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Born To Run: 30th Anniversary 3-Disc Set (CD/2DVD)

Born To Run: 30th Anniversary 3-Disc Set (CD/2DVD)


The first retooling of any album in the mighty Springsteen catalog is an exemplary labor of love by Columbia. The original 1975 release was the make-or-break record of Bruce's career and arguably still his best collection of material. It is presented here on one disc unsullied by outtakes or inferior versions--just pristine digital remasters of those eight grittily romantic songs of street life that defined the artist's signature styles. The substantial bonuses are two new DVD programs, one featuring a full concert performance by Bruce and the E Street Band on their first date outside the U.S. at London's Hammersmith Odeon in November 1975, and the other a "making of" documentary including band interviews and contemporary concert footage. The whole handsome box truly honors a legendary recording while providing generous value for fans. The meat of the bonus material is the London show. A mythology has built around it that the band were so disorientated by travel and culture shock and Bruce so enraged by label-generated hype that they gave one of the worst performances of their career. Primitively shot by today's standards, the footage captures the brilliance of the relatively new band's ensemble playing. Highlights include a "Thunder Road" accompanied only by keyboards that opens the show, fiery solos on "Kitty's Back," a dynamic "Saint in the City," and a number of songs that have long since been retired. It's certainly notable how pensive and joyless Springsteen appears when compared to his later, animated stadium persona, but it's also fun to see the far greater role as foil played by Clarence Clemons. As he now testifies in the sleeve notes, putting lie to the myth, on that night they had "gone for broke," and as this writer can bear witness, the British audience exalted the show as the arrival of the greatest live performer of his generation. --Rob Stewart The Best of Bruce by guest editor Steve Perry Steve is the editor-in-chief of City Pages newspaper in Minneapolis, Minnesota. The Wild, the Innocent, and the E Street Shuffle (1973) After a folk-rockish debut album that bubbled with ideas and dense lyrical play, this is where Springsteen began to find his voice as a rocker and as a songwriter. The prisoner-of-love romanticism of "Rosalita" and "Incident on 57th Street" hinted at what was coming, and this early version of the E Street Band--jazzier and more spare than later versions, thanks largely to David Sancious's piano--sounds great, if a little ragged, these many years later. Born to Run (1975) and Darkness on the Edge of Town (1978) These two records, which belong on any compilation of the top 100 rock albums of all time, sketched the themes that he would spend his whole career chasing, and defined the expectations fans would bring to his records ever after. The first chords of "Born to Run" sounded like freedom itself the first time I heard them on the radio, and the album lived up to them. "Thunder Road" is still the greatest rock & roll love song anyone's ever written. The record sounded so big and impassioned and propulsive it was easy to miss the dread running underneath it. Darkness... put the dread front and center. There are more of his best songs here than anywhere else, even if the sound is muddy and leaden at times. Nebraska (1982) After The River (the best record that didn't make this list) and the ensuing tour answered his rock & roll prayers--he was a big star now, not just a perennial critics' favorite--Springsteen holed up in a rented house on the Jersey shore, where he wrote these songs and sang them into a four-track recorder in his living room. The tape was supposed to be a demo for the band, but after several false tries he concluded that the tape he'd been carrying around in his pocket was the record. Quiet and bleak, Nebraska nonetheless grabbed you by the collar and made you listen as sure
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Born To Run: 30th Anniversary 3-Disc Set (CD/2DVD)

Born To Run: 30th Anniversary 3-Disc Set (CD/2DVD)


