Brownswood Workshop: Multidirection 2 [Import]

Brownswood Workshop: Multidirection 2 [Import]

Track Listings

1. Seasons Change - Sylk 130

2. Deep Water - Trio Da Lata

3. por el (Correspondance Mix) - Diet Music

4. A Tune For Us - Kruder & Dorfmeister

5. Rock'N'Roll Philosophy - Love T.K.O.

6. Is It Worth It - DJ Mil'o

7. Spontaneity - Jazz Brothers

8. April In Tokyo - Pronoia

9. Hug - Tiny Voice, Production

10. La Lune (Moon) - Naoyuki Honzawa

11. Return Of The Space Ape (Sensational Summer Love.. - Audio Active

Tracks:

Someday
My Lover's Keeper
Sunset Woman
Let Me Go Now
So you Couldn't Get to Me
Please Come To Boston
Girl From Knoxville
Second Hand Lady
My Father's Fiddle
Wonder'n As The Days go By

Album Description

Dave Loggins is a cousin of singer Kenny Loggins. He had a Top 100 Billboard charting album in 1974, "Apprentice (In A Musical Workshop)". It garnered a top 5 single ,"Please Come To Boston".

Customer Reviews:

whiny, pathetically self-indulgent, and shallow; an offensive folk-rock album.......2007-05-21

Dave Loggins is the second cousin of the far more famous Kenny Loggins, and Dave had actually already contributed some material to Loggins & Messina records by the time of his own second album, 1974's "Apprentice (In A Musical Workshop)".
I'll readily admit that Dave Loggins does have some excellent songwriting to his credit, such as the powerhouse rocker "Stones (Dig A Little Deeper)" as recorded by England Dan Seals. The respectable acoustic guitar accompaniment of this album suggests that something at least decent could have come out of all of this. However, "Apprentice (In A Musical Workshop)" turns out to be a disgraceful folk-rock album that presents Dave Loggins as a can't-be-trusted womanizer, and then tries to sugar-coat it with nauseatingly sickly-sweet orchestrations and Loggins' insincere, weepy, over-exaggerated vocals.

Dave Loggins has sole writing credit for all 10 songs on this album. The opening track "Someday", with its cheesy synthesizer washes and ridiculously out-of-place "ooh la la..." chorus, has him supposedly deeply in love with a woman, and he tries to string her along, promising over and over again that SOMEDAY, they'll be together forever, when it's clear, especially after taking in such subsequent tunes as "Let Me Go Now" and "Wonder'n As The Days Go By", that he has no intention of being true to her and that "someday" really means "never". On "Let Me Go Now", "Second Hand Lady", and "Girl From Knoxville", Loggins demonstrates that he sees woman as having little or no value other than providing sex.

The album's claim to fame is the big hit "Please Come To Boston", a laughably 'sentimental' ballad where Loggins once again tries to string a woman along, first to Boston, then to Denver, then to L.A.--in real life, any woman in the right mind would have dumped him by the end of the song. Loggins even slips over into downright misogynistic territory on "Sunset Woman", where he accuses a woman of being "worthless" for doing the same kind of polygamous activity that he seems to think is acceptable for himself to engage in--he says to her "no one needs you", although he himself seems to take great pleasure in what he refers to as her "wishing well of sin", otherwise why would he be doing this 5+ minute super-slow 'tribute' to her?

Even when Loggins switches gears and pays tribute to his family on the nostalgic, childhood reminiscence "My Father's Fiddle", you still have to deal with the overblown harmonies and Loggins grating vocals and sentimentality.

Just look at the track sequence of the first three songs on 'side 2'. First we have "Please Come To Boston", where Loggins' companion wants him to forget about going to all these other places and come home to her in Tennessee. On the very next song, "Girl From Knoxville", he decides to do just that, figuring it's an effective way for him to get laid, as evidenced by the lyrics which describe how he looks forward to bathing her in a stream and using his arms for her blanket. Then, with the following song "Sunset Woman", after having gotten the sexual cravings temporarily out of his system and realizing he wants no long-term obligations, he accuses her of being "worthless". Loggins tries to wrap an overwrought "woe is me" schtick around it all, and the results are incredibly annoying and offensive.

For goodness sake, stick with James Taylor, and Jackson Browne, etc. Avoid this cloying disgrace.

the best.......2007-03-10

I have the album, the tape, and now the disc, it have been one of favorite albums since it first came out many years ago.

A Great Folk Rock Album..........2006-12-28

has finally made it to CD. I don't have the CD yet, but I do have the original vinyl and cassette tape. I highly recommend this album, it's a great listen all the way through. I'm amazed how it has seemingly remained such a hidden gem. 'Someday', 'Sunset Woman', and 'Second Hand Lady' are all beautiful songs that I always enjoy hearing. Dave Loggins has also written hits for many other artists.

