This Portuguese three-CD boxed set seems to be drawn, for the most part, from the actual soundtracks of Hollywood films released between the 1930s and the early 50s. European copyright law places recordings more than 50 years old in the public domain, so the 2001 set cuts off strictly at the start of the 50s. This is, therefore, an unauthorized, if not technically illegal set, and "buyer beware" reservations apply. Sound quality is variable; most of the tracks are in mono, some muffled, although there are occasional stereo recordings, suggesting that the compilers have simply lifted a track from one of Rhino/Turners compilations of MGM movie soundtracks. Since the material is mostly taken from the films themselves, the performances are sometimes incomplete, conforming to the dramatic dictates of the onscreen story. For example, Betty Grables rendition of "I Cant Begin to Tell You" from The Dolly Sisters is little more than a fragment imbedded in a scene with plenty of dialogue, and, oddly, also included on the track is a big piece of the next scene, which doesnt feature Grable or the song at all. The albums sparse annotations often fail to credit prominent male performers joining the women who are the albums reason for being. For example, "Baby, Its Cold Outside" from Neptunes Daughter is really a duet between Ricardo Montalban and Esther Williams, not a Williams solo, and "Paducah" from The Gangs All Here begins with the clarinet and lead vocals of an uncredited Benny Goodman before giving way to Carmen Miranda. So, this is a sloppily edited, random gathering of film music (and it could have fit on two CDs instead of three), but it contains performances by many of the major female musical stars of the golden age of Hollywood movies, and it is relatively inexpensive.

Rolling Stone, Mark Kemp, October 29, 2009
Get Yer Ya-Yas Out For Good: One of the greatest live rock albums of all time just got better 5 STARS

"GET YER YA-YAS OUT!" - recorded in 1969 over two nights at Madison Square Garden - is the last official live document of the Rolling Stones in their swaggering Sixties prime; its also one of the greatest live albums of all time.

Expectations were high for the band on its 1969 tour, the Stones first in the U.S. in three years, and their first outing without guitarist Brian Jones, who had died that summer. They delivered in spades. Keith Richards and new guitarist Mick Taylor combined for angry workouts on Ya-Yas "Midnight Rambler" - the albums bluesy nine-minute masterpiece - and a stark, rubbery "Sympathy For The Devil." Mick Jagger and Richards pull apart Chuck Berrys "Little Queenie" into a raunchy romp, as if to prove they had fully mastered the rock form.

This three-disc remastered Ya-Yas includes the original in all its gritty glory. Disc Two is a five-song EP from the same shows, with acoustic performances - "Prodigal Son" and "You Gotta Move" - from Richards (playing a resonator guitar) and Jagger. The third disc is an unexpected treat: blistering sets by openers B.B. King plus Ike and Tina Turner (doing an outrageously steamy take on Otis Reddings "Ive Been Loving You Too Long"). And serious rock geeks will enjoy the final flourish: the original ROLLING STONE review, by Lester Bangs.

The albums title is Tribute, but it just as easily could be called Spectacle. Everything here is done on a grand scale, from its ambitious staging areas (the Taj Mahal and Chinas Forbidden City re-creations) to its large gathering of instrumentalists (more than two dozen) to the histrionics of two impassioned vocalists on a pair of the albums 11 tracks. The only thing missing seems to be the maestro himself--so submerged is the visionary-keyboardist in the mix. The musician showcased most often on Tribute turns out to be energetic violinist Karen Briggs, a familiar figure by now to all who have watched Yannis global ramblings on television. The compositions and arrangements, it seems, are intended to be the stars as Yanni lives out his Beethoven-like dream sequence. Stylistically, the music ranges from urban smooth jazz to earnest orchestral sweeps. A grand concept, but not an entirely great result.

Gwen Renee Stefani (born October 3, 1969) is an American singer-songwriter and fashion designer. Stefani is the lead vocalist for the rock/ska band No Doubt. Stefani recorded and sold out for her first solo album Love. Angel. Music. Baby. in 2004. The album was inspired by music of the 1980s, and was a success with sales of over seven million. The album s third single "Hollaback Girl" was the first U.S. digital download to sell one million copies. Stefani s second solo album, The Sweet Escape (2006), yielded "Wind It Up", "4 in the Morning" and the highest-selling single "The Sweet Escape". Including her work with No Doubt, Stefani has sold more than 40 million albums worldwide. She won the World s Best-Selling New Female Artist at the World Music Awards 2005.

