The hit Swedish pop quintet's 1994 debut. Features 12tracks, including the hits 'Rise & Shine' and 'Sick &Tired', plus their unique cover of Black Sabbath's 'SabbathBloody Sabbath'. A Stockholm Records release.

Haydn Collection. Concerto for trumpet in E flat. London Symphony No. 104 in D. Symphony No. 22 in E Flat. The Philosopher

Piece By Piece, the 2nd album by Katie Melua, comes nearly 2 years after the release of her multi-platinum selling debut album Call Off The Search, and contains a larger percentage of self-penned songs than the previous album which demonstrates significant developments of Katie as a singer and writer. Features 12 total tracks including the first single 'Nine Million Bicycles'. ''Although people talk about the 'difficult second album', we have enjoyed the pressure and the pleasure of trying to get this album right for ourselves initially, rather than specifically worrying about what the audience will think'' said Katie. Dramatico. 2005.

Symphony No. 40 in G Minor, K. 550 and Symphony No. 41 in C, K. 551

No Description Available.
Genre: Classical Music
Media Format: Compact Disk
Rating:
Release Date: 17-SEP-1991

Michael Nyman came of age as a classical composer in the radical London of the late '60s. His work embraces multiple vernaculars (jazz, avant garde, conceptual art) and helped cement the foundation of what came to be known as minimalism. Decades into his career, Nyman's score to Jane Campion's film The Piano made him a star. The movie's themes of colonialism and silence (its protagonist, portrayed by Holly Hunter, cannot speak) were perfectly aligned with his longtime interests in world and ambient music. Horn players assist members of the Munich Philharmonic Orchestra in fleshing out Nyman's stately, hymn-like motifs. On the more heavily orchestrated cues, sentimentality wins out over minimalist restraint; the best tracks feature Nyman on solo piano, playing the rudimentary, faux period repertoire of Hunter's character. —Marc Weidenbaum

Like the movie itself, the Romeo + Juliet soundtrack is filled with emotional twists; from the hardness of Garbage's "#1 Crush" and the Butthole Surfers' "Whatever" to Stina Nordenstam's endearing, whispery "Little Star" the journey is all over the map. Within the CD-enhanced grooves, however, moments of absolute brilliance flow; Des'ree's "Kissing You (Love Theme from Romeo + Juliet)" is perhaps her strongest work to date, while Radiohead's "Talk Show Host" is a track that the group treasures and performs live often. Those two tracks alone make this soundtrack worth the purchase price. —Denise Sheppard

In this Collection, Paco De Lucia Pays Homage to One of Spain's Most Famous Poets Federico Garcia Lorca.

Recorded in Holland, produced by Andre Bunt, Ken Rose and BBG, Mantra for the American Jungle is an eclectic mix of pop and moody folk-rock. From the soaring vocals of Robyn Rosenkrantz to the quirky story-lyrics of Michael Glover, BBG's "Mantra..." is an unforgettable CD.

The world was hardly waiting with baited breath for a sequel to John Landis' endearingly sloppy "Blues Brothers." In fact, "Blues Brothers 2000" left nary a vapor trail in theaters on its way to unsuspecting video and cable patrons. Misguided, though lovingly executed, the cross-generation soundtrack makes as much room for Johnny Lang and John Popper as it does for Wilson Pickett, Junior Wells and Paul Butterfield. And how can you not like a record that treats Fred Steiner's classic "Perry Mason Theme" to blues treatment? —Jerry McCulley

The most eagerly anticipated movie of 1999, if not the decade, The Phantom Menace was also a mouth-watering prospect for soundtrack fans. Star Wars, after all, has become arguably the best-known and most influential movie score ever written, so a new instalment from John Williams, performed by the London Symphony Orchestra, was always going to be a cause for celebration. And if the movie proved ultimately unable to live up to audience's almost impossibly high expectations, the music more than compensated. This is Williams at his expansive best. Always a supremely confident inhabitant of the Star Wars universe, the composer once again marshals the techniques of leitmotif and thematic transformation to depict the exotic landscapes of George Lucas's imagination; and here, 22 years after the original, his scoring exudes the maturity of a highly accomplished master of his craft. Take the centrally important "Anakin's Theme", for example, in which the seeds are sown for transformation into "The Imperial March" (Darth Vader's theme), or the Miklós Rózsa-esque march of "The Flag Parade" (the comparison with Ben-Hur is only fitting in context), or the magnificent choral set-piece, "Duel Of The Fates", in which a choir chanting a Sanskrit text (!) is propelled headlong over a driving ostinato rhythm. Original themes are used sparingly, but when the Force theme floats ethereally into "Watto's Deal" or the Emperor's sinister theme introduces "The Appearance Of Darth Maul", their impact is all the more telling for its subtlety. Throughout, the picturesque orchestration conjures vivid images—whether or not you are thinking of the movie—helped greatly by a magnificent performance from the LSO, whose excitement and sense of enjoyment in this music is tangible (the brass playing is, as ever with this team, a joy to behold). The recording at Abbey Road Studio No. 1 is also one of the most realistic ever captured on disc: listen through good speakers and it's like sitting in the studio itself. This 74-minute album assembled by the composer is intended to offer a musically coherent presentation: doubtless a complete version of this score will surface to satisfy collectors, but for now there's scarcely a better way to experience the magical fusion of music and cinema. —Mark Walker

No Description Available
No Track Information Available
Media Type: CD
Artist: GLADIATOR
Title: SCORE
Street Release Date: 04/25/2000
Domestic
Genre: SOUNDTRACK

Like The Muppet Show or The Simpsons, Shrek is tiered with visual appeal, fantasy, and sophisticated humor that appeals to children and adults on two mutually exclusive levels. Judging by the soundtrack alone, there is some genuine emotion coming from this movie; Rufus Wainwright, the Proclaimers, and especially the Eels all pen winsome, longing tunes. Dana Glover's "It Is You (I Have Loved)" represents the soundtrack's requisite glossy ballad, but it's better than most, and John Powell's climactic, orchestral "True Love's First Kiss" makes one wish there was a full score to accompany this soundtrack. On the flip side, Smash Mouth cover the Monkees' "I'm a Believer" with a groovy treatment of crunchy hip-hop beats, and Leslie Carter (sister of Aaron and Nick) gives a perky performance on the Britney-esque "Like Wow!" The soundtrack squeezes the last drops of juice from the overplayed Smash Mouth hit "All Star," but other than that, it strikes a great balance between cute-but-not-precious pop hits, and more grown-up songs that are well within reach of young ears. —Beth Massa

The Concertmaestro Conducts Popular Favorites Used in Films and Other Media. A Generous 18 Tracks Occupies the 'films' (As Opposed to Grooves) of this Disc.

