (1997). Photographer: Josh Kessler. Unknown Contributor Roles: Lance Bangs; Chris Bilheimer; Ryan Boesch. Now that Dave Grohl has gotten through the intense scrutiny leveled at the Foo Fighters' debut, this follow-up finds him flexing his creative muscles a little easier. Forgoing the autocratic approach of FOO FIGHTERS, THE COLOUR & SHAPE allows the other members of the band a greater amount of influence, which quickly becomes evident. The punk-pop nuggets outnumber the thrashier moments on this record. Nevertheless, Grohl's time on the D.C. hardcore scene is never far from the creative process, whether it's the first squeals and squawks that pop up around the hooks and screaming vocals of "Hey, Johnny Park" and "My Poor Brain" or the alternating, Nirvana-like dynamics of "Enough Space." Elsewhere, the dreamy pop of "Walking After You" (recorded in one take by Grohl at Washington, D.C. radio station WGNS) and "Up In Arms" rubs shoulders with the Catherine Wheelish sheets of guitar flowing through "My Hero."

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Working Live-Vol. 2 [11/9] *
 

Working Live-Vol. 2 [11/9] *

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Working Live-Vol. 2 [11/9] *
"Working Live, Vol. 2" (11/09/2004) Rock & Pop Palmer, Carl, Sanctuary (USA)Personnel: Carl Palmer (drums). Recording information: England (2003). Photographer: Michael Inns. Arrangers: Carl Palmer; David Marks; Shaun Baxter.

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Tattooed Millionaire [Australian Bonus Tracks] [Remaster] by Bruce Dickinson (Iron Maiden) (CD - 09/
 

Tattooed Millionaire [Australian Bonus T...

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Tattooed Millionaire [Australian Bonus Tracks] [Remaster] by Bruce Dickinson (Iron Maiden) (CD - 09/
"Tattooed Millionaire [Australian Bonus Tracks] [Remaster]" (09/10/2002) Rock & Pop Dickinson, Bruce (Iron Maiden), Columbia (USA)Personnel: Bruce Dickinson (vocals); Janick Gers (guitar); Andy Carr (bass); Fabio Del Rio (drums). Recorded at Battery Studios and London Astoria, London, England in 1990. Includes liner notes by Don Kaye. Personnel: Bruce Dickinson (vocals); Janick Gers (guitar); Fabio del Rio (drums). Recording information: Battery Studios, London, England; London Astoria. Photographers: Ross Halfin; Alastair Thain. In 1990, Bruce Dickinson launched his solo career with Tattooed Millionaire, which is far from a carbon copy of his work with Iron Maiden. Many of the fans who knew him as Maiden's lead vocalist assumed that this solo debut would be Maiden-like -- they expected an album of aggressive yet melodic fantasy metal in the Maiden/Ronnie James Dio/Black Sabbath vein. But Tattooed Millionaire found Dickinson favoring more of a hard rock/pop-metal approach. This album is full of glossy and lighthearted pop-metal that wouldn't be out of place on an album by Winger, Bon Jovi, or Def Leppard. "Lickin' the Gun" is more Aerosmith than King Diamond, and "Son of a Gun" is more Bad Company than Candlemass. And while some Maiden worshipers might prefer to hear Dickinson singing fantasy metal, the fact is that Tattooed Millionaire is excellent. With this album, Dickinson did what fellow Brit Rob Halford did on some of Judas Priest's more commercial and pop-influenced releases -- he showed listeners another side of himself and demonstrated that he wasn't obligated to embrace fantasy metal 100 percent of the time. For Dickinson, coming out with something more pop-minded didn't mean being contrived or unimaginative. Tattooed Millionaire, for all its pop-metal gloss, has a lot of guts, and Dickinson is consistently inspired whether he is embracing original material or providing a memorable remake of David Bowie's "All the Young Dudes." On subsequent solo efforts like 1994's Balls to Picasso and 1998's The Chemical Wedding, the British vocalist got back to fantasy metal. But he seemed to need a break from it in 1990, and Tattooed Millionaire turned out to be a most pleasant surprise. ~ Alex Henderson When Sony reissues a title on Legacy, it usually means that the album has some type of historic value -- something that has withstood the test of time and is considered a classic in its genre. In 2002, Columbia/Sony reissued Bruce Dickinson's first solo album, Tattooed Millionaire, on Legacy and added five bonus tracks. By that time, Tattooed Millionaire was 12 years old, and the question is: Does this album (originally released in 1990) deserve to be called a classic? Absolutely. Dickinson's solo career got off to an excellent start with Tattooed Millionaire, and the interesting thing is that this CD was such a departure from the singer's work with Iron Maiden. In the '80s, Iron Maiden was the essence of larger-than-life fantasy metal -- the Brits' lyrics often dealt with the supernatural, and Maiden fans tended to crave equally fantasy-oriented headbangers like Judas Priest, Black Sabbath, Candlemass, King Diamond, Ronnie James Dio, and Queensr?che. But Tattooed Millionaire isn't fantasy metal; instead, Dickinson surprised listeners with an unexpected pop-metal direction. This time, Dickinson is more Steven Tyler than Rob Halford -- more Jon Bon Jovi than Ronnie James Dio. And he is obviously enjoying this pop-metal/hard rock direction a great deal; the British singer certainly sounds inspired on gems like the Aerosmith-influenced "Lickin' the Gun" and the power ballad "Son of a Gun." The bonus tracks (mostly B-sides of early-'90s singles) are also excellent, and they range from a gutsy cover of AC/DC's "Sin City" to the contemplative ballad "Winds of Change" (which has a somewhat Bob Dylan-ish quality and hints at what Dylan might sound like if he embraced hard rock instead of folk-rock). Some of Dickinson's fans prefer him as a supernatural-minded fantasy metaller, but from a hard rock/pop-metal standpoint, this reissue is a treasure. ~ Alex Henderson

