Four LP set by Nine Inch Nails of their 2008 release, Ghosts I - IV, a 36 track instrumental collection. Almost two hours of music composed and recorded over an intense ten week period in the fall of 2007. Ghosts I - IV sprawls Nine Inch Nails across a variety of new terrain.
2CD set original soundtrack with 41 killer tracks from the 50s & early 60s: Buddy Holly, Chuck Berry, Del Shannon, Platters etc For those of us who grew up in the '70s, this drive-in compilation of '50s and '60s rock and doo-wop, complete with Wolfman Jack introductions, was our introduction to this music. There are 41 jukebox hits here, and every one of them is a classic of its time (although two tracks--"At the Hop" and "She's so Fine" are covers by the revival band Flash Cadillac & the Continental Kids). In his 1973 movie, director George Lucas used the music (and the presence of mysterious deejay Wolfman) as the AM-radio soundtrack to one night in suburban California, 1962. The idea was to capture and sustain an end-of-summer, end-of-innocence mood that's in the air throughout the picture-- not as a shortcut to establishing a period (as in Robert Zemeckis'Forrest Gump). There's an awful lot of spontaneous energy in these tunes--from Chuck Berry and Buddy Holly, to the Platters and the Clovers and the Del-Vikings, to the Crests and the Beach Boys--and also just a hint of melancholy that goes down very nicely with a burger, shake, and fries. --Jim Emerson
No Description Available.Genre: Dance, DJMedia Format: Compact DiskRating: Release Date: 12-APR-1994 British electronics wunderkind Richard James (alias Aphex Twin, AFX, Polygon Window, etc.) claims he heard the compositions on Selected Ambient Works, Volume II in lucid dreams. Like abstract paintings composed of shades of a single color, James's resonant explorations of specific timbres linger close to a central idea on each cut, incorporating just enough variation to remain disturbing. While its predecessor, Selected Ambient Works '85-'92 drew on seven years' worth of material, the uniform quality of these untitled tracks, plus their judicious sequencing, suggests they were assembled over a shorter period. Clocking in at over 150 minutes, the double-disc set (if this is "selected," how many hours of outtakes remain?) provides an exemplary introduction to the quieter facets of James's expansive, idiosyncratic aesthetic. --Kurt B. Reighley
Manufacturer: Sony Legacy
Reissue of the mid-'70s outlaw country classic featuring Willie Nelson, Waylon Jennings, Jessi Colter and Tompall Glaser, with original artwork, liner notes (from Chet Flippo) and nine "lost" tracks! Less successful when it's sentimental (Waylon Jennings' "My Heroes Have Always Been Cowboys") than when it's wry (Willie Nelson's myth-puncturing "Me and Paul"), this cash-in compilation of previously released cuts was just in time to grab the first platinum record ever awarded a country album. It's not bad, but both Jennings' contemporaneous Dreaming My Dreams and Nelson's Red Headed Stranger are more nuanced tastes of the good-bad-but-not-evil-ol'-boy lifestyle. (Not to mention much of Tompall Glaser's own Outlaw compilation.) This 1996 CD reissue adds nine more tracks from the era as well as a new Jennings-and-Nelson version of Steve Earle's "Nowhere Road." --Rickey Wright
Takk is the fourth album from Sigur RÂ¢s. Written, performed and produced by the band (along with co-producer Ken Thomas) at their studio in Alafoss, Iceland, Takk is the record to justify every amazing claim ever laid at this exceptional band's door. Huge and intimate, orchestral and gossamer-light, rich layered and essentially simple, Takk is a work of a band operating at the very top of their game. It accomplishes what maybe they haven't done since they first appeared, which is to make the avant-garde appear to be straight ahead pop music, or, perhaps more accurately, invest pop music with a sense of magic long since lost in the mists of time and imagination. MCA. 2005. Just when this Icelandic crew seemed stuck in loud/soft/loud/ soft rut a la Mogwai or Godspeed You Black Emperor, they release their most beguiling, subtle and beautiful album yet. This album, allegedly the group's first sung in Icelandic rather than their own made-up "Hopelandic" (not that this listener could tell the difference) is relentlessly joyous, unaffectedly rad and inventive but never just for its own sake. Strings hold an ever more prominent place in the music, and this is a good thing. Songs unfold slowly as usual, but they take unexpected turns as often as not. The brilliant "GlÃ³sÃ³li" burbles with as much melodic invention and anything by their fellow Icelanders Mum. Takk is a delight from start to finish, managing to be both their most accessible and experimental album yet. --Mike McGonigal
Manufacturer: Virgin Records
17 Tracks New Age music, ambient electronica, and spiritualized hip-hop received their first major, K-Tel-like treatment in 1996 when Virgin Records assembled Pure Moods. The "As Seen on TV" compilation quickly became a hot seller, and it would be nice to think that its popularity has as much to do with the music as the marketing. To be sure, Pure Moods offers genre hits aplenty: from Enya's "Orinoco Flow" to "Sadness" from Enigma; from a dance mix of the "X-Files Theme" to edits of vintage electronica from Mike Oldfield (Tubular Bells) and Jean Michele Jarre (Oxygene). Beyond other selections of beat-enhanced chants and a few other popular themes ("The Mission," "Twin Peaks"), the album, refreshingly, also includes a few selections noteworthy only for their originality and quality. A three-track section near end of the 70-minute disk features affecting soft African chants from Geoffrey Oryema, followed by "My Wife with Champagne Shoulders," a dollop of regal, faintly ethereal romanticism from master film scorer Mark Isham, then a robust piano workout, "The Promise" from Michael Nyman (The Piano). With so many elements of interest on its 17 tracks, the album's broad diversity is sure to have broad popularity. --Terry Wood