Fashion be damned: Pop culture is just one big Hometown Buffet for writer-director Quentin Tarantino. Nowhere has that sensibility been more apparent than on his hand-picked soundtrack choices, and this oft tongue-in-cheek tale of a female assassin's revenge (his first film in six years) is no exception. With dizzy, almost palpable glee, Tarantino evokes the international hall-of-mirrors influences that energize martial arts films and much of Asian pop culture in general. Thus the hip-hop of Wu Tang's RZA (who, along with composer Charles Bernstein, concocts what passes for the score's traditional cues) somehow finds itself but one ingredient in a heady souffle that includes vintage TV and film cue rarities (Al Hirt's main title from The Green Hornet, Bernard Herrmann's haunting theme from Twisted Nerve, the spaghetti western melodrama of Luis Bacalov's "The Grand Duel," Isaac Hayes in full blaxploitation mode on "Run Fay Run"), Charlie Feathers' vintage rockabilly and a pan-kitsch sensibility that encompasses Zamfir, Nancy Sinatra's angst-in-the-pants take "Bang, Bang" and Santa Esmeralda's disco-era workout of "Please Don't Let Me Be Misunderstood." Tarantino's contemporary Japan-Pop selections are no less giddy, ranging from Meiko Kaji's sultry "Flower of Carnage" to The 5.6.7.8's loopy "Woo Hoo." It's everything we've come to expect from a Tarantino score (including dialog excerpts and a few sound fx stingers), with a madcap trip around the pop music world thrown in for good measure. — Jerry McCulley

Quentin Tarantino wraps up his dizzy double-dose of martial arts film tribute cum informed paean to junk cinema with the throw-it-all-against-wall abandon that's become his cliched trademark, if not necessarily his true strength as a filmmaker. That sensibility has long informed his quirky, world-pop savvy soundtracks as well, though this chapter's collection gratifyingly sacrifices a dollop of eclecticism in favor of a little more focused nuance. Revolving loosely around a decidedly international, free-floating axis of Latin rhythm (Chingon's "Malaguena Salerosa, " the flamenco-demento of Lole Y Manuel's "Tu Mira") and Western twang, Tarantino's choices include Morricone both familiar (The Good, the Bad and Ugly's evocative "Il Tramonto") and less so (Il mercenario's "l'arena," "A Silhoutte of Doom"), fellow Roman film scorer Luis Bacalov's slinky, guitar-driven "The Summertime Killer" and a couple disparate slices of Americana by country legend Johnny Cash and rockabilly loose cannon Charlie Feathers. The director's pop fare covers less adventuresome territory, though Malcolm McLaren's trip-hop take on the Zombie's British Invasion chestnut "She's Not There" somehow seems all-of-a-piece with the retro groove of Shivaree's "Goodnight Moon" and melodramatic kitsch of Japanese actress Meiko Kaji's "Urami Bushi." It's all interspersed with excerpts of Tarantino-penned dialog from the film, snippets that only inspire an even greater admiration for his adventurous taste as musical compiler/supervisor. — Jerry McCulley

ABBA 24bit digital remaster with new liner notes, complete lyrics and bonus track: 'Thank You For The Music (Doris Day Mix)'.

Aerosmith Few comebacks in rock and roll history have been as amazing as that of Aerosmith. Their triumphant return to the charts in the '80s not only rekindled the band's earlier success, but also significantly surpassed it. With their top 20 hits "Dude (Looks Like a Lady)," "Ragdoll," and the top 10 power ballad, "Angel," the group proved they had even more fire left in their fight than anyone could have imagined. Leaving behind its reckless lifestyle, the band sacrificed none of their rowdy rock and roll. "Ragdoll" and "Love in an Elevator" built upon Aerosmith's raunchy blues approach to hard rock, complete with singer Steven Tyler's howl in the best form of his career. Big Ones includes these rockers along with the spooky Grammy-winner "Jamie's Got a Gun," and the slower but still hard-edged "Crazy." Other high points of the new and improved band are reflected in "The Other Side" and the anthem "Eat the Rich." —Steve Gdula

Air A 3-disc Deluxe Edition of Air's seminal 1998 debut album "Moon Safari", packaged in a case bound book DVD size. Second audio disc features rarities, remixes (Beck, Moog Cookbook) and key songs from radio sessions recorded during 1998. DVD component is the hour-long Mike Mills documentary "Eating, Sleeping Waiting and Playing" filmed in New York, London and Paris during Air's first tour.

Alanis Morisette

Alanis Morissette No Description Available.
Genre: Popular Music
Media Format: Compact Disk
Rating:
Release Date: 13-JUN-1995

Alanis Morissette When Alanis Morissette visited Mother India in 1997, she gained new composure and, in a state of numinous bliss, wrote 17 songs for Supposed Former Infatuation Junkie, each suffused with the search for enlightenment and self-knowledge. To the likely dismay of many fans, Morissette now rages at herself. But this long-awaited follow-up to 1995's record-smashing Jagged Little Pill is far from a disappointment. Imbued with dark, swirling psychedelic licks borrowed from Jimmy Page's song book, the disc is paradoxically both more enigmatic and revealing than Pill. And while Junkie shows that Morissette is no less stingy about revealing herself to her fans—her staccato stream-of-consciousness style is again employed to surrender her secrets and foibles a little too easily in these tales of abuse, lost love, and self-flagellation—Junkie also makes one wonder what this musical sphinx holds back. In "Baba" she takes on competitive spirituality, sneering at the fashionable grasp for enlightenment. "Would Not Come" returns to a similar theme—taking us on a tour of her diary. "Would Not Come" and "Your House" offer the only hints of sexual innuendo. The only revenge she wreaks on an errant lover is in the percussive "Are You Still Mad," this time dishing up a much subtler payback than on "You Oughta Know." The record's standouts, meanwhile, are "Thank U" and the hip-poppy "So Pure." One complaint (and there is only one): Morissette's rapid-fire wordplay is at times engulfed by ponderous instrumentation. The worldbeat rhythms and elaborate guitar play add fresh twists to the album, but they also sometimes bury her message. —Jaan Uhelszki

Anastacia Freak of Nature, the second album from former wedding singer Anastacia Newkirk, continues the late-1980s funk pop revival that her debut Not That Kind started. And in true 1980s style, everything's big. From the striding groove of the title track to the flag-waving chorus on "Paid My Dues" and the aerobic workouts of "One Day in Your Life" and "Don't Stop (Doin' It)", her larger-than-life vocals are matched at every turn by feisty attitudes and pounding tunes. As before, sincerity-challenged power ballads are the only sticking point; although this time they're kept to a minimum, and while it may be hard to tell her apart from Mariah and company on "I Dreamed of You", it provides ample opportunity to secure fragile crockery before her ferocious wail revs up again. Sticking to the anthemic Chaka Khan formula makes Freak of Nature a dependable follow-up album, but when it charts the middle ground between ballad and bombast—as with "Overdue Goodbye" and "Secrets"—it betters its predecessor. With lingering melodies and tender funk struts, Anastacia prooves she doesn't have to positively belt out a tune in order to soar. —Mark Daniels

Anders Clemens Øien

Anders Clemens Øien

Anja Garbarek With its dream-like montage of moods and impressive variety of arrangements, Smiling and Waving shows just how far the daughter of Jan Garbarek has come since the 1992 album Velkommen Inn (Come On In). Gone are the Norwegian lyrics and driving, somewhat Euro-pop arrangements. Instead, Smiling and Waving offers a range of convincingly distilled—and delivered—English lyrics, building upon the poetic ambition and achievement revealed on Anja's second release, the 1996 Balloon Mood. At times, Smiling and Waving can bring to mind the work of Kate Bush and Annette Peacock as much as that of Björk. Overall, however, it finds Garbarek establishing her own identity, as much through the shape-shifting arrangements as anything else. Such jazz notables as double-bassist Chris Laurence and saxophonist Theo Travis contribute some fine moments, but apart from the lyrics, the album is mostly remarkable for its mixing and metamorphosing of acoustic and electronic sounds, concert strings and occasional trip-hop grooves, ambient space and judicious sampling. Robert Wyatt's guest appearance on the melancholic "The Diver" fits the overall concept and mood of the album perfectly. —Michael Tucker