A sin that has finally been corrected!!!.......2006-10-15

This, Dave Loggins' second solo album (his first being "Personal Belongings" for Vanguard), is finally available in its entirety on compact disc. "Apprentice" not only showcases Dave's beautiful "Please Come To Boston", a standard by any measure, but his thoughtful "Sunset Woman" and an overlooked gem, "My Father's Fiddle". The production on this album, released in 1974, is top-notch and features some of Nashville's finest studio players for that time. Thank you, Wounded Bird Records, for correcting such a monumental oversight and getting this classic album to the public!

Not quite a one-way ticket.......2006-09-03

Dave Loggins has a great voice and has written some wonderful songs, but his best album ever was "One Way Ticket to Paradise" - why won't someone re-release that? This'll have to do, I guess.

Average customer rating:

how to become a fan instantly!
Great Collection but this is not Remastered...
America's best hard rock band
Incredible over-view for the starter!
Yeee... Ha

Workshop of the Telescopes
Blue Oyster Cult
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Extraterrestrial Live
Blue Öyster Cult
Blue Oyster Cult - A Long Day's Night
Cultosaurus Erectus
The Revolution by Night

ASIN: B000002A2X
Release Date: 1995-09-26

Tracks:

Cities On Flame With Rock And Roll
Transmaniacon MC
Before The Kiss, A Redcap
Stairway To The Stars
Buck's Boogie
Workshop Of The Telescopes
The Red And The Black
Screaming Diz-Busters
Career Of Evil
Flaming Telepaths
Astronomy
Subhuman
Harvester Of Eyes
M.E. 262
Born To Be Wild (Studio Version)

Tracks:

Don't Fear The Reaper
This Ain't The Summer Of Love
E.T.I. (Extra Terrestrial Intelligence)
Godzilla
Goin' Through The Motions
Golden Age Of Leather
Kick Out The Jams
We Gotta Get Out Of This Place
In Thee
The Marshall Plan
Veteran Of The Psychic Wars
Burnin' For You
Dominance And Submission
Take Me Away
Shooting Shark
Dancin' In The Ruins
Perfect Water

Customer Reviews:

how to become a fan instantly!.......2007-02-28

if you were never familiar with Oyster songs(other than the Reaper) and want to know just what they are this will certainly tell ya what they are! This collection will introduce you quite well to a great band of monstrously hard songs. The rytymn is very strait foreward but good listen'n! I would certainly take tips from the drummer and bass. But the revolutionary part is the gitar work(Bucks) and unlike most gitarists, he plays to play rather than to just motion for rock and show. very bazaar at times and very refreshing. the bass and drums play a part too and the reason I mention this is that most bands(today and recently) don't enfasise anything except what is commonly known in R&R(yes, pun IS quite intended here) and simply go through the motionas and no emphaiss on melody of backing instruments(Steve Howe's own quote is strongly supported in hopes of unimelody comeback, I know of no other terminologgy to discribe it so whateva! anyway a band is music of all supporting roles, not just the highlight gitar solos). that being said, the highlights are what take the cake on an already well-grounded band(no pun intended). if your music is gonna have brains, why not top it with a mein of red hair and a bod(is in a girlie-pie). that came out wrong didn't it but that is what all music is supposed to be.

Great Collection but this is not Remastered..........2006-08-07

Why buy a compilation of of 70's and 80's music, no matter how good, when it has not been remastered? This is an excellent collection of songs, probably the best and most complete reflection of BOC's work, but it is not up to par in terms of sound quality. It is not a remaster and it should be. Buyer beware. I hold back a star for a five star compilation only because it is not a remaster. Check out some more current best of collections like "Don't Fear the Reaper" and you will hear the difference in sound quality, even though, once again, they are not the most complete collections. You might read a review somewhere online that states this is a remaster. It is not.

America's best hard rock band.......2006-02-02

I would almost say "America's Best Heavy Metal Band," but that would not be true for disc two. But in America, only Blue Oyster Cult had the heaviness to rival the overseas likes of Deep Purple, Black Sabbath, Judas Priest or other similarly hued bands of the time. They were also uniquely urbane (hailing from NYC), which meant that they were frequently witty and sarcastic, and far more literate than most bands.

From those first three classic studio albums (and the incredible double document "On Your Feet Or On Your Knees"), you get the first disc. Frankly, it's a blue-print for how to make a "Career of Evil," with such deviant metal anthems like "Cities On Flame With Rock and Roll," aliens come to your house groovers like "Flaming Telepaths" and a summer of love disclaimer called "Tranmaniacon MC" (about Altamont). Blue Oyster Cult flirted with dangerous imagery, SM, and biker mythology, making their lure of the forbidden too much to resist.