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Under My Skin (+4 Bonus Tracks) (+ Bonus DVD)
 

Under My Skin (+4 Bonus Tracks) (+ Bonus...

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Under My Skin (+4 Bonus Tracks) (+ Bonus DVD)
"Under My Skin" (04/04/2005) Rock & Pop Lavigne, Avril, BMG (distributor)Hong Kong edition adds four songs and a bonus DVD. While Avril Lavigne's 2002 debut, LET GO, arrived amidst a tidal wave of teen female performers, the 17-year-old Canadian singer/songwriter managed to distinguish herself with a punk-rock attitude tempered by a hooky pop sensibility. Lavigne's sound reached a remarkably wide audience, even inspiring indie-rock icon Liz Phair to openly pattern her next record after it. With her 2004 follow-up, UNDER MY SKIN, Lavigne makes it clear which side of the pop-rock precipice she's standing on. Instead of pop producers such as the Matrix, Lavigne aligns herself with Our Lady Peace frontman Raine Maida and Linkin Park producer Don Gilmore. The result is a much more complex record--an angst-ridden, soul-searching album that rocks with fury without losing a keen ear for melody. This is clear from the outset with the brooding, lushly orchestrated, guitar-driven opening track "Take Me Away." However, while the music has significantly matured, Lavigne's lyrics still possess the same sense of teenage confusion and frustration so charming on her debut. UNDER MY SKIN is an impressive step for the young songwriter, and it effectively transcends the teen-pop label she inevitably received with her first record.

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Operatica Christmas Classics by Operatica/Various Artists/Maureen O'Flynn/Maureen O'Flynn (CD - 10/2
 

Operatica Christmas Classics by Operatic...

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Operatica Christmas Classics by Operatica/Various Artists/Maureen O'Flynn/Maureen O'Flynn (CD - 10/2
"Operatica Christmas Classics" (10/26/2003) Rock & Pop Operatica, E-Magine Entertainment Inc.Operatica: Lord Vanger (vocals, various instruments); Maureen O'Flynn (vocals); Jamie Lewis (piano). Producers include: Aaron Jaffe, Gregg Mangiafico, Lord Vanger Nicky Holloway, Ken Shillington. Personnel: Maureen O'Flynn, Lord Vanger (vocals); Jamie Lewis (piano); Matt Hopper (programming). Arrangers: Donald Edwards; Edgard Jaude; Chris Hill; Lord Vanger; Aaron Jaffe; Nicky Holloway; Gregg Mangiafico; Jamie Lewis. The holidays turn many people into traditionalists, so Operatica: Christmas Classics at first seems an odd move for Lord Vanger and his techno troupe for their third disc in this series marrying electronic textures with the operatic vocals of Maureen O'Flynn. Buyers who are expecting anything like a normal Christmas album won't find it here. The biggest shock, at least for older folks, may come not from the electronic textures (those have been joined to Christmas music before, notably by Mannheim Steamroller) but from the replacement of the original chord progressions with harmonies that sound more static, less goal-directed. In a way, however, it's a good introduction to exactly what it is that musicians in the field called electronica do, for the Christmas carols make a good fixed point of reference. The trick in a cross-cultural experiment like this is to have musicians from different traditions interact rather than simply staring at each other in blank juxtaposition, and O'Flynn's light, pleasant voice here relates to the electronic textures in various ways, sometimes floating above, sometimes entering into the sequence of tone colors. Rhythmically, O'Flynn offers straight readings of the carols; the producers typically pick up on the song's original rhythm and surround it with other rhythmic strands. The effect, carefully controlled, is that sometimes the carol, and O'Flynn's voice, emerge into full relief while in other passages the original is obliquely hinted at. The overall mood is quiet and ambient, but within that context each number has its own sound and structure, and there is a surprising undercurrent of wit. In all, Operatica: Christmas Classics is something new and fun for the holiday season, and for those new to electronica a good way into the music. ~ James Manheim Usually compared to Enigma, the dance/opera crossover group Operatica's Christmas album finds them sounding more like the soundtrack to Disney's Electric Light Parade of 20 years prior than anything fresh and new. When producer Lord Vanger isn't creating soundscapes that are limp and uninspired, he sounds downright misdirected. The large, dubby thumps on "Away in the Manger" are like a laptop jockey's prank, and the Tangerine Dream-esque intro to "Silent Night" is especially tedious. Operatica actually attempts some glitch-style noise over Maureen O'Flynn's simple and sweet singing, making the album even harder to understand or tolerate. Are they coming at this from an underground angle or trying to appeal to the masses? Neither will be satisfied and the album comes off as a disastrous jam session between Perrey-Kingsley and Charlotte Church. ~ David Jeffries