Anja Garbarek

Aretha Franklin Import only double-disc collection released by Warner's includes 43 tracks. 'Respect' features all the classic songs by the original Queen of Soul, Aretha Franklin. Rooted in a gospel tradition that was to inform her soul-charged sound, her impact on pop music, and in particular American pop music was profound. It was the run of late-60s Atlantic hits featured here ('Respect', 'Chain of Fools', 'I Say A Little Prayer') that made her a star but as this 'Best of' shows, there was plenty more to come. Aretha was discovered all over again by a new generation in the 80s thanks to her role and performance ('Think') in hit musical The Blues Brothers. Riding high on a wave of success, duets with latter day icons followed like the epic "I Knew You Were Waiting" with stubble-faced George Michael and the anthemic 'Sisters Are Doing It For Themselves' with self-proclaimed diva Annie Lennox. Respect is certainly due to the remarkable talent of Aretha Franklin and this double disc anthology thoroughly represents the diva in her full majesty. Warner. 2002.

Astrud Gilberto

Bad Cash Quartet European pressing features a total of 11 tracks including 'Let It Shine', 'Heartattack', 'I Can Take The World', 'Oh My Heroes' and the title track to name a few. 2001.

Beady Belle The underground sound of Oslo, Norway really is the new hip. Slinky, sexy & modern, it's groovetastic jazz that takes in the old & the new, drum'n'bass & ambient dance & proper jazz. Packaged in a deluxe digipak. Jazzland/Universal. 2003.

The Beatles Japanese exclusive reissue of 1966 album. This Toshiba/EMI pressing features an OBI strip (different from the last Japanese pressings issued in 1990) & an insert with Japanese text & lyrics in Japanese & English. Manufactured & pressed in Japan. This album has been direct metal mastered from a digitally remastered original tape to give the best possible sound quality. 2004.

Bel Canto

Bertine Zetlitz

Björk International version of the Icelandic enchantress' 1993 album with the bonus track, 'Play Dead'. Universal.

Björk This Icelandic marvel is such an original that, even after four Sugarcubes albums and a brilliant solo Debut, she remains an acquired taste. "Army of Me" is a turbulent, darkling tune that's almost conventional next to the gloriously eclectic material that follows. Working with Tricky, Soul II Soul/U2 producer Nellee Hooper, and string arranger/one-hit wonder Deodato, Björk looses her helium-fuelled voice and surreal wordplay on Gershwinesque pop (the adorable "It's Oh So Quiet"), ambient dub ("Possibly Maybe") and all kinds of fresh dance/pop hybrids ("Enjoy", "Hyper-Ballad", "I Miss You"). Too raw and adventurous for mass success, perhaps, but a more unique, engaging, and oddly accessible artist just doesn't exist. —Jeff Bateman

Black Debbath

The Blues Brothers No Description Available.
Genre: Soundtracks & Scores
Media Format: Compact Disk
Rating:
Release Date: 29-AUG-1995

Bo Kaspers Orkester

Bob Marley UK compilation featuring 40 tracks, the standard double jewel case is housed in a slipcase and includes a 20 page booklet with rare photographs. Dejavu Retro. 2001.

Boerretzen Odd/Lars Martin Myh

Bright Blue Gorilla

Bugge Wesseltoft

Bugge Wesseltoft's New Conception Of Jazz 2CDs. 12 Tracks

Burton Jespersen

The Cardigans

Charlie Haden & Pat Metheny Full title - Beyond the Missouri Sky (Short Stories). European tour edition of 1996 album includes a bonus DVD (PAL) with two live tracks, 'First Song (For Ruth)' & 'Our Spanish Love Song' recorded in 1997 at Jazz international festival of Montreal plus o

Cole Nat King

Coti Limited French pressing of their 2002 album includes one bonus track, 'Everybody's Gonna Be Happy', & a bonus CD-ROM (packaged in a paper sleeve) featuring the video, 'No One Knows' & the 'making of' the video. Interscope.

Creed Creed burst out of Florida with 1997's My Own Prison, a dark but commercial debut reminiscent of the early-1990s Seattle sound. Creed's moody guitar grunge and ardent lyrics, coupled with singer Scott Stapp's passionate vocals, helped My Own Prison sell millions. Human Clay demonstrates that this likeable quartet hasn't messed with success; they turn in a sophomore outing rife with evocative moodiness, soaring guitars and a dark, roiling, intense vibe. "Beautiful" is but one of the winners on this strong 11-song album. Haunting and indeed beautiful, the track is more delicate and seductive than most heard here, as is another lilting and mysterious entry, "Never Die", which boasts some Middle Eastern accents. "Higher" is typical Creed—safe, emotive guitar rock for the masses, but with a slight edge. Memorable hooks, Soundgarden-like guitars, and Vedder-like vocals make Human Clay at once compelling and effectively redundant. —Katherine Turman

The Cure Aussie reissue of 2000 album includes one bonus track 'Coming Up'. Polydor. 2004.

D-A-D First album in 3 years for Danish heavy metal act, their first since the 1997 release 'Simpatico'. 2000 release. Standard jewel case.

Dadafon 1 After All 1:35 2 Move 3:47 3 My Days Go On 2:28 4 Bygones 4:34 5 If He Comes 4:55 6 Release Me 3:55 7 Babylon 4:05 8 A Man's Requirements 5:02 9 Visitor 4:48 10 House of Clouds 6:36

Dizzy Mizz Lizzy

Dizzy Mizz Lizzy

Dolly Parton

Dream Theater No Description Available
No Track Information Available
Media Type: CD
Artist: DREAM THEATER
Title: CHANGE OF SEASONS
Street Release Date: 09/19/1995
Domestic
Genre: HEAVY METAL

Dream Theater No Description Available.
Genre: Popular Music
Media Format: Compact Disk
Rating:
Release Date: 26-OCT-1999

Dream Theater Dream Theater's latest 2 CD studio epic, produced by drummer Mike Portnoy & guitarist John Petrucci. Elektra Entertainment.

Dumdum Boys

Edie Brickell

Edie Brickell & New Bohemians

Eduard Brasidze, Carl Orff

Einmal Kommt Die Liebe

Era Third release overall and second album for this project of French musician Eric Levi who creates ethereal, evocative soundscapes in the tradition of artists like Enigma and Deep Forest. The follow-up to the first multi-platinum volume features 10 tracks which enchant with a blend of skillful blend of electric instruments and violins, covered by otherworldlyvocals. 2000 release.