A five-CD box set, containing a whopping 142 tracks and covering the groups entire career, that manages to feel like too much and not enough at the same time. True, all of the key hits and most of their finest album tracks are here. The groups decline after 1966 -- and very sharp decline after 1970 -- is inescapable, and even though most of the material here is from the 1960s, the fourth disc especially (spanning the early 70s to the late 80s) is very rough sailing indeed. Its true that about 50 of these tracks are previously unreleased, but be warned that many of them are demos, backing tracks, and alternate versions of well-known songs that arent a great deal different from the officially released versions. Also, some of the unreleased "tracks" are radio spots. Thats not to say that these rare items arent interesting for the fan; they are. Its just that its too overwhelming a package for the nonfanatic, and a rather expensive, spotty one for the devoted fan (who will undoubtedly already have at least half the contents). By far, the most interesting unreleased tracks date from the legendary Smile sessions (nearly an albums worth). Never actually completed, they arent quite the masterpiece that some have claimed, but are extremely interesting, often beautiful excursions into psychedelic production and songwriting that often resemble sound paintings more than songs. Comes with a 60-page booklet by Beach Boy historian David Leaf.

Oasis were an English rock band formed in Manchester in 1991. Originally known as The Rain, the group was formed by Liam Gallagher (vocals and tambourine), Paul "Bonehead" Arthurs (guitar), Paul "Guigsy" McGuigan (bass guitar) and Tony McCarroll (drums, percussion), who were soon joined by Liams older brother Noel Gallagher (lead guitar and vocals). They have had eight UK number-one singles and eight UK number-one albums, and won fifteen NME Awards, nine Q Awards, four MTV Europe Music Awards and six BRIT Awards, including one in 2007 for outstanding contribution to music and one for the best album of the last 30 years as voted by the BBC Radio 2 listeners; they have been nominated for three Grammy Awards. As of 2009, the band have sold an estimated 70 million records worldwide. Also the band was listed in the Guinness Book of World Records in 2010 for “Longest Top 10 UK Chart Run By A Group” after an unprecedented run of 22 top 10 hits in the UK.The band also holds the Guinness World Record for being the "Best band Britain has produced in the Last Decade" in the UK between the years 1995 and 2005, spending 765 weeks in the Top 75 singles and albums charts.

Its members were signed to independent record label Creation Records and afterwards released their record-setting debut album Definitely Maybe in 1994. The following year, the band recorded (Whats the Story) Morning Glory? (1995) with their new drummer Alan White in the midst of rivalry with Britpop peers Blur in the charts. The Gallagher brothers featured regularly in tabloid newspapers for their sibling disputes and wild lifestyles. In 1997, Oasis released their third album, Be Here Now, and although it became the fastest-selling album in UK chart history, the albums popularity tapered off quickly. The band lost members Paul McGuigan and Paul Arthurs as they went on to record and release Standing on the Shoulder of Giants in 2000 and were replaced by Gem Archer and Andy Bell who joined the group for the tour in support of Giants. The band found renewed success and popularity starting with 2005s Dont Believe the Truth.

In August 2009, Noel Gallagher announced his departure from the band after a backstage altercation with Liam before a festival appearance. The band, comprising the remaining members of Oasis and led by Liam Gallagher, decided to continue working together under the name Beady Eye.

The first three albums Michael Cretu has released under the Enigma moniker, together in a specially designed triple gatefold digipak. Contains the top 10 platinum albums MCMXC a.D. (1990) & ENIGMA 2 The CROSS Of Changes (1994), plus 1996s Enigma 3 Le Roi Est Mort, Vive Le Roi. A combined total of 28 tracks. The digipak is housed inside of a colorful die-cut slipcase that doubles as an astronomical pinwheel. 1998 release.

Released in 1986, Peace Sells... But Whos Buying? was Megadeths second album and the bands first Capitol/EMI release. The acclaimed album thrust Megadeth into the international spotlight, and it remains a powerful thrash metal staple. Featuring the iconic trash metal songs "Wake Up Dead" and "Peace Sells."

Megadeths vital, Platinum selling album, Peace Sells... But Whos Buying?, has been digitally remastered for the first time and expanded for a commemorative 25th Anniversary release in multiple configurations. The Deluxe 5 Disc + 3 LP Box Set includes previously unreleased and rare mixes of the albums tracks and hi res audio for the remastered album and concert, as well as an expanded 20-page book, plus 8"x10" photos and reproductions of vintage Megadeth memorabilia. The cover of the box uses a new, unique process of lenticular 3D which reinterprets the original cover, creating the illusion of Megadeths Vic Rattlehead character jumping out of the art. New liner notes have been written by Metallicas Lars Ulrich.