The first retooling of any album in the mighty Springsteen catalog is an exemplary labor of love by Columbia. The original 1975 release was the make-or-break record of Bruce's career and arguably still his best collection of material. It is presented here on one disc unsullied by outtakes or inferior versions--just pristine digital remasters of those eight grittily romantic songs of street life that defined the artist's signature styles. The substantial bonuses are two new DVD programs, one featuring a full concert performance by Bruce and the E Street Band on their first date outside the U.S. at London's Hammersmith Odeon in November 1975, and the other a "making of" documentary including band interviews and contemporary concert footage. The whole handsome box truly honors a legendary recording while providing generous value for fans. The meat of the bonus material is the London show. A mythology has built around it that the band were so disorientated by travel and culture shock and Bruce so enraged by label-generated hype that they gave one of the worst performances of their career. Primitively shot by today's standards, the footage captures the brilliance of the relatively new band's ensemble playing. Highlights include a "Thunder Road" accompanied only by keyboards that opens the show, fiery solos on "Kitty's Back," a dynamic "Saint in the City," and a number of songs that have long since been retired. It's certainly notable how pensive and joyless Springsteen appears when compared to his later, animated stadium persona, but it's also fun to see the far greater role as foil played by Clarence Clemons. As he now testifies in the sleeve notes, putting lie to the myth, on that night they had "gone for broke," and as this writer can bear witness, the British audience exalted the show as the arrival of the greatest live performer of his generation. --Rob Stewart The Best of Bruce by guest editor Steve Perry Steve is the editor-in-chief of City Pages newspaper in Minneapolis, Minnesota. The Wild, the Innocent, and the E Street Shuffle (1973) After a folk-rockish debut album that bubbled with ideas and dense lyrical play, this is where Springsteen began to find his voice as a rocker and as a songwriter. The prisoner-of-love romanticism of "Rosalita" and "Incident on 57th Street" hinted at what was coming, and this early version of the E Street Band--jazzier and more spare than later versions, thanks largely to David Sancious's piano--sounds great, if a little ragged, these many years later. Born to Run (1975) and Darkness on the Edge of Town (1978) These two records, which belong on any compilation of the top 100 rock albums of all time, sketched the themes that he would spend his whole career chasing, and defined the expectations fans would bring to his records ever after. The first chords of "Born to Run" sounded like freedom itself the first time I heard them on the radio, and the album lived up to them. "Thunder Road" is still the greatest rock & roll love song anyone's ever written. The record sounded so big and impassioned and propulsive it was easy to miss the dread running underneath it. Darkness... put the dread front and center. There are more of his best songs here than anywhere else, even if the sound is muddy and leaden at times. Nebraska (1982) After The River (the best record that didn't make this list) and the ensuing tour answered his rock & roll prayers--he was a big star now, not just a perennial critics' favorite--Springsteen holed up in a rented house on the Jersey shore, where he wrote these songs and sang them into a four-track recorder in his living room. The tape was supposed to be a demo for the band, but after several false tries he concluded that the tape he'd been carrying around in his pocket was the record. Quiet and bleak, Nebraska nonetheless grabbed you by the collar and made you listen as sure
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Born to Run-30th Anniversary Edition