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Rebirth [3/1] *
 

Rebirth [3/1] *

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Rebirth [3/1] *
"Rebirth" (03/01/2005) R&B Lopez, Jennifer, Epic (USA)Personnel: Jennifer Lopez (background vocals); Jennifer Lopez (vocals); Fat Joe (rap vocals); Mario Guini, Tim Stuart (guitar); Bob Robinson, Bob Robinson (electric guitar); Tim Kelley (keyboards, bass guitar, drum programming); Corey Rooney (keyboards); Marco Britti (drums); Hector Diaz (programming); Candice Nelson, E'anna Crawley, Candice Nelson "G.G." (background vocals); Rich Harrison, Rodney Jerkins (programming); Makeba Riddick, Delisha Thomas, Rudaina Haddad (background vocals); Fabolous. Audio Mixers: Peter Wade Keusch; Bruce Swedien. Recording information: 2nd Floor Recording, Orlando, FL; Cove City Sound Studios, Glen Cove, NY; Hit Factory Criteria, Miami, FL; Night Flight Studios, Fort Washington, MD; Pie Studios, Glen Cove, NY; Sony Music Studios, New York, NY; The Poolhouse West, Encino, CA; The Poolhouse, Long Island, NY; The Record Plant, LA. Photographers: Marcus Piggott; Mert Alas. On "Hold You Down," from Jennifer Lopez's highly anticipated 2005 record REBIRTH, the singer brings out rapper Fat Joe, a fellow Bronx icon, to fondly recall local roots and the importance of staying true to friends. Over the course of Lopez's previous records, this emphasis on authenticity, in spite of her larger-than-life persona and enormous wealth, has been a theme. Aside from this song, however, this familiar subject is largely left behind on REBIRTH, a straightforward, affable collection of easygoing R&B-flavored pop music. Perhaps the feeling that she has nothing more to prove (she's J. Lo, after all) has allowed Lopez to present herself more clearly, or maybe she's found contentment in her marriage to singer Marc Anthony, who produces the track "(Can't Believe) This Is Me." Whatever the cause, with REBIRTH, Lopez has created her most satisfying record. The first half of the disc is dominated by forceful funk/hip-hop tunes, from the Destiny's Child-like "Get Right" to the 1980s-era Janet Jackson defiance of "Cherry Pie." From there, the sensual vocalist glides into a love groove, equal parts Delfonics, Toni Braxton, and Faith Evans, best exemplified by the sugary-sweet "Still Around." While not quite the dramatic departure that its title implies, REBIRTH finds the actress-turned-singer discovering her most sincere voice to date.

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Rhubarb Dreams *
 

Rhubarb Dreams *

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Rhubarb Dreams *
"Rhubarb Dreams" (07/24/2004) Rock & Pop Riddlehouse, THE Records

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$4
Terrorist Threats [Edited] by Westside Connection (CD - 12/09/2003)
 

Terrorist Threats [Edited] by Westside C...

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Terrorist Threats [Edited] by Westside Connection (CD - 12/09/2003)
"Terrorist Threats [Edited]" (12/09/2003) R&B Westside Connection, Priority Records (USA)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Westwide Connection includes: Ice Cube, WC, Mack 10. Additional personnel includes: Nate Dogg, K-Mac, Skoop, Young Soprano, Butch Cassidy, Knoc "Turn" Al. Producers include: The Notorious T.R.E., Fredwreck Farid Nassar, Ron "Neffu" Feemster, Bruce Waynne. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. As if Ice Cube didn't have enough going on in the first few years of the 21st century with his successful and prolific film career, the rap superstar unveiled TERRORIST THREATS, the second Westside Collection album, in late 2003. Reuniting with fellow West Coast rappers WC and Mack 10, Cube leads the Connection on tunes that pull topics from the headlines, such as the title track and "Call 9-1-1," where lyrics remind listeners that "911 ain't an area code/it's a gangsta mode." Whether riffing on terrorism or espousing the virtues of gin, the Connection crew gets its point across with the subtlety of a sledgehammer--and they wouldn't have it any other way. This view is driven home on the scathing "So Many Rappers in Love," which takes a brutal swipe at romantic R&B-oriented rappers and mockingly features strings and falsetto vocals. However, the G-funk-approved singing of Nate Dogg turns up on "Gangsta Nation," a tune that simultaneously bounces like it's the early-1990s gangsta-rap heyday, and proves that these West Coast rappers are still major contenders in the hip-hop world.

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