This tribute has most of the right ingredients: fancy packaging, excellent liner notes by Sex Pistol John Lydon), and 84 tracks licensed from 21 albums spanning 1965 to 1998. The opening disc begins with four rare Yardbirds-influenced garage-band singles from the Spiders and the Nazz--the bands that geeky Vince Furnier and his pals Michael Bruce, Glen Buxton, and Dennis Dunaway formed in Phoenix, Arizona. The bands subsequent L.A. years are chronicled via nine tracks from their first three albums. Suddenly, in the tracks from Killer such as "Under My Wheels" and "Dead Babies," the grandiose Cooper sound is there in all its mock macabre glory. The downside to this set is that the groups 1971-74 heyday gets short shrift. Surely theres a slew of unreleased outtakes and alternates from Killer, Schools Out, and Billion Dollar Babies? By 1974s Muscle of Love, the creative juices had run dry. When he sacked his original band following that albums release, his fate was sealed. While his first solo album, Welcome to My Nightmare, has a number of high points, the band chemistry was missed. The last two discs chronicle his slide into self-referential hell. Connect-the-dots hard-rock workouts such as "Hey Stoopid" and "Feed My Frankenstein" couldnt hold the panties that came wrapped around the original Schools Out record. A decently complete career survey--albeit one thats light on the classic period--this box is ideal for newcomers to the Cooper legacy or for those who want just a taste of shock rock in their collection. --Robert Baird

Robert James "Bob" Ritchie (born January 17, 1971), known by his stage name Kid Rock, is an American singer-songwriter, musician and rapper with five Grammy Awards nominations. Kid Rock released several studio albums that mostly went unnoticed before his 1998 record Devil Without a Cause, released with Atlantic Records, sold 11 million albums behind the hits, "Bawitdaba", "Cowboy", and "Only God Knows Why". In 2000, he released The History of Rock, a compilation of remixed and remastered versions of songs from previous albums as well as the hit single, "American Bad ***" and the previously unreleased "Abortion".

Kid Rock released the follow-up in 2001, Cocky. After a slow start, his country-flavored hit "Picture" with Sheryl Crow resurrected the album and it went gold as a single and pushed the albums sales over 5 million. It was followed by 2003s self-titled release, which did not chart a major hit. In 2006 he released Live Trucker, a live album.

In 2007 Kid Rock released Rock n Roll Jesus, which produced a hit in "All Summer Long". It was his first worldwide smash hit, charting #1 in eight countries across Europe and in Australia.[1][2] Rock N Roll Jesus sold 5 million albums worldwide and was certified triple platinum in the U.S. He released Born Free on November 16, 2010. It was announced on June 16, 2011 that "Born Free" was certified platinum by the Recording Industry Association Of America (RIAA) for selling more than one million copies. This gives Kid Rock his sixth Platinum album certification.

"LoveGame" is an electropop song by American recording artist Lady Gaga from her debut album, The Fame (2008). Produced by RedOne, the track was released as the albums third single in North America and Europe and the fourth single in Australia, New Zealand and Sweden after "Eh, Eh (Nothing Else I Can Say)". "LoveGame" was also released as the fourth single in the United Kingdom, after "Paparazzi".

en.wikipedia.org
Jace Everett (born 1972) is an American recording artist. Signed to Epic Records in 2005, he released his debut single "Thats the Kind of Love Im In" in 2005, which peaked at No. 51 on the Billboard Hot Country Songs charts, and was the first single from his self-titled debut album. He also co-wrote Josh Turners Number One single "Your Man". His song "Bad Things" is the theme for the HBO series True Blood. In 2009, he released his third album, Red Revelations, under the Weston Boys label. In 2005, Everett was signed to Epic Records. He released his first single, "Thats The Kind of Love Im In", in June 2005. This song charted at No. 51 on the country charts, and was followed in early 2006 by the release of his self-titled debut album. Also in 2006, Josh Turner charted at Number One on the country charts with the song "Your Man", which Everett co-wrote, and for which Everett received a Broadcast Music Incorporated award. The albums other singles - "Bad Things," "Nowhere in the Neighborhood" and "Everything I Want" - did not chart in the United States, although "Bad Things" reached No. 49 on the UK Singles Chart in November 2009. "Bad Things" is used as the theme song for the HBO TV series True Blood. Charlaine Harris pays homage to the song by including "Bad Things" playing at Merlottes in the 2010 Sookie Stackhouse mystery Dead in the Family. It won a 2009 Broadcast Music Incorporated award in the cable television category and was nominated for a 2009 Scream Award for "Best Scream Song of the Year." His most recent album, entitled Red Revelations, was released in June 2009. His duet Evil (Is Going On) with CC Adcock is part of the True Blood (season 2) soundtrack. A new album, "Mr. Good Times" released in 2011.