Born to Run-30th Anniversary Edition


The first retooling of any album in the mighty Springsteen catalog is an exemplary labor of love by Columbia. The original 1975 release was the make-or-break record of Bruce's career and arguably still his best collection of material. It is presented here on one disc unsullied by outtakes or inferior versions--just pristine digital remasters of those eight grittily romantic songs of street life that defined the artist's signature styles. The substantial bonuses are two new DVD programs, one featuring a full concert performance by Bruce and the E Street Band on their first date outside the U.S. at London's Hammersmith Odeon in November 1975, and the other a "making of" documentary including band interviews and contemporary concert footage. The whole handsome box truly honors a legendary recording while providing generous value for fans. The meat of the bonus material is the London show. A mythology has built around it that the band were so disorientated by travel and culture shock and Bruce so enraged by label-generated hype that they gave one of the worst performances of their career. Primitively shot by today's standards, the footage captures the brilliance of the relatively new band's ensemble playing. Highlights include a "Thunder Road" accompanied only by keyboards that opens the show, fiery solos on "Kitty's Back," a dynamic "Saint in the City," and a number of songs that have long since been retired. It's certainly notable how pensive and joyless Springsteen appears when compared to his later, animated stadium persona, but it's also fun to see the far greater role as foil played by Clarence Clemons. As he now testifies in the sleeve notes, putting lie to the myth, on that night they had "gone for broke," and as this writer can bear witness, the British audience exalted the show as the arrival of the greatest live performer of his generation. --Rob Stewart The Best of Bruce by guest editor Steve Perry Steve is the editor-in-chief of City Pages newspaper in Minneapolis, Minnesota. The Wild, the Innocent, and the E Street Shuffle (1973) After a folk-rockish debut album that bubbled with ideas and dense lyrical play, this is where Springsteen began to find his voice as a rocker and as a songwriter. The prisoner-of-love romanticism of "Rosalita" and "Incident on 57th Street" hinted at what was coming, and this early version of the E Street Band--jazzier and more spare than later versions, thanks largely to David Sancious's piano--sounds great, if a little ragged, these many years later. Born to Run (1975) and Darkness on the Edge of Town (1978) These two records, which belong on any compilation of the top 100 rock albums of all time, sketched the themes that he would spend his whole career chasing, and defined the expectations fans would bring to his records ever after. The first chords of "Born to Run" sounded like freedom itself the first time I heard them on the radio, and the album lived up to them. "Thunder Road" is still the greatest rock & roll love song anyone's ever written. The record sounded so big and impassioned and propulsive it was easy to miss the dread running underneath it. Darkness... put the dread front and center. There are more of his best songs here than anywhere else, even if the sound is muddy and leaden at times. Nebraska (1982) After The River (the best record that didn't make this list) and the ensuing tour answered his rock & roll prayers--he was a big star now, not just a perennial critics' favorite--Springsteen holed up in a rented house on the Jersey shore, where he wrote these songs and sang them into a four-track recorder in his living room. The tape was supposed to be a demo for the band, but after several false tries he concluded that the tape he'd been carrying around in his pocket was the record. Quiet and bleak, Nebraska nonetheless grabbed you by the collar and made you listen as sure
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store rating : 2.77		Only $19.99
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Cinematic Sunrise - A Coloring Storybook And Long Playing Record - Cd

Cinematic Sunrise - A Coloring Storybook And Long Playing Record - Cd


Cinematic Sunrise: Craig Owens (vocals); Bryan Beeler (guitar, background vocals); Bradley Bell (keyboards, background vocals); Marcus Vankirk (bass instrument, background vocals); Dave Shapiro (drums).Personnel: Craigery Owens (vocals); David Shapiro (drum).Audio Mixer: Dan Korneff.The album's title and design (which includes liner notes that one can color in) might make it seem as though Cinematic Sunrise's debut EP is designed for children, while in truth A COLORING STORYBOOK AND A LONG-PLAYING RECORD is just a dose of straightforward rock. Fronted by Craig Owens, the vocalist from Chiodos, Cinematic Sunrise trade in Chiodos' post-hardcore tendencies for a more melodic, pop-rock sound. On these piano and guitar-led tunes, Owens's tenor soars on sweeping, majestic choruses, so that songs like "Pulling a Piano from a Pond" and "The Wordless" should welcome listeners of mainstream pop-rock.
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store rating : 3.87		Only $10.74
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Long Playing

Long Playing


Release Date: 2010-02-08, Audio CD, Universal Italy
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store rating : 2.77		Only $25.11
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The Company You Keep