Eric Clapton Clapton caught the "unplugged" trend just at the right time, when the public was hungry to hear how well rock stars and their material could hold up when stripped of elaborate production values. Clapton himself seemed baffled by the phenomenon, especially when picking up the armload of Grammys Unplugged earned him, including Record and Song of the Year for "Tears in Heaven", the heart-rending elegy to his young son, Conor. That song and a reworked version of "Layla" got most of the attention, but the rest of the album has fine versions of acoustic blues numbers such as "Malted Milk", "Rollin' & Tumblin' and "Before You Accuse Me" that make it worth investigating further. —Daniel Durchholz

Evanescence Fallen, the debut album from Evanescence (a previously unknown quartet from Little Rock, Arkansas) was given a nice boost by the Daredevil soundtrack. Their songs "My Immortal" and the imposing "Bring Me to Life" are clear stand-outs in the film, mainly because they work so well with the dramatic, eerie undertones of the story line. They reappear here on the band's debut, alongside a selection of similarly brooding tracks that evoke pensive artists such as Tori Amos and the Cranberries. Vocalist Amy Lee has the kind of voice that can cause weeks of insomnia, but on songs such as "Tourniquet" and "Haunted" she belies the music's sinister mood with even-handed spirituality, thoughtfully letting some light shine through the tempest. —Aidin Vaziri

Farmers Market

Fugees Their remake of "Killing Me Softly" was the hit, but that's only the beginning of the story. A hip-hop trio whose talents reach out into the world of the pop song (Wyclef Jean is a fine guitar player, and Lauryn Hill's a heck of a singer), the Fugees are also all distinctive, inventive rappers—you find yourself waiting for each of them to take the next verse in turn. The beats are the familiar crossed-armed boom-bip, but the group's understated grooves and subtle effects lie low in the mix. Aside from two kicky covers of classics (the other is Marley's "No Woman, No Cry"), The Score's focus is on the stars' rhyming with the free-form grace of performance poets and showing that they have thought deeply about the issues they raise. —Douglas Wolk

Garbage Japanese edition of their 1998 & second album with 'Lick ThePavement' & 'Thirteen' added as bonus tracks. 14 tracks total, also featuring the single 'Push It'. A Mushroom/ BMG release.

Gåte

George Frideric Handel, Christmas Traditional, Felix Mendelssohn, Adolphe Adam, Research Composer, Franz Xaver Gruber, Jr. Hopkins John Henry, Anonymous, John Francis Wade, Robert de Cormier, Jessye Norman

George Michael Since the break-up of teen duo Wham! in 1986, George Michael has constantly had to reinvent himself as a credible master of various musical styles. Ladies And Gentlemen charts this journey, from his duets with pop elite such as Aretha Franklin ("I Knew You Waiting (For Me)") and Elton John ("Don't Let The Sun Go Down On Me"), to dance floor classics such as "Too Funky" and "Fastlove" and bleak, evocative numbers such as "Jesus To A Child" and "A Different Corner". The songs are arranged on two complementing discs: the slower, ballady productions are on the first disc ("for the heart"), and the more dancey, poppy numbers are on the second ("for the feet"). The compilation also includes three tracks specially recorded for the album, most notably his duet with Mary J Blige on the Stevie Wonder classic "As". —John Galilee

Gipsy Kings

Gnarls Barkley Gnarls Barkley is the highly anticipated collaboration from Danger Mouse and Cee-Lo. Danger Mouse is one of the most important artist/producers in music today. "Demon Days" sold over 5 million worldwide and Dangerdoom's "The Mouse And The Mask" sold over 100,000 units. Accolades include GQ's "Men Of The Year" honor; Spin's "Eccentric Genius Of The Year", NME's "Hottest Hip-Hop Producer In The World", Entertainment Weekly's "Album Of The Year", Grammy nomination for Producer Of The Year, and more. Cee-Lo is a Grammy-nominated, founding member of Goodie Mob. He wrote and produced the Pussycat Dolls #1 smash hit "Don't Cha", and his two solo albums for Arista scanned over 500,000 units combined. He also wrote hit singles for Ludacris, Common, P Diddy, Trick Daddy, and others. "Goodie Mob" has sold over two million albums worldwide. "Crazy", from this release, is all over UK's Radio One.

Guns N' Roses Limited 2008 UK 180gm vinyl pressing of this classic album, released to coincide with the 60th anniversary of the long-playing record. This is an exact replica of the original packaging and contains a voucher enabling the purchaser to download MP3 versions of the songs within. Happy Birthday, my dear vinyl LP! Universal.

Guns N' Roses Japanese only SHM pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players. Universal. 2009.

Guns N' Roses 120 gram vinyl/original artwork.

Guns N' Roses Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. Universal. 2008.

H.I.M. Full Title - Deep Shadows & Brilliant Highlights. 2002 album from His Infernal Majesty features 11 tracks including a multimedia section containing a CD-ROM video of the track 'Pretending'. RCA.

Håkan Hellström

The Hellacopters Fourth full-length album for the Swedish punk/metal/rock act. Produced by Chips K. (The Nomads, Sator, The Turpentines, etc.) and mixed by David Bianco (Posies, Springsteen, Pavarotti, etc.). 13 tracks, all meat, no fat, a seriously smokin' record from one of the most defiantly original acts around today. Includes the first single, 'Toys And Flavors'. 2000 release. Standard jewel case.

The Hives 2000 release from Swedish punk outfit in a gatefold digipak with 4 enhanced video tracks, 'a.k.a. I-D-I-O-T', 'Die All Right', 'I Hate To Say I Told You So' & 'Main Offender' and 2 bonus mp3's 'Here We Go Again' & 'Hail Hail Spit n'Drool' plus 2 screensavers and 1 sticker with a picture of the band. 2002.

Hotel Hunger

Howard Shore Score composer Howard Shore has informed this first instalment of The Lord of the Rings trilogy with his distinctly modern sensibilities. Revolving loosely around a brief, heroic brass theme, the composer has infused this epic with a powerful rhythmic thrust and a musical range that encompasses centuries (from the Renaissance pastoralism of "Concerning Hobbits" to the fiery, Prokofiev-influenced drama of "A Knife in the Dark"). Key to his score's sense of mystery and magic are the rich choral passages that are interspersed throughout, some so ominously gothic they make The Phantom Menace's "Duel of the Fates" sound almost sunny by comparison. Enya's contributions ("The Council of Elrond" and the song "May It Be") add a sense of organic tranquillity, but it's Shore's Wagnerian-scaled orchestral score that will long be cherished by admirers of film music and Hobbits alike. —Jerry McCulley

Howard Shore Howard Shore's music for the massively successful first film chapter of Tolkien's saga won him the Oscar for Best Original Score, something of a surprise given the music's ambitious scale and determinedly dark overtones. Its sequel, Lord of the Rings: The Two Towers takes the same, often Wagnerian-scaled dramatic tack, following the film's story line into even more brooding and ominous dark corners. The previous film's Hobbit-inspired pastoralism is supplanted here by rich ethnic textures that expand the musical scope of Middle-earth and the World of Men; the hardanger, a Norwegian fiddle, represents the Rohan and the North African rhaita colours the Mordor theme, while log drums, dilruba, wood xylophone and cimbalon add intriguing textures elsewhere. The score's looming orchestral clouds are brightened by Shore's masterful choral writing, which infuses ancient liturgical influences with various solo turns by Isabel Bayrakdarian, indie-pop star Sheila Chandra, Ben Del Maestro and Elizabeth Fraser. "Gollum's Song", the composer's concluding collaboration with lyricist Fran Walsh, is delivered with Björkish, postmodern angst by Emiliana Torrini, and helps punctuate the story's modern sense of allegory. —Jerry McCulley

Howard Shore Elegant and eloquent, Howard Shore's score for The Return of the King shies away from excessive epic bombast. The composer weaves into the fabric familiar leitmotifs from the earlier two scores—such as the heroic "Fellowship" theme and the stirring "Rohan" theme—but now they are presented with a reflective sense of finality. Shore's distinctive orchestral palette for the trilogy has always featured voices—either solo or choral—as a key musical colouring, and here the professionals (including soprano Renee Fleming) are joined by Billy Boyd and Viggo Mortenson, who provide small but effective contributions.