The final volume in Bear Familys excellent Freddie King retrospective covering his final years is the one with the most surprises. Over the course of five CDs, the producers of this box have included all of RSO studio recordings and the funky soul-blues of Kings Polydor album, Burglar, which Eric Clapton fans covet so much because he was listed as a second guitarist. Burglar was produced by Mike Vernon (with Tom Dowd producing a track) and another studio band that included bassist Carl Radle. Several of the albums outtakes and a studio version of Jimmy Rogers "Thats All Right" see release here for the first time. The second disc kicks off with the live Larger Than Life album. Whats remarkable is that instead of the fade out on "Have You Ever Loved a Woman," the rest of the track and concert performance is provided as well. The other discs are all live. Sound quality ranges from very good to excellent; none of this stuff is bootleg material (it would be beneath Bear Familys exacting standards). The final cut on disc five is another previously hidden gem taken from a gig where Clapton sings "Further on Up the Road."

In the Land of Grey and Pink is considered by many to be a pinnacle release from Caravan. The album contains an undeniable and decidedly European sense of humor and charm. In addition, this would mark the end of the bands premiere lineup. Co-founder David Sinclair would leave Caravan to form Matching Mole with Soft Machine drummer and vocalist Robert Wyatt in August of 1971. As a group effort, In the Land of Grey and Pink displays all the ethereal brilliance Caravan created on their previous pair of 12" outings. Their blending of jazz and folk instrumentation and improvisational styles hints at Traffic and Family, as displayed on "Winter Wine," as well as the organ and sax driven instrumental introduction to "Nine Feet Underground." These contrast the decidedly aggressive sounds concurrent with albums from King Crimson or Soft Machine. In fact, beginning with the albums title, there seems to be pastoral qualities and motifs throughout. Another reason enthusiasts rank this album among their favorites is the group dynamic which has rarely sounded more singular or cohesive. David Sinclairs lyrics are of particular note, especially the middle-earth imagery used on "Winter Wine" or the enduring whimsy of "Golf Girl." The remastered version of this album includes previously unissued demos/alternate versions of both tracks under the titles: "Its Likely to Have a Name Next Week" and "Group Girl," respectively. The remastered disc also includes "I Dont Know Its Name (Alias the Word)" and "Aristocracy," two pieces that were completed, but shelved in deference to the time limitations imposed during the days of wine and vinyl. The latter composition would be reworked and released on Caravans next album, Waterloo Lily. The 12-page liner notes booklet includes expanded graphics, memorabilia, and an essay penned specifically for the reissue.

The pristine tones and lilting melodies of the Celtic harp are immediately inviting. Celtic Harpestry, a companion to a PBS performance special, explores a sound both traditional and modern in a tasteful and evocative collection. This isnt a purists album--half of the harpists arent even from the Celtic isles, and among the albums old Irish chestnuts is "My Heart Will Go On," the love theme from Titanic. The otherwise-joyful Belfast Harp Orchestra tromp through the James Horner tune, almost pulling some subtlety out of its overwrought themes. Turlough OCarolan, the blind patron saint of the Celtic harp, might wish he were deaf as well, if he could hear it. But the bard would be thrilled to hear the 12-piece BHO playing the traditional "Brian Borus Set" or one of founder Janet Harbisons zephyrlike originals. Her "Earth, Water, Wind and Fire" elicits shifting textures and colors that belie their traditional roots. The song also exemplifies the ethereal side of the Celtic harp explored on Celtic Harpestry with artists like Rudiger Oppermann. Playing a wire-strung harp accompanied by bass and keyboards, the German harpist soars through crystalline melodies whether hes playing traditional tunes or originals. The most traditional sound actually comes from the American players. Cheryl Ann Fulton gives a straight-up rendition of "Breton Medley," and jazz harpist Deborah Henson-Conant is refreshingly restrained, faithfully rendering "Londonderry Aire (Danny Boy)" and "The Minstrel Boy." Although Celtic Harpestry focuses on slow airs, there are robust performances here, including those by Maire Ni Chathasaighs group and the harp and vocal duo of Sileas. Outside of the Titanic love theme, Celtic Harpestry is an elegantly wrought collection.