It didn't hurt that they also had a white-hot guitarist in "Buck Dharma" Roeser, who's "Buck's Boogie" can be heard here in its firefingered glory. Match that to the general excellence of the players, and you have here a disc of incredible rock and roll.

Ah, but commercial success was in their red and black hearts. Deciding that being heavy and being polished were not mutually exclusive, "Agents Of Fortune" delivered a stunning lightning bolt of maturity....and a top 40 single. Morphing a Byrdsian riff and "Romeo and Juliet" lore into "Don't Fear The Reaper" gave the band their breakthrough and their curse. The platinum success of "Agents Of Fortune" garunteed that the band no longer would ever be in a situation where they would lack the time it took to buff any composition to its highest polish. It follows that, for the second disc, BOC transfomed into an incredible arena rock band of the highest order. "Veteran of The Psychic Wars" indeed!

They did have one more amazing album in them, the dark and lush "Spectres" (Phil Spector pun likely intended). With an incredible sci-fi biker epic backed by a boy's choir, "The Golden Age Of Leather" was a mini-opera that even Queen would be proud of. The BOC was also being exulted enough that the likes of Ian Hunter could be found co-writing songs ("Going Through The Motions"). The band's penchent for tongue-in-cheek lyrics gave them a goofy anthem for the ages in the riff monster, "Godzilla." And who could forget the giant inflatable lizard on the accompaning tour?

Alas, after that, the albums were increasingly spotty. "Mirrors," "Cultosouraus Erectus," and "Fire Of Unknown Origin" all have their moments, and some of them are here. (I would have prefered "Black Blade," but that's just me.) After that, the remaining albums are, frankly, represented by their best single songs. "Shooting Shark" was BOC's second best collaboration with punk-poet-preistess Patti Smith, and "Perfect Water" is, well, perfect.

Disappointments are to be found here as well. The studio cover of "Born to be Wild" can't hold a candle to the live version. Could've had the "Extra-terrestial Live" version of "Roadhouse Blues" here over about any other live cut. And the Cult's last great hurrah, the concept album "Imaginos" is ignored. Still, for the bang-on-the-buck ratio, "Workshop Of The Telescopes" delivers better than any of the single disc comps.

Incredible over-view for the starter!.......2004-11-04

Looks like your one stop place for the beginner here.

The early punk-influencing tracks,and the cream of the mid-period are all here!

"Dancing In The Ruins" and "Perfect Water" are great to get here too,'cuz ya wouldn't wanna buy "Club Ninja" just for those two good tracks and miss the alternate early tracks on disc one here. So,just grab this and use it to guide you thru the BOC catalog. Just skip Club Ninja...really.

A great set covering all the early bases. Looks tasty!

Yeee... Ha.......2004-10-12

I'm only 16 and Listen to mostly alternative and punk rock,,, And I STILL say that these guys are awsome... And that's saying something.

The Muse Surmounted: Florence Foster Jenkins and Eleven of Her Rivals

Average customer rating:

For lovers of mal canto, this is without equal.

The Muse Surmounted: Florence Foster Jenkins and Eleven of Her Rivals

Manufacturer: Homophone Records
ProductGroup: Music
Binding: Audio CD

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"Jonathan & Darlene Edwards - Greatest Hits, Vol. 2"
Nightingale - Der Holle Rache [Germany]
Jonathan and Darlene's Greatest Hits

ASIN: B00067Z2Q4
Release Date: 2004-11-09

Customer Reviews:

For lovers of mal canto, this is without equal........2004-11-11

"Homophone" was originally the name of a record label inaugurated in 1905, its first release being a disc by the Wagnerian tenor Ernest van Dyck. At this time Van Dyck was far past his prime, and Gregor Benko continues this tradition (that of "singers in decline") with his new incarnation of the Homophone name.

"The Muse Surmounted", Homophone's first offering, is an uproariously funny excursion into what I would label "mal canto". Each singer in this collection set her own substandard for vocal art, and each one is presented in transfers that allow the holes in one's technique to shine through. Brightly.

The disc opens with an "overture" of sorts, a "Carmen" potpourri by the original Homophone Orchestra. If you like your Bizet with slap-tongued baritone saxophones and your Toreadors to boast to a fox-trot beat, this one's for you.

Next in line is a certain Rosalina Mello, in a "fado portugues" that is rendered in a tone reminiscent of a cat in heat. She also approaches several high A's in this piece with a long-discarded vocal technique known as "portamentissimo". Better put Garfield outside before giving Mme. Mello a listen.

Next we encounter Alice Gerstl Duschak, a long-time teacher at Baltimore's Peabody Conservatory. Benko's (excellent, I might add) program notes state that she was a teacher of Jessye Norman, and I might add that Gerstl Duschak's voice, as represented here, had no sideways.