There is martial music, naturally, while the Mordor sequences—such as "Minas Morgul" and "Shelob's Lair"—elicit some terrifying orchestral drama. But the score's overall tenor is more meditative than either of its predecessors, ultimately emphasising the poignancy of farewells more than exterior spectacle as it reaches a suitably and satisfyingly Wagnerian climax in "The Grey Havens". Only the obligatory song tie-in, "Into the West" (sung by Annie Lennox), is a middle-of-the-road disappointment after all that has gone before.

This single disc presents only selections from a much larger work. Hopefully, the complete scores for all three films will soon be released with the same sort of lavish attention paid to John Williams' comparable Star Wars cycle. Only then will the magnitude of Howard Shore's achievement be fully evident: at the very least, like Williams a generation earlier, Shore has given musically aware filmgoers a brief respite from wall-to-wall product-placed pop and thudding drum machines. —Mark Walker

Irene Cara, Michael Gore, Paul McCrane Remastered for the first time since it debuted in 1980! 2003 reissue include three bonus tracks, 'Out Here On My Own' (Instrumental Version), 'Fame' (Instrumental Version), & the previously unreleased, 'Miles From Here'. Rhino.

Jaga Jazzist

Jan Garbarek There's mystery and looming drama throughout this 1988 recording, as Garbarek combines his saxophones and flute with his highly developed studio art. There's a piquancy to the long opening track, with Garbarek's lilting soprano first paraphrasing a traditional Lapp song before developing darker, minor hues. Strong echoes of the Middle East arise in the drones and percussion and the cry of Garbarek's saxophones on "Achirai" and "Brother Wind." "Voy Cantando" has hints of Garbarek's powerful jazz voice, momentarily exploding into the softer textures that predominate here. On the longer tracks, the saxophonist is joined by regular associates Eberhard Weber on bass, Nana Vasconcelos on percussion, and Rainer Brüninghaus on keyboards, while he goes it alone for a few brief atmospheric pieces. "Its Name Is Secret Road" is all flute with some arresting electronic alterations, while his soprano is the principal instrument on the "Mirror Stone" pieces, his plaintive oboelike sound seeming to echo across the fjords. —Stuart Broomer

Jan Garbarek One of the first eight releases in ECM's new rarum: series, Jan Garbarek's Selected Recordings is a two-disc overview put together by the artist. Pulling material from a label legacy that is 30 years long and 50 albums deep, this is a great overview of the Norwegian saxophonist, whose sonorous tone can somehow be both fluid and brittle sounding. Jazz fans will no doubt be impressed with the list of jazz personnel featured here (Keith Jarrett, Bill Frisell, Charlie Haden, and others), but Garbarek has covered a lot of ground, recording material that also includes medieval choral music, Norwegian folk music, Indian music (featuring Trilok Gurtu, Shankar, and Zakir Hussain), and electronic music. No matter the context, Garbarek's music is forward looking, and his spare playing is as concise as it is tasteful. The sound has been remastered to the 24-bit 96-kHz format, making this already elegiac music sound as if it truly is coming from the heavens. —Tad Hendrickson

Janis Joplin

JAZZ / SWING Compilation

Jean-Michel Jarre After inhaling too much Oxygene and exhaling the techno remix album, Odyssey Through O2, Jean Michel Jarre sets about to find a happy medium between vocal and instrumental, electronic and dance. After decades of producing electronic, instrumental music, Metamorphoses features vocal collaborations with Laurie Anderson, Natacha Atlas, Veronique Bobba, Lisa Jacobs, Evoka's Dierdre Dubois and Jarre's own metamorphosised voice. The result is a slightly darker and faster paced album, co-produced by French DJ Joachim Garraud. Over a course of 12 tracks, Jarre asserts the identifiable melodies that mark his work while expanding on it with the vocal collaborations, which recall Air, Underworld and Orbital. "C'est La Vie" and "Give Me a Sign" are singles that should appeal to a wide audience, but the real highlights here are the longer, darker tracks "Hey Gagarin", "Millions of Stars" and "Je Me Souviens". —Colin Neal

Joni Mitchell The 1996 Grammy winner for best pop album, Joni Mitchell's Turbulent Indigo is the singer's most distinctive and rewarding work since Wild Things Run Fast in 1982. Coproduced by Mitchell and her longtime collaborator and former husband Larry Klein, Turbulent Indigo is perhaps the only one of her '80s and '90s discs on which she isn't unduly hampered by studio technology. Whereas her rotten taste in synthesizers lent an automatically dated sound to 1988's Chalk Mark in a Rain Storm and 1998's Taming the Tiger, here the gadgetry is unobtrusive and enhances the power of Mitchell's voice and guitar playing. It also helps that this batch of songs is particularly evocative and well written, ranging from the graceful "How Do You Stop," on which she wonders how to stop "love from slipping away," to the wonderful vignette "Yvette in English," which describes a chance encounter between Picasso and a reluctant model. Paintings and painters are obviously a major theme on the disc—the cover is Mitchell's portrait of herself in the guise of Van Gogh—but more striking is her pessimistic view of humanity. "The Magdalene Laundries" describes the fate of girls left pregnant and abandoned in convent laundry rooms, "Not to Blame" details "the miseries made of love" for all the world's battered wives, and the title of "Sex Kills" is entirely self-explanatory. "The Sire of Sorrow (Job's Sad Song)," the album's finale, is nothing less than the cries of the much-put-upon Job against a heartless God who makes "everything I dread and everything I fear come true." The plaintive beauty of the music helps sweeten the potential sourness of Mitchell's lyrics. Indeed, the contrast gives great force to Turbulent Indigo and confirms that Mitchell's intellectual prowess and willfully contrary outlook are two qualities sorely missing in the work of many of the contemporary songwriters who cite her as their godhead. —Jason Anderson

Joni Mitchell Following the Grammy triumph of Turbulent Indigo by four years, Joni Mitchell rewards our wait with an album that's even better. Taming the Tiger finds Mitchell playing her guitar through a Roland VG8, adding fresh texture to her continuing musical association with Wayne Shorter's sax and the rhythm section of Larry Klein and Brian Blade. "Happiness is the best facelift" is the line you'll hear quoted, but it isn't truly representative. Song painter Joni knows that light creates infinite gradations of shadow, and this is as varied a collection as she's given us. "Love has many faces," she sings in "Love Puts on a New Face"; and her portraits of longing ("Man from Mars"), abandon ("Crazy Cries of Love"), and quiet fury ("No Apologies") are exquisite. —Ben Edmonds

Joni Mitchell No Description Available
No Track Information Available
Media Type: CD
Artist: MITCHELL,JONI
Title: BOTH SIDES NOW
Street Release Date: 03/21/2000
Domestic
Genre: ROCK/POP

Kaizers Orchestra

Karl Bohm, Berliner Philharmoniker, Vienna Philharmonic Orchestra

Kashmir

Kaspers Orkester

Kings of Convenience Recently signed by the UK office of Parisian label Source (Air,Phoenix), Kings Of Convenience are Erik Glambek Boe and Erland Oye from Bergen, Norway. Favoring simplicity and melody over big production, they write emotive, intimate music that will connect instantly with fans of Nick Drake and Belle and Sebastian. Standard jewel case. 2001 release.