The Company You Keep


The title of Brown s new studio release The Company You Keep was originally inspired by the words of Spanish novelist Miguel de Cervantes (Don Quixote):'Tell me the company you keep and I ll tell you what you are'; But it wasn t until the project began to develop that Brown realized the title actually held two separate, but equally important, meanings for her and for her music. 'I ve been writing, recording and performing my own tunes for nearly 20 years now,' Brown reflects, 'And as I thought about the progression of my sound - our band sound - I began to think about what a collaborative effort this musical journey has been. After 15 years of recording, performing and philosophizing about music with (pianist) John R Burr and (bassist) Garry West, I really wanted to draw that collaborative spirit to the forefront on this album.' The Company You Keep features the musicians she has spent most of the past 15 years performing with: John R. Burr (piano), Garry West (bass), David Grisman Quintet alum Joe Craven (fiddle/mandolin/percussion) and Larry Atamanuik (drums) alongside guests John Doyle (guitar), Stuart Duncan (fiddle) and Kenny Malone (drums) on a set of engaging, upbeat and melodic tunes, many of which were co-written by Brown and Burr.The Company You Keep opens with 'Crazy Ivan'; a minor hoe-down with an enigmatic odd meter intro. It's a great example of the interplay of the banjo and piano. 'I came up with the intro figure on the banjo but when John R played it on the piano it had a lot more power. So, even though the signature melodic idea of the tune was written on the banjo, the banjo never actually plays the hook figure.'The band offers its own take on a version of piano accordion virtuoso Ma­rtin O'Connor's The Road West. 'I have been a fan of Ma­rtin's since we met at the Roisin Dubh in Galway several years ago. He gave me a copy of his latest record and I loved that tune from the first time I heard it. He recorded it in Bb and it was challenging to get that pianistic melody to lay right on the banjo. But we had a great time stretching out on our own arrangement which winds its way through 3 modulations for solos before returning to the head. Adding improvisation sections brought a very non-Irish approach to the tune but I felt like we really gave it our own twist.'The fifth track, 'Under the Wire'; is probably the most bluegrassy tune on the album and the first - and last - tune the band recorded for the album. 'We cut a version of that tune on our first session but as we opened it up live it really took on majestic sort of Western feel and we just had to re-cut it. I really like the stately sound of the piano playing what's essentially a banjo melody on the repeat of the head. I think it gives a wonderful elegance to the tune.'According to Brown, The Company You Keep is also a tip of the hat to her approach to business as one of the co-founders of the Compass Records Group. 'I co-founded Compass with Garry West the same year that I began touring with my own band so the label and the band have grown up in tandem, even though I didn t release an album on Compass until 1998.' At a time when the record business is being turned upside down, the Compass Records Group has continued to grow and today boasts nearly 600 releases across the Compass, Green Linnet and Mulligan Records catalogs. 'Our artistic aesthetic is very well described by the idea that the company we ve built and sustain (both in our roster and our staff) reflects our values and musical priorities. We take a very long tail approach to our business and feel a great sense of pride in having built a business model that is scaled to be successful with records that may only sell a few thousand units. Some of our smallest records say more about us as a label than our biggest selling records do.'
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store rating : 2.77		Only $8.03
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The Music of Elliott Carter Vol. 7; Boston Concerto, Cello Concerto, ASKO Concerto, Dialogues

The Music of Elliott Carter Vol. 7; Boston Concerto, Cello Concerto, ASKO Concerto, Dialogues


This highly anticipated recording, a Bridge co-production with the BBC, presents first recordings of four major Elliott Carter compositions, all composed within the past six years. Conducted by the distinguished British conductor, Oliver Knussen, these recordings tell the amazing tale of an American composer, well into his nineties, composing at the peak of his powers. Malcolm McDonald writes that “Carter is not far short of his own centenary, and continuing to produce highly complex, sophisticated scores with an energy that would hardly be conceivable even in a much younger man.” The composer traveled to London and Amsterdam to oversee the performance and recording of these four works. Dialogues for piano and chamber orchestra was a BBC Radio 3 commission for the brilliant young British pianist Nicolas Hodges and is scored for piano solo and a chamber orchestra comprising 18 instruments. Carter writes that “Dialogues is a conversation between the soloist and the orchestra: responding to each other, sometimes interrupting one another or arguing.” Hodges, Knussen and the London Sinfonietta give a reading of electrifying intensity. Boston Concerto was commissioned by the Boston Symphony Orchestra, and is based on a William Carlos Williams poem, “Rain”, a verse chosen to convey the composer’s enduring love for his wife Helen, the dedicatee of Boston Concerto. Describing the diaphanous textures of this work, Bayan Northcott writes of Boston Concerto that “despite occasional deep sonorities, the whole work has a kind of distanced lightness, seeming to hover in mid air.” Carter’s Cello Concerto is a twenty minute span introduced by the soloist alone, playing a cantilena that presents ideas later to be expanded into a series of linked movements. The concerto is played by long-time colleague and valued Carter interpreter Fred Sherry who, during the composition of the work, consulted with Carter about the finer details of the cello writing. Scored for a large orchestra that frequently plays with intimately drawn orchestral textures, the Cello Concerto was commissioned by the Chicago Symphony Orchestra and was first performed by the CSO with Yo Yo Ma, cello soloist and Daniel Barenboim, conductor. Carter completed the concise 12 minute Asko Concerto in January 2000 to a commission from the Asko Ensemble of Amsterdam and the recording on this disc is of its first performance in the Concertgebouw on April 26 of that year. The composer writes: “Although the music is in light-hearted mood, each soloistic section approaches ensemble playing in a different spirit.” Bridge has also just issued Volume Six of this series which features Rolf Schulte’s performance of Carter’s Violin Concerto (BRIDGE 9177).
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The Music of Elliott Carter Vol. 7; Boston Concerto, Cello Concerto, ASKO Concerto, Dialogues