You shouldnt be misled by this albums title. Slaughter didnt specialize in grisly death metal: they were pop metalists that stressed melody to a fault, as evidenced throughout Mass Slaughter: The Best Of Slaughter. For a fleeting moment in the early 90s (just before grunge), Slaughter were one of the most promising new bands in an up-and-coming melodic rock class which also included Firehouse, Giant, and Steelheart, among others. While best known for the party rock anthem "Up All Night" and the dramatic power ballad "Fly to the Angels," Slaughter had other strong tunes that slipped through the cracks, such as "Days Gone By," "You Are the One," and "Real Love." Mass Slaughter: The Best Of Slaughter contains all the hits youd expect.

Digitally remastered and expanded two CD edition of the British bands 1986 album including a bonus disc featuring alternate, extended and live tracks. U-Vox was their eighth full album and the fifth of the bands most-recognizable incarnation, fronted by Midge Ure. It was also the last Ultravox album to reach the Top 10 in the UK Album Chart. Following the departure of original drummer Warren Cann, U Vox featured his replacement: Mark Brzezicki from Big Country. The sound moved away from the Electronic sound of earlier recordings and some unusual instrumentation was used, such as the Celtic sound of "All Fall Down" with instrumentation by The Chieftains. The albums final track, "All in One Day", was arranged and conducted by George Martin. U-Vox was the last Ultravox album with Midge Ure before the band split in 1988.

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The success of Whos Next and its slate of classic-rock tracks has often obscured its true roots--Lifehouse, the unwieldy multi-media project that Pete Townshend originally concocted as the follow-up to Tommy. Variously informed by apocalyptic visions, sci-fi notions of interconnectivity that neatly presaged the internet and, of course, an unwavering conviction that rock & roll would save the world, the core tracks of the sprawling Lifehouse were recorded, cut, re-recorded and finally boiled down into a collection that seems to represent as much alienation ("Behind Blue Eyes") and overweening cynicism ("Wont Get Fooled Again") as it does liberation and unity. Aside from Townshends own self-released, multi-disc meditation on the project, this expanded new edition is the most rewarding attempt to place Lifehouse and the over-exposed classic it spawned in their proper context. Six tracks from the albums original, but abandoned New York sessions flesh out the familiar material, with previously unreleased outtakes of "Getting in Tune" and a revealing, early arrangement of "Wont Get Fooled Again" warranting special note. The second disc documents one of Lifehouses most quixotic elements with the first-time release of one of the series of concerts staged at Londons Young Vic theater during the projects gestation, events during which band and audience would somehow mystically become One. Core tracks from the project are interspersed with typical hard-rocking Who fare of the time, resulting in a show whose focus and dynamics belied something very different from the arena-rock cliches that would eventually overwhelm them. --Jerry McCulley

Though it may not intend to, with its title The Ultimate Relaxation Christmas Album addresses one of the biggest paradoxes of the holiday season: ideally, it should be one of the most joyous and relaxing times of the year, but thanks to shopping for gifts, social obligations, and heightened expectations, too often the holidays become stressful instead of pleasant. This collection of soothing instrumental and choral holiday favorites aims to restore some serenity to the season, and on at least one level, it succeeds; the gentle renditions of "O Holy Night," "Have Yourself a Merry Little Christmas," and "The Christmas Waltz" have soft, lush arrangements that are definitely relaxing. However, the arrangements skirt dangerously close to the sappy, string-laden territory of Mantovani, 101 Strings, and countless other easy listening instrumentalists, and the cutesy harp, piano, and xylophone flourishes on many of the tracks threaten to push the album into kitsch. Of course, the Christmas albums by Mantovani, 101 Strings, and the like were hugely popular, and this albums nod to those sweetly bland holiday releases of the past could be intentional, adding to the built-in nostalgia that the season evokes. In some ways, the retro feeling of The Ultimate Relaxation Christmas Album is more refreshing -- and yes, relaxing -- than the new age-tinged holiday albums that may very likely sound nostalgic a few decades down the road. The purely choral selections are simpler and more dignified than most of the intstrumentals on the album, though a few of the orchestral tracks later in the album lose some of the more obvious easy listening tendencies. An ultra-traditional collection, The Ultimate Relaxation Christmas Album could be either stuffy or comforting, depending on your taste in holiday music and, quite possibly, how much eggnog youve had. ~ Heather Phares