The name Betty-Jo Schramm was hilarious enough for me - before hearing the track, I could picture her in pigtail and poodle skirt. According to Benko, she was a pioneer in the early-music movement, singing the music a half-tone lower than we normally hear it today. However, she failed to cue the orchestra in on her innovation.

Tryphosa Bates-Batcheller, another favorite of the producer, cut her precious few discs at the same Melotone studio where her more famous predecessor, Florence Foster Jenkins, sought to perpetuate her art. And what an art it is. She is represented with a Meyer-Helmund song and an American folk song. Edith Helena at 81 sang better than this.

My favorite - at least for now - is Natalia de Andrade, a rather interesting character, who imposes upon the role of Manon a rather distinctive tritone tremolo reminiscent of the dearly departed Mrs. Elva Miller. It takes a life of its own, creating a somewhat minimalist rhythmic shift and will cause you to reach for the tequila. Perhaps she already had.

Olive Middleton, beloved diva assoluta of the La Puma Opera Workshop, is represented with her beloved "Miserere" from "Trovatore" her alleged high C ringing rather clearly through the speakers.

A lovely surprise was the discovery of Norma-Jean Erdmann-Chadbourne, who is in fact the "Jenny Williams" of the Victor "Faust Travesty". If you thought her final trio from Faust (sung as a duet) with her partner "Thomas Burns" (actually Ellis Chadbourne, listed here as Thomas Garcia - he had to change his name a lot) was simply the living end of opera finales, just you wait until you hear their Tomb Scene from Aida.

A certain Sylvia Sawyer, who evidently actually filled in a few mezzo-soprano roles on some early-fifties opera LPs, offers an Aida excerpt (Amneris) that, although shows no gross lapses of pitch, taste, or intonation, is a precious textbook example of bland mediocrity combined with indifferent attention to the peculiars of Italian pronunciation. One wonders if the Capitol label thought to check the Yellow Pages under "mezzo-sopranos" when casting for this Aida album.

From the lamented Remington label comes the "Tosca from Hell", an infamous performance by Vassilka Petrova.

Madame Mari Lyn (although the program notes claim that she was a woman, and a widow to boot, I swear I think this person was a drag queen!) gives her special vocal rendition of "Una voce poco fa". [Later research on the part of this writer revealed that she was, in fact, a she. Mea culpa.]

The most disturbing performance on the disc is a 1980 performance by socialite and trophy-wife Sari Bunchuk Wontner, who gave staged performances of "Traviata" in her home - with full casts and orchestra. (One hell of a Tupperware party, don't you think?) Of course, art imitates life, and she was Violetta. Secretly taped from a live performance (presumably by a "former friend"), this first-act scene defies description. She is often several beats ahead of or behind the orchestra, she may be as much as a third off of the key in either direction, and the whole affair sounds as if she had a flask of Cuervo hidden behind each prop. A year after this performance, she fell overboard from her yacht. Perhaps she was rehearsing for a future Tosca.

Surely the best-known name included is that of Florence Foster Jenkins, arguably the most famous of the daffier divas. The track, a Cosme McMoon decomposition entitled "Valse Caressante", is not included in the Victor reissue of dear Flofojen's legendary Melotone discs; in fact it is not included in the Jenkins discography in the magazine "The Record Collector". This rather long affair seems to find the diva, the pianist, and the flautist all on a bad day, with the result being a performance that is cheaper than a home perm and twice as curly on your hair.

The last track is a recording of Jenkins' accompanist, Cosme McMoon, reminiscing about his musical life with our dear Flofojen. Benko also clears the air, after careful research, about the "Cosme McMoon was actually Edwin McArthur" rumor. Buy the CD to find the answer.

This is also a first-class prodution, with attention to quality in presentation. The program notes alone are worth the price of the CD. Benko has carefully researched these singers, often waiting years for leads to information. In fact, a picture of Natalia de Andrade arrived after the disc went to press, and it is posted on the Homophone website. Our poor Manon looks for all the world like trailer trash showing up for a Jerry Springer taping.

Another picture of interest to many will be the penultimate photo - a picture of Cosme McMoon, radiant in a 70s combover, flanked by ARNOLD SCHWARZENEGGER at the 1974 Mr. Universe Contest, during the time he had given up his music career and was managing a male bordello.

This will be The Party Album of the New Millenium. Buy it.