Kristin Asbjørnsen

Kula Shaker

Lenny Kravitz Lenny Kravitz Photos      

More from Lenny Kravitz

Greatest Hits
Baptism
Mama Said

Leonard Nimoy, William Shatner 1997 compilation on MCA featuring the best that Capt. Kirk &Mr. Spock recorded for the label between 1967-1970. Includesmaterial from all four of Nimoy's albums & Shatner's 'The Transformed Man'. Wacky fun ranging from Broadway numbers toprotest songs to Shakespeare narrations to covers of Dylan &Beatles tunes! 24 tracks in all, including Shatner's covers of 'It Was A Very Good Year', 'Mr. Tambourine Man' & 'Lucy In The Sky With Diamonds' and Nimoy's covers of 'Abraham, Martin And John', 'Put A Little Love In Your Heart' and 'Sunny'.

Lisa Ekdahl, Peter Nordahl Trio

Loreena McKennitt McKennitt's recordings always have the quality of a spiritual sojourn; her songs are those of a seeker, whether she's setting Yeats, Scripture, or her own words to her compositions. It's this that attracts people to her music, and The Book of Secrets is no exception, whether it's the lazy rhythms of "Marco Polo," the sober joy of "The Mummers' Dance," the poignancy of "Skellig" or "Dante's Prayer," or the drama of Alfred Noyes's "The Highwayman". "The Highwayman" is a particularly strong effort, especially in comparison to her earlier setting of "The Lady of Shalott"; McKennitt has become much more skilled at musical narrative. This is music that can be enjoyed on many levels, from McKennitt's growing skill as a composer to the deeper questions posed by her lyrics. —Genevieve Williams

Madonna Japanese Limited Edition reissue of The Queen Of Pop's smash 1998 album. Includes one bonus track, Has To Be, which was only available in the U.S. as a b-side. Released after becoming a new mom, this album was widely critically praised, and eventually scored 3 Grammys! Features the singles Frozen, Drowned World/Substitute For Love, The Power Of Goodbye, Nothing Really Matters, club favorite Sky Fits Heaven and the title track, which also won 5 MTV VMA awards, including Best Female and Video Of The Year. Warner Bros

Mahalia Jackson

Maria Callas

Marillion

Marillion Digitally remastered reissue of the hit English prog rock outfit's 1995 album for EMI with a bonus CD featuring nine rare tracks & CD-ROM material. The main album contains eight tracks, including the title cut, plus 'Beautiful', 'CannibalSurf Babe' and 'King'. The bonus disc tracks are 'Icon', 'Live Forever', 'Second Chance (aka Beautiful)' (Previously Unreleased), 'Beyond You' (Previously Unreleased Demo), 'Cannibal Surf Babe' (Previously Unreleased Studio Outtake), 'Out Of This World' (Previously Unreleased Studio Outtake), 'Bass Frenzy' (Pre

Martine Lund Hoel

Metallica Japanese only SHM pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players. Universal. 2009.

Michael Jackson JAPANESE MICHAEL JACKSON-BAD NO OBI-NOT SEALED

Miles Davis This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader", Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. —John Szwed

Moloko Do You Like My Tight Sweater was released in a year when female vocalist led down-tempo acts were hitting saturation point. There seemed to be literally hundreds of enthusiastic epigones attempting to emulate the work of "trip-hop" artists like Tricky, Massive Attack, Portishead and Smith and Mighty. Most of these acts took the same introspective, zeitgeist-capturing route of these seminal Bristol bands—but not producer Mark Brydon (House Arrest, Cloud 9) and singer Roisin Murphy, aka Moloko (a name taken from the Anthony Burgess novel A Clockwork Orange).

Their debut album, cheekily titled Do You Like My Tight Sweater, arrived on the dance scene without fanfare at around this time and presented a radically different take on the down-tempo sound. Boisterous, surreal and humorous, the LP resists the temptation to conjure up yet more disenchanted inner city isolation, seeking instead to paint a brighter—or at least quirkier—picture of modern living. Murphy's elfish, stream-of-consciousness lyrics are delivered here with an infectious slink appeal and are the perfect match for Brydon's slightly bonkers mix of hip-hop beats and funk mixed with groans, creaks, springs and slams.

Featuring the cult hits "Fun For Me" and "Night For Day", Do You... also showcases a bunch more bewitching records, from the Os Mutantes sounding "Lotus Eaters", the sultry "Dominoid", the drum & bass kick of "Butterfly 747" and the silly funk of "Killa Bunnies". It's a rare and genuinely entertaining album. —Paul Sullivan

Morcheeba Blame Tricky and Portishead. They started this whole Bristol sound thing, with sleepy techno beats overshadowed by the chirrupy vocals of some slumberland chanteuse. And—just when you think the approach has lost all its steam, all its relevance—along comes a new outfit to make the music a few degrees sleepier, the singing a tad more dreamy. And singers don't come any dreamier than Skye Edwards, whose lissome trill infuses every track on this sophomore outing with a tranquil ennui. You don't jump around to Morcheeba numbers like "The Sea." You sit back and let them creep up on you, as steady as the tides. —Tom Lanham

Morcheeba

Muse

Muse It's practically impossible to mention Muse without also bringing up Radiohead. Listening to Muse's debut, it's easy to see why. Showbiz was produced by John Leckie, the producer of The Bends, and features the frightfully Yorke-esque choiral falsetto of front-man Matthew Bellamy, running the whole emotional gamut of unhappiness from sincere upset to outright dysfunction. New ground, it's fair to say, remains distinctly unbroken. To Muse's credit, though, they do this angst thing pretty well. "Cave" is a wonderful, terrible epic, replete with rank after rank of bludgeoning guitars, "Muscle Museum" builds up swathes of complex baroque noise, and "Escape"—well, it's a surrogate "No Surprises" with a firework finale, and should keep us ticking over until the next Radiohead album, thank you very much. See? You can't escape the comparison. But at least Showbiz wears it well.—Louis Pattison

Natasja

Nightwish 2004 album from the Finnish metal sensation Nightwish! 11 tracks. Nuclear Blast.