The Music of Elliott Carter Vol. 7; Boston Concerto, Cello Concerto, ASKO Concerto, Dialogues


This highly anticipated recording, a Bridge co-production with the BBC, presents first recordings of four major Elliott Carter compositions, all composed within the past six years. Conducted by the distinguished British conductor, Oliver Knussen, these recordings tell the amazing tale of an American composer, well into his nineties, composing at the peak of his powers. Malcolm McDonald writes that “Carter is not far short of his own centenary, and continuing to produce highly complex, sophisticated scores with an energy that would hardly be conceivable even in a much younger man.” The composer traveled to London and Amsterdam to oversee the performance and recording of these four works. Dialogues for piano and chamber orchestra was a BBC Radio 3 commission for the brilliant young British pianist Nicolas Hodges and is scored for piano solo and a chamber orchestra comprising 18 instruments. Carter writes that “Dialogues is a conversation between the soloist and the orchestra: responding to each other, sometimes interrupting one another or arguing.” Hodges, Knussen and the London Sinfonietta give a reading of electrifying intensity. Boston Concerto was commissioned by the Boston Symphony Orchestra, and is based on a William Carlos Williams poem, “Rain”, a verse chosen to convey the composer’s enduring love for his wife Helen, the dedicatee of Boston Concerto. Describing the diaphanous textures of this work, Bayan Northcott writes of Boston Concerto that “despite occasional deep sonorities, the whole work has a kind of distanced lightness, seeming to hover in mid air.” Carter’s Cello Concerto is a twenty minute span introduced by the soloist alone, playing a cantilena that presents ideas later to be expanded into a series of linked movements. The concerto is played by long-time colleague and valued Carter interpreter Fred Sherry who, during the composition of the work, consulted with Carter about the finer details of the cello writing. Scored for a large orchestra that frequently plays with intimately drawn orchestral textures, the Cello Concerto was commissioned by the Chicago Symphony Orchestra and was first performed by the CSO with Yo Yo Ma, cello soloist and Daniel Barenboim, conductor. Carter completed the concise 12 minute Asko Concerto in January 2000 to a commission from the Asko Ensemble of Amsterdam and the recording on this disc is of its first performance in the Concertgebouw on April 26 of that year. The composer writes: “Although the music is in light-hearted mood, each soloistic section approaches ensemble playing in a different spirit.” Bridge has also just issued Volume Six of this series which features Rolf Schulte’s performance of Carter’s Violin Concerto (BRIDGE 9177).
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The Company You Keep