Doctor Who: At the BBC Radiophonic Workshop, Vol. 1

Average customer rating:

DR WHO RADIOPHONIC WORKSHOP VOLUME ONE
Niche Music Cuts

Doctor Who: At the BBC Radiophonic Workshop, Vol. 1
Various Artists
Manufacturer: Grey Area
ProductGroup: Music
Binding: Audio CD

Television Soundtracks | Soundtracks | Styles | Music

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An Electric Storm

ASIN: B0009JOPHQ
Release Date: 2005-05-30

Tracks:

Doctor Who (Original Theme)
Tardis Exterior Hum And Door (Original)
Entry Into The Tardis
Tardis: Original Takeoff Sequence
Doctor Who (Original Titles Music)
Tardis Takeoff
Skaro: Petrified Forest Atmosphere ('Thal Wind')
Tardis Computer
Dalek City Corridor
Dalek Control Room
Capsule Oscillation (Dalek Destructor Fuse/Bomb Countdown)
Explosion, Tardis Stops
Sleeping Machine
Sensorite Speech Background
Dalek Spaceship Lands
Tardis Lands
Chumbley (Constant Run)
Chumbley At Rest
Chumbley Sends Message
Chumbley Dome (Rises/Falls/Rises/Falls)
Chumbley Dies
Activity On Dalek Ship Control Panel
Energy Escapes
Machinery In Tardis Goes Wild (Regeneration)
Regeneration Runs Down
The Doctor's Transitional Trauma
The Fish People (Incidental Music)
Heartbeat Chase
Chromophone Band
Controller Chimes
Musak (From 'Time In Advance')
Propaganda Sleep Machine
Doctor Who (New Opening Theme. 1967)
Sting & Web (Cocooning Interior)/Cobweb Pulsates
4 Strings
Mr Oak And Mr Quill (Incidental Music)
Lead-In To Cyber Planner
Cyber Planner Background
Cyberman Stab & Music
Rocket Stab
Birth Of Cybermats
Cybermats Attracted To Wheel
Rocket In Space
Interior Rocket (Suspense Music)
Servo Robot Music
Wheel Stab
Cosmos Atmosphere
Alien Ship Music
Jarvis In A Dream State
Floating Through Space
2 Stabs
Tardis (New Landing)
Galaxy Atmosphere
Tension Builder (a)
Tension Builder (c)
Tension Builder (d)
Low Sting
Tardis: Extra Power Unit Plugged In
Zoe's Theme
White Void
Muzak (From 'Time In Advance')
Cyberman Brought To Life
Cyber Invasion
The Learning Hall
Entry Into The Machine
Sting
Machine And City Theme
Kroton Theme
Tardis Land
Alien Control Centre
Time Zone Atmosphere
Dimensional Control (Sidrat Dimensions Contract)
War Lord Arrival
Silver Box (The Doctor Calls For Help)
Time Lord Court Atmosphere
Doctor Who (Closing Titles)

Album Description

The music, effects and atmospherics from the heyday of the cult TV show 1963-1969. An insight into the BBC recordings workshop pioneering techniques that influenced electronic music. MUTE 2005

Album Details

Volume One Focuses on the Years 1963-1969 (During which Time the Doctor was Played by William Hartnell and Patrick Troughton) Charting the Music from the Very First Episode, Taking Us Through to 1969 When the Doctor was Banished to Earth by the Time Lords. The BBC Radiophonic Workshop was a Legendary Facility Which, for Over Forty Years, Created Pioneering Techniques for Sound that were Used on a Myriad of Programmes (Dr who was their Biggest Client) and for the First Time, Demonstrated the Importance and Value of Intelligent, Creative Use of Sound. The Workshop's Techniques Inspired all Manner of Musicians at the Time and Continue to Do So Today. Featuring Familiar Sounds and Music from the Dr Who, the CDs Are Both an Insight Into the BBC Radiophonic Workshop's Pioneering Techniques and Influence on Electronic Music and a Glorious Reminder of the Dr who of Old, all the More Timely Since Christopher Eccleston is Currently Travelling Through Time and Space on BBC Right Now.

Customer Reviews:

DR WHO RADIOPHONIC WORKSHOP VOLUME ONE.......2007-05-07

THIS IS A MARVALIOUS COLLECTION OF MUSISAL TONALITIES FROM THE EARLY YEARS OF THE VENERABLE BRITISH TV TIME TRAVELING SMASH HIT DR WHO. FROM THE 1964 ORIGINAL OPENING TITLE THEME TO THE CLOSING THEME YOU WILL HEAR UNEARTHLY SOUNDS ELECTRICLY SYNSHESTIZED WITH AMAZING AND SMASHING SUCESS! BRINGING BACK A FLOOD OF MRMORIES OR IF IT IS YOUR FIRST TIME, NOCKING YOUR ELECTRIC SOCKS OFF.INSPIRED BY THE 1956 MOVIE FORBIDDEN PLANET; DR WHO GREATLY SURPASSED IT WITH SOUNDS AND MUSIC AND THECHNOLOGY THAT LEAD DIRECTLY TO ALL OF POP MUSIC FROM MOOG TO THE ELECTRO POP INVASION OF THE LATE 70s TO TODAYS BLAND DIGITAL POPULAR FARE. TAKE A CHANCE AND SEE WHAT THE FUTURE OR PAST MY SOUND LIKE!! THEN WHEN YOU HAVE RETURNED FROM YOUR MAGICAL TRAVELS TRY VOLUME TWO FOR JUST AS GOOD A TRIP, IF NOT BETTER! LEADING YOU TO THE DR.s 1980s. IF YOUR LOOKING FOR A GOOD LISTEN OR A MUSICAL EDUCATION YOU HAVE FOUND IT.