Nine Inch Nails The biggest difference between a kick-ass studio album and a kick-ass live album? Intensity. And All That Could Have Been, recorded on Nine Inch Nails' 2000 "Fragility 2.0" US tour, provides that trait in abundance. It helps that Trent Reznor has a band, instead of just a battery of keyboards, to help him work through 16 tracks of the raging yet surprisingly listenable musical vitriol that made him a star. The live musicians, who allow him some freedom to play with tempo, help kick "Closer" up a notch and lend some atmospheric weight to a slow version of "The Frail". The band rips into older material with gusto; Reznor sounds just as pissed off performing "Head Like a Hole" as he did in 1989. The CD closes with "Hurt", which might seem like an odd choice, but somehow, after everything that's come before, it's like the denouement of a tragedy. While a CD can only capture a piece of NIN's onstage energy, their first live album is an intense, sometimes overwhelming recording, further vindication of NIN's continuing popularity and influence. —Genevieve Williams

Norah Jones

Norah Jones

Ozzy Osbourne For the first five minutes of Ozzy Osbourne's 13th solo album, Down To Earth, you feel like cracking open the champagne to celebrate a triumphant return. To a deliciously dirty blues riff that's Led Zep getting hot and sweaty with prime era Sabbath, "Gets Me Through" is a brilliant track, which sees Ozzy deconstruct his showbiz persona in a Robbie Williams-turns-rock-god style: "I'm not the kind of person you think I am... I try to entertain you the best I can." Sadly, the rest of the album isn't quite up to the opener's high standards. "Facing Hell", while fine in the foot-stomping, dandruff-shifting stakes, is stuffed with the kind of horror cliches that "Gets Me Through" rises above. Same goes for "Black Illusion" and "Can You Hear Them", although in the latter's case you suspect the "voices in my head" aren't mere poetic justice. The album really goes off the rails though with "Dreamer", where Ozzy weeps about global warming a la "Imagine", and "You Know..." in which our hero apologises to his kids. Not quite rock legend behaviour perhaps, but even at its worst Down To Earth has enough wilful eccentricity to keep you entertained, amused and still brimful with respect. —Ian Watson

Pat Metheny Group

Pink Asian exclusive limited edition pressing of her sophomore album includes one bonus track, 'Catch 22', along with a bonus CD sized spiral bound 40 page 'Dear Diary' note pad that's housed together with the CD in a special slipcase. Enhanced with photo ogallery and lyrics page. 15 tracks in all. 2002.

Pink

Prodigy A 50 TRACK 50 MINUTE MIX COLLECTION BY PRODIGY MASTERMIND LIAM HOWLETT.

Queen What once seemed Queen's greatest liabilities—a preening flamboyance and pompous, overwrought theatricality—have ironically become their most enduring charms in a grey, postmodern pop-music landscape. While it eschews the glammy, pre-punk hard rock of live faves such as "Stone Cold Crazy" and "Tie Your Mother Down" for the band's more quirky club-beat string of latter-day hits , this 51-track triple-CD anthology goes a long way toward documenting the true dimensions of the band's music and fame. It even includes some solo work by Brian May and Freddie Mercury, whose duet on "Barcelona" with diva Montserrat Caballé transcends boundaries of both time and genre. A previously unreleased live performance of "The Show Must Go On" featuring Elton John on vocals is also included. —Jerry McCulley

R.E.M.

R.E.M.

R.E.M. New Adventures, despite its studiocentric title, is a snapshots-from-the-road record in the tradition of Neil Young's Time Fades Away and Jackson Browne's Running on Empty. Like them, it captures a where-am-I-and-why ambience, even with its concert and sound-check material reworked in post-tour sessions. This is very much a transitional album, its feel somewhere between the chamber-folk sweep of Out of Time and Automatic for the People and the distortion-pedal party that raged on Monster. It's the work of a band pretty near its peak consolidating familiar sounds and styles while tinkering with the edges. —Rickey Wright

Radka Toneff

Randi Laubek

Ray Charles

Rebekka

Red Hot Chili Peppers No Description Available
No Track Information Available
Media Type: CD
Artist: RED HOT CHILI PEPPERS
Title: CALIFORNICATION
Street Release Date: 06/08/1999
Domestic
Genre: ROCK/POP

Red Hot Chili Peppers ALBUM HIGHLIGHTS : The Modern Rock #1s are "Give It Away," "Soul To Squeeze," "My Friends," "Californication," "Otherside" and "By The Way" (also Top 40 Pop). The Top 20s are "Higher Ground" and "Suck My Kiss."

Red Hot Chili Peppers Anthony Kiedis of the Red Hot Chili Peppers calls the band’s first new album in four years, Stadium Arcadium, the most-anticipated album of the spring, "the best thing that we’ve ever done…. There’s this weird kind of sublime, subliminal undercurrent that is suggestive, in a spirited way, of our earliest records." Exuding all the passion, energy and funked-up rock that have made the Red Hot Chili Peppers one of the most popular bands in history, the 2-CD Stadium Arcadium, simply put, will knock your socks off.

Rufus Wainwright UK pressing of the 2007 album from 'the crown prince of singer-songwriters', Rufus Wainwright, featuring one bonus track: 'Do I Disappoint You?'. Release The Stars is a masterclass in songwriting and production. The album is written and produced by Rufus himself, with Neil Tennant as executive producer. Long time collaborator, Marius de Vries, has also sprinkled magic dust over the tracks in the mix. Universal. 2007.

Saint Etienne The British pop trio's 1998 & fourth studio outing. 11tracks, including the singles 'Sylvie' and 'The BadPhotographer'. 1998 Creation Records release.

Seal Same as Us Release.

Seatsniffers

Seigmen

The Sex Pistols Import only double-disc pressing features the original 12-track 1977 album on the first disc and a bonus 21-track disc entitled, 'Spunk and Spedding Demos' which features a host rare and alternate mixes. Slimline double-jewel case. EMI.

Simply Red Japanese Release featuring a Bonus Track.

Sinéad O'Connor Import version features a different tracklisting to the US pressing. EMI.

Sissel & Odd

Skunk Anansie

Smashing Pumpkins Upon the release of Gish—the group's debut—in the summer of 1991, more than one rock aficionado hailed the Smashing Pumpkins as the best band to come out of Chicago since Ministry. A bold statement, yes, but one backed up by Billy Corgan's Hendrix-like riffs and searing signature guitar tone. Intriguing songwriting is evidenced from the start as well, with the driving, amped-up rock of "I Am One," "Siva," and "Tristessa" contrasted with the soothingly eerie psychedelic flavor of "Rhinoceros" and "Window Paine." Gish predates the band's movement toward the loop-based electronic sounds heard in their late-'90s works, yet the seeds for this transition are definitely apparent. Electro guru Tricky even sampled the backbeat from "Suffer" in the tributary "Pumpkin" on his sex-soaked Maxinquaye. Butch Vig shows off his chops as producer and cultivates signature dramatic moods on Gish, which helped put the Smashing Pumpkins on the map as one of the most important alt-rock bands of the '90s—much to the delight of the decade's disenfranchised youth. —Brad Zinser

Sondre Bratland

Sophie Ellis-Bextor Debut solo album for artist best known as the voice of the international dance hit, Spiller's 'Groovejet'. Collaborators include Moby, Alex James (Blur) & Gregg Alexander (New Radicals). Tracks include the first single, 'Take Me Home'. 2001.

Spock'S Beard

Spock's Beard

Standfast

The Sugarcubes

Susanne Lundeng

Suzanne Vega Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. Universal. 2008.