The Company You Keep


The title of Brown s new studio release The Company You Keep was originally inspired by the words of Spanish novelist Miguel de Cervantes (Don Quixote):'Tell me the company you keep and I ll tell you what you are'; But it wasn t until the project began to develop that Brown realized the title actually held two separate, but equally important, meanings for her and for her music. 'I ve been writing, recording and performing my own tunes for nearly 20 years now,' Brown reflects, 'And as I thought about the progression of my sound - our band sound - I began to think about what a collaborative effort this musical journey has been. After 15 years of recording, performing and philosophizing about music with (pianist) John R Burr and (bassist) Garry West, I really wanted to draw that collaborative spirit to the forefront on this album.' The Company You Keep features the musicians she has spent most of the past 15 years performing with: John R. Burr (piano), Garry West (bass), David Grisman Quintet alum Joe Craven (fiddle/mandolin/percussion) and Larry Atamanuik (drums) alongside guests John Doyle (guitar), Stuart Duncan (fiddle) and Kenny Malone (drums) on a set of engaging, upbeat and melodic tunes, many of which were co-written by Brown and Burr.The Company You Keep opens with 'Crazy Ivan'; a minor hoe-down with an enigmatic odd meter intro. It's a great example of the interplay of the banjo and piano. 'I came up with the intro figure on the banjo but when John R played it on the piano it had a lot more power. So, even though the signature melodic idea of the tune was written on the banjo, the banjo never actually plays the hook figure.'The band offers its own take on a version of piano accordion virtuoso Ma­rtin O'Connor's The Road West. 'I have been a fan of Ma­rtin's since we met at the Roisin Dubh in Galway several years ago. He gave me a copy of his latest record and I loved that tune from the first time I heard it. He recorded it in Bb and it was challenging to get that pianistic melody to lay right on the banjo. But we had a great time stretching out on our own arrangement which winds its way through 3 modulations for solos before returning to the head. Adding improvisation sections brought a very non-Irish approach to the tune but I felt like we really gave it our own twist.'The fifth track, 'Under the Wire'; is probably the most bluegrassy tune on the album and the first - and last - tune the band recorded for the album. 'We cut a version of that tune on our first session but as we opened it up live it really took on majestic sort of Western feel and we just had to re-cut it. I really like the stately sound of the piano playing what's essentially a banjo melody on the repeat of the head. I think it gives a wonderful elegance to the tune.'According to Brown, The Company You Keep is also a tip of the hat to her approach to business as one of the co-founders of the Compass Records Group. 'I co-founded Compass with Garry West the same year that I began touring with my own band so the label and the band have grown up in tandem, even though I didn t release an album on Compass until 1998.' At a time when the record business is being turned upside down, the Compass Records Group has continued to grow and today boasts nearly 600 releases across the Compass, Green Linnet and Mulligan Records catalogs. 'Our artistic aesthetic is very well described by the idea that the company we ve built and sustain (both in our roster and our staff) reflects our values and musical priorities. We take a very long tail approach to our business and feel a great sense of pride in having built a business model that is scaled to be successful with records that may only sell a few thousand units. Some of our smallest records say more about us as a label than our biggest selling records do.'
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store rating : 3.43		Only $18.71
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Coloring Storybook & Long Playing Record (Ocrd)

Coloring Storybook & Long Playing Record (Ocrd)


All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.
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store rating : 2.77		Only $7.79
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Long Playing

Long Playing


Release Date: 2010-02-08, Audio CD, Universal Italy
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store rating : 3.43		Only $19.19
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Off the Record - Inside The Playing Of Today's Top Drummers

Off the Record - Inside The Playing Of Today's Top Drummers


Over the past decade, "Off the Record" has been one of Modern Drummer magazine's most popular columns. Each month it focuses on a well-known drummer through detailed transcriptions and analysis of recordings. Here for the first time is a collection of the best of these articles, highlighting outstanding performances in modern rock, metal, punk, classic rock, funk, and progressive music. Also features several new, never-before-published articles and a disc with over 175 MP3 examples!
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store rating : 2.77		Only $8.10
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Coloring Storybook & Long Playing Record (Ocrd)

Coloring Storybook & Long Playing Record (Ocrd)


All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.
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store rating : 3.43		Only $13.76
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Long Play Record

Long Play Record


Release Date: 2009-12-08, Audio CD, CDBY
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store rating : 3.43		Only $17.86
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Jazz Long Playing by Jean-Luc Ponty

Jazz Long Playing by Jean-Luc Ponty


Sunnyside more		 $9.47 - $9.47
from 1 stores
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Self-Titled Long-Playing Debut by +/- (Plus Minus)

Self-Titled Long-Playing Debut by +/- (Plus Minus)


Teen Beat Records more		 $9.16 - $16.63
from 3 stores
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Playing With the Light by Brindley Brothers

Playing With the Light by Brindley Brothers


Paste Records ( October 26, 2004 ), Genre: Rock & Pop more		 $4.88 - $4.88
from 1 stores
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