Niche Music Cuts.......2007-01-03

Dr. Who music is historic in the sense that it was the vanguard of the clubby techo-music craze. I purchased the CD after listening to a BBC Radio Show about the Radiophonic Workshop. In a word, "nostalgic."

Doctor Who: At the BBC Radiophonic Workshop, Vol. 2

Average customer rating:

Doctor Who: At the BBC Radiophonic Workshop, Vol. 2
Various Artists
Manufacturer: Grey Area
ProductGroup: Music
Binding: Audio CD

Television Soundtracks | Soundtracks | Styles | Music

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ASIN: B0009JOPI0
Release Date: 2005-05-30

Tracks:

Doctor Who (Opening Title Theme, 1970)
Inferno (Serial DDD): Tardis Control on and Warp Transfer
Inferno (Serial DDD): Blue Veils and Golden Sands
Inferno (Serial DDD): The Delian Mode
Mind of Evil (Serial FFF): The Master's Theme
Mind of Evil (Serial FFF): Dover Castle
Mind of Evil (Serial FFF): Keller Machine Appears/Vanishes
Mind of Evil (Serial FFF): Keller Machine Theme
Claws of Axos (Serial GGG): Brain Centre Atmosphere
Claws of Axos (Serial GGG): The Axons Approach
Claws of Axos (Serial GGG): Tardis Lands
Doctor Who (Closing Title Theme, 1970)
Sea Devils (Serial LLL): The Prison
Sea Devils (Serial LLL): The Master
Sea Devils (Serial LLL): The Naval Base
Sea Devils (Serial LLL): The Sea Fort
Sea Devils (Serial LLL): Stranded
Sea Devils (Serial LLL): The Sea Devil
Sea Devils (Serial LLL): The Master at Large
Sea Devils (Serial LLL): Air-Conditioning Problem
Sea Devils (Serial LLL): Duel
Sea Devils (Serial LLL): The Master's Plan
Sea Devils (Serial LLL): The Submarine
Sea Devils (Serial LLL): Jo Frees the Doctor
Sea Devils (Serial LLL): Rock Bottom
Sea Devils (Serial LLL): The Beach
Sea Devils (Serial LLL): The Minefield
Sea Devils (Serial LLL): Devil Underwater
Sea Devils (Serial LLL): The Doctor and Jo on the Run
Sea Devils (Serial LLL): The Sea Devils Take the Prison
Sea Devils (Serial LLL): The Diving-Bell
Sea Devils (Serial LLL): Mr. Walker's War
Sea Devils (Serial LLL): Torpedo
Sea Devils (Serial LLL): Attack in Force
Sea Devils (Serial LLL): Ventilation Shaft
Sea Devils (Serial LLL): Sea Chase
Sea Devils (Serial LLL): Escape
Doctor Who [Stereo Version, 1972]
Doctor Who [Delaware Version, 1972]
Sound Effects Selection (1974-1979): Aggedor's Temple Atmosphere, ...
Sound Effects Selection (1974-1979): Metebelis III Atmosphere ("Planet
Sound Effects Selection (1974-1979): Nerva Beacon Infrastructure ...
Sound Effects Selection (1974-1979): The Planet Karn ("The Brain ...)"
Sound Effects Selection (1974-1979): The Shrine of the Sisterhood ...
Sound Effects Selection (1974-1979): The Mandragora Helix ("The Masque
Sound Effects Selection (1974-1979): Nova Device Countdown and ...
Peter Howell Demos (For "The Horns of Nimon" Pt. 2, 1980): Demo 1
Peter Howell Demos (For "The Horns of Nimon" Pt. 2, 1980): Demo 2
Doctor Who (New Theme, 1980)

Album Description

Volume 2 of the music, effects and atmospherics from the heyday of the cult TV series from 1970-80. An insight into the BBC recordings workshop pioneering techniques that influenced electronic music. Mute. 2005.