Suzanne Vega Suzanne Vega remains one of the most relentlessly, mercilessly tasteful recording artists alive. Every note on Songs in Red and Gray has been arranged with the meticulous precision of a butler laying silver on a table. Every sound is so polished and buffed that you barely notice you're listening, every syllable of every lyric only admitted to the melodies after painstaking reviewing and rewriting, and every song sung as if Vega believes that her core audience consists of elocution teachers. This has worked, occasionally, for Vega before—it should not be forgotten what an original presence she was with "Left of Center" and "Marlene on the Wall"—and it works, occasionally, for Vega now. There are a few fine songs here, notably the gently acerbic "Last Year's Troubles" and the wryly subversive "Maggie May" (not the Rod Stewart standard), but there is also a whole lot of glutinous, over-refined suet. Vega still needs to give her songs a much longer leash. —Andrew Mueller

Suzanne Vega Though not the songs that would put her on the pop music map—that would come with 1987's Solitude Standing—Vega—Vega's first album shows her folky songwriting origins and, song for song, may still be her best. Produced by Patti Smith guitarist Lenny Kaye, the sound is softly sculpted by Kaye's silvery guitar and an airy, occaisonal string section, matching the dream-like introspection of "Queen and the Soldier" and the surreal word play of "Small Blue Thing." Vega's philosophical, quiet, but confident approach would open the door for a second generation of female singer-songwriters like Dar Williams and Shawn Colvin. Her debut remains an unassuming sleeper for one of the '80s best folk or pop albums. —Roy Francis Kasten

Terje Rypdal

The Beatles Digitally remastered digipak edition of this classic 1969 album from The Beatles featuring 'Something', 'Come Together', 'Here Comes The Sun', 'Oh Darling', 'Because' and many more. The album has been remastered at Abbey Road Studios in London utilizing state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. Within the CD's new packaging, the booklet includes detailed historical notes along with informative recording notes. A newly produced mini-documentary on the making of the album is included as a QuickTime file on each album. The documentary contains archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere. Capitol. NOTE: Abbey Road was never released in mono and is not available in The Beatles In Mono boxset.

The Cranberries

Tim Christensen

Tim Christensen

Tina Turner Digitally remastered double disc collection of one of the most celebrated women in Rock N Roll. Here are her best recordings from over 5 decades in the business, from the beginning with ex-husband Ike to her triumphant claw back to the top in the 80's and beyond, her star forever shines brightly in popular music. Includes 3 new previously unreleased recordings exclusive to this collection.

Tom Waits Japanese only SHM pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players.

Tom Waits No Description Available
No Track Information Available
Media Type: CD
Artist: WAITS,TOM
Title: SMALL CHANGE
Street Release Date: 02/07/1989
Domestic
Genre: ROCK/POP

Tom Waits This is Waits's most harrowing album ever, thanks not only to such heartwarming sentiments as "What does it matter, a dream of love or a dream of lies / We're all going to be in the same place when we die" but also to the ravaged, shamanistic croak with which he delivers them. Death hangs like a bad suit on songs like "Jesus Gonna Be Here," "The Ocean Doesn't Want Me," and "Murder in the Red Barn." But the album is musically entrancing and richly poetic——"Are you still jumping out of windows in expensive clothes?" Waits asks a perennially unfaithful lover in "Who Are You." There's also room for some foolishness, as with "I Don't Wanna Grow Up," which has been memorably covered by the Ramones, and a boozy sing-along (with Keith Richards), "That Feel." —Daniel Durchholz

Tori Amos Australian limited edition release combines two albums, Boys for Pele (1996) & Under the Pink (1994), individually packaged in standard jewel cases & housed together in a slipcase. 2001 release.

Tori Amos No Description Available
No Track Information Available
Media Type: CD
Artist: AMOS,TORI
Title: FROM THE CHOIRGIRL HOTEL
Street Release Date: 05/05/1998
Domestic
Genre: ROCK/POP

Tracy Chapman No Description Available.
Genre: Popular Music
Media Format: Compact Disk
Rating:
Release Date: 1-JAN-2002

Transatlantic

Tre små kinesere

U2 Limited to 1,000 pieces. Presented in an exclusive compartmented box with black velvet finish inside and out. Printed with the 'Heart Suitcase' label and U2000'. Includes their 2000 album, 'All That You Can't Leave Behind' on CD, a silver Zippo style ligh

Valland Nordli Asne

Vanessa-Mae Vanessa-Mae, vehemently opposed to any "compartmentalising of music", describes the material on this album as "techno-acoustic fusion". As far as instrumentation and recording techniques go, that's a pretty fair description. But when the subtitle is "The Classical Album" , Vanessa-Mae and her producer/composer Mike Batt (of Wombles fame) stand accused of misleading their audience. Apart from the opening "Toccata in D", one of the prodigy Vanessa-Mae's favourite show pieces, all tracks are original compositions, most of them by Batt. What we hear are contemporary, poppy pieces, rock drum and keyboard-based, and tailor made for Vanessa-Mae's high-energy yet delicate virtuosity. The fact that the talented Batt is audibly influenced by Michael Nyman does not make his compositions more "classical", but thankfully steers them out of the tedious realm of "Classic Rock". "Widescreen" is a track where the Mae-Batt synthesis works very well; both violinist and producer making the most of the technology-meets-tradition concept. Some of this is film score material, some shopping-mall ear drum fodder, other tracks yet again, revisit Mike Oldfield's old pastures—it is a matter of discussion whether this album "defies all labelling" or simply makes a point of wooing them all in pursuit of the widest possible audience. Hence the "wet T-shirt", sorry, "glistening Sea-Nymph" photo of Vanessa-Mae on the sleeve. —Yngvil V.G.

Vanessa-Mae 2001 album for the international artist who's conquered the classical music world as well as pop. Teaming with producer Youth (Fine Young Cannibals, Bananarama, James, Crowded House, the Orb) to create this trance/dance infused album. Highlights include the first two singles, 'Destiny' & 'White Bird'.

Vanessa-Mae

Vangelis Collection of the Greek new age music pioneer's finest recordings in the '90s. 17 tracks, including 'Bon Voyage', 'Conquest Of Paradise' and 'Theme From 'Bitter Moon''. 1999 release.

Various

Various

Various

Various artists

Various artists

Various artists

Various Artists

Various Artists

Various Artists Subtitle 'The Soundtrack To The Soul Generation'. 40 classic soul tracks including, Aretha Franklin-'Respect', James Brown-'Get Up I Feel Like Being A Sex Machine', Kool & The Gang-'Jungle Boogie', Blues Brothers-'Everybody Needs Somebody To Love', Booker

Various Artists Nicole Kidman playing a singing prostitute? Ewan McGregor channeling the Police? If the soundtrack to director Baz Luhrmann's freakish musical Moulin Rouge has its way, we'll all be wearing corsets and swinging from the ceiling while the former Mrs. Tom Cruise becomes our favorite new pop sensation. As daring as Luhrmann himself, the compositions test Kidman—who could have easily used a league of backup singers and studio knob-twiddlers to hide her inexperience—and she actually passes. She's no Olivia Newton-John, but she capably mixes Madonna's "Material Girl" with "Diamonds Are a Girl's Best Friend" (which is as breathy as Marilyn would've wanted it to be) and goes full throttle on any medley thrown her way. Her cover of "One Day I'll Fly Away" is especially poignant given her much-publicized personal tragedies. Ewan, though, is a real star; his giggly schoolboy brogue morphs into a fun cradle for Paul McCartney's Wings as well as U2's Bono on "Elephant Love Medley." Beck's cover of David Bowie's "Diamond Dogs" is a hit waiting to happen, while Pattie LaBelle's '70s staple "Lady Marmalade" (remade by an all-star cast of divas, Lil' Kim and Christina Aguilera among them) already is. A delicious, racy soundtrack that is equal parts cabaret, glam rock, and trip-hop, Moulin Rouge doesn't disappoint. -Kristy Martin

The Whitest Boy Alive

Yann Thiersen