Album Details

Volume Two Takes Us Through the 70s, Starting with a New Edit of the Theme (Introduction of Colour to the Series) and a Brand New Doctor - Jon Pertwee. This CD Carries on Through to 1980 by which Time We Had Been Introduced to One of the Most Famous Doctors, Tom Baker. The BBC Radiophonic Workshop was a Legendary Facility Which, for Over Forty Years, Created Pioneering Techniques for Sound that were Used on a Myriad of Programmes (Dr who was their Biggest Client) and for the First Time, Demonstrated the Importance and Value of Intelligent, Creative Use of Sound. The Workshop's Techniques Inspired all Manner of Musicians at the Time and Continue to Do So Today. With Sleevenotes that Reveal the Secrets of the Most Well Known Effect of all Time - the Tardis Taking Off, as Well as the History of the Opening Sequences, the Package is Illustrated by Images from the TV Series' Respective Eras.

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Spirit-Filled and Uplifting
Spirit-Filled and Uplifting

25th Anniversary
Gospel Music Workshop of America Mass Choir
Manufacturer: Verity
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

Gospel | Christian & Gospel | Styles | Music
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30 Years in the Spirit
Live in Indianapolis
Live in Kansas City 2004
Best of Mass Choirs
Florida Mass Choir: Recorded Live in Miami, Florida

ASIN: B0000005CC
Release Date: 1997-08-12

Tracks:

Lord, Help Me To Hold Out
No Greater Love
Oh How Precious (Is The Name Of Jesus)
Sign Me Up
He'll Never Let You Down
Margaret Douroux Medley: If It Had Not Been For The Lord On My Side/Give Me A Clean Heart/He Decided To Die
New Jerusalem
He Abides
Nobody But Jesus
The Grace Of God
For God So Loved The World
Lord, Help Me To Hold Out
Sign Me Up

Customer Reviews:

Spirit-Filled and Uplifting.......2000-04-15

This is my favorite cd. The tone and spirit of the music up lifts me every time I hear it. It really touches the soul and puts you in a mood and mindset to "Praise the Lord". Buy it! You will not regret it!

Spirit-Filled and Uplifting.......2000-04-15

Average customer rating:

Smoky Mountain~101 Hymns of Faith

Manufacturer: Wonder Workshop
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B000256Q5Q

Product Description

Strummed, plucked, or bowed---these acoustic instruments set your feet tapping and your heart praising! Features all your old-time favoritesand. Three-CD boxed set. 106 tracks. Playlist includes: 1. I Will Sing Of The Mercies 2. When The Saints Go Marching In 3. Do Lord 4. This Is My Father's World 5. The Lily of the Valley 6. Bringing in the Sheaves 7. Stand Up For Jesus 8. I Feel Like Traveling On 9. 'Tis So Sweet 10. Come Thou Almighty King 11. What A Friend We Have In Jesus 12. Take My Life and Let It Be 13. To God Be The Glory 14. I Will Praise Him 15. Blest Be The Tie That Binds 16. Be Still And Know 17. Sweet Hour of Prayer 18. O God Our Help In Ages Past 19. Praise Him- Praise Him 20. Savior Like A Shepherd Lead Us 21. Swing Low Sweet Chariot 22. Amazing Grace 23. The Old Rugged Cross 24. Just As I Am 25. When The Roll Is Called Up Yonder 26. Peace Like A River 27. All Glory- Laud and Honor 28. Leaning on the Everlasting Arms 29. This Is The Day 30. I Have Decided to Follow Jesus 31. Keep on the Sunnyside 32. Fairest Lord Jesus 33. Christ The Lord Is Risen Today 34. Doxology 35. Church in the Wildwood 36. What A Friend We Have In Jesus 37. Somebody Touched Me 38. Just Over The Gloryland 39. Battle Hymn of the Republic 40. Holy-Holy-Holy 41. Joyful- Joyful We Adore Thee 42. O Worship the King 43. Heavenly Sunlight 44. Kumbaya 45. Fairest Lord Jesus 46. For The Beauty of the Earth 47. It's Me-O Lord 48. Old Time Religion 49. Give Me Oil In My Lamp 50. Will The Circle Be Unbroken 51. At The Cross 52. America the Beautiful 53. Unclouded Day 54. Down By The Riverside 55. Standing On The Promises 56. Only Trust Him 57. Morning Has Broken 58. Blessed Assurance 59. Near To The Heart Of God 60. Just A Closer Walk With Thee 61. O How I Love Jesus 62. Jesus Is All The World To Me 63. Crown Him With Many Crowns 64. In The Sweet By and By 65. I Love To Tell The Story ***Not room to list them all!

Average customer rating:

Spiritually Uplifting
Highly recommended

Live in Indianapolis
Gospel Music Workshop of America Mass Choir
Manufacturer: Verity
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

Gospel | Christian & Gospel | Styles | Music

Live Recordings | Christian & Gospel | Styles | Music
Similar Items:

25th Anniversary
Gospel Music Workshop of America
30 Years in the Spirit
Jesus, Jesus, Jesus
We Offer Christ

ASIN: B0000005C8
Release Date: 1997-08-12

Tracks:

Jesus, He's The Rock
I'm Packin' Up
I've Got Jesus
Use Me
Anticipation
Have You Heard About Jesus
One More Day
God Knows How Much You Can Bear
Hallelujah, He Saved Me
Bend, Don't Break

Customer Reviews:

Spiritually Uplifting.......2007-03-09

Years ago, I had the cassette tape for Live in Indianapolis,gospel music workshop. I fell in love with each song. I found this same musical group on cd. I drive around and feel the power of God in my presence. My soul is fed each and everyday. Praise the Lord.

God Bless,
Rev. Kai M. McClinton

Highly recommended.......2004-06-19

This album has been a great blessing to me, I think more than any other christian music album I have ever listened to. Even if "black gospel" is not (yet) your style of worship, buy this album, it can only help make your worship better.

Average customer rating:

Mostly minor Feldman
They don't care if you hear
It's Fulkerson's next Feldman installment

Voices & Instruments
Feldman , Fulkerson , and Barton Workshop
Manufacturer: Mode
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Morton Feldman: Composing by Numbers - The Graphic Scores, 1950-67
Morton Feldman: First Recordings, 1950s

ASIN: B000065ARD
Release Date: 2002-05-21

Tracks:

Journey To The End Of Night: I
Journey To The End Of Night: II
Journey To The End Of Night: III
Journey To The End Of Night: IV
Between Categories
Intervals: I
Intervals: II
Intervals: III
Intervals: IV
Three Clarinets, Cello And Piano
Four Songs To E.E. Cummings: !Blac
Four Songs To E.E. Cummings: Air
Four Songs To E.E. Cummings: (Sitting In A Tree-)
Four Songs To E.E. Cummings: Moan
Four Instruments
The O'Hara Songs: I
The O'Hara Songs: II
The O'Hara Songs: III

Customer Reviews:

Mostly minor Feldman.......2004-01-01

This disc is a follow-up to the Barton Workshop's earlier 'Ecstasy of the Moment' disc, released on the Etcetera label. It is based largely around works from the 1960s, with four works from that period, two early vocal works and one piece from 1971.

The early works sound almost nothing like the Feldman we're used to. Influenced by Webern and the composer's teacher Stephan Wolpe, they are brief serial works. Journey to the End of Night, for soprano, flute, clarinet, bass clarinet and bassoon, a 1949 work based on Louis-Ferdinand Celine's novel, moves from Webern to Wolpe in its four short movements. The 1951 composition, Four Songs to e. e. cummings, is scored for soprano, cello and piano and strike me as considerably more sophisticated, if still nothing like the mature Feldman.

All the 1960s works on this disc are composed using a technique Feldman made much use of at the time: all the musical parts start at the same time, but they are not co-ordinated between each other and progress at independent speeds--usually both slowly and quietly. Of the four works from this period recorded here, the two earlier ones both feature a solo bass-baritone. In Intervals, from 1961, his vocal part--which contains only the Hebrew word for love--is accompanied by trombone, cello, vibraphone and percussion; the following year's O'Hara songs have an ensemble of chimes and piano quartet. Both of these works are largely dissonant, with almost Webernian harmonies, but the low dynamics and slow pace takes the edge of the discords. In contrast, the works from the later 1960s are more consonant, with Between Categories, a 1969 work for two antiphonally separated groups of chimes, piano, violin and cello, featuring near-arpeggio figures along with single notes. Four Instruments, written in 1965 for a single group of chimes, piano, violin and cello, is longer and more diffuse.

The single work on the disc in Feldman's 1970s style is Three Clarinets, Cello and Piano. Lasting about ten minutes, it's fairly typical of Feldman's strictly notated 1970s music in its somewhat Webernian harmonies and gentle, slow flow.

This disc is likely to appeal to most Feldman fans, as many of the works on it are unavailable otherwise. Nonetheless, I found it something of a disappointment--none of the pieces here strike me as essential Feldman, and while the performances are good, I found the rather distant, low-volume sound somewhat offputting. However, others may enjoy this disc more than I did.

They don't care if you hear.......2002-11-04

As in the previous "The Extasy of the Moment" these musicians play softly, very softly, sometimes beyond the threshold of audibility. In some instances one wonders whether they play the notes or just think about it. I do not remember any reference in Feldman's essays to inaudibility as an aesthetic experience in his own music. I like very much Feldman's music and I want to hear it (softly but) clearly.

It's Fulkerson's next Feldman installment.......2002-08-30

In my review of the disc "The Ecstacy of the Moment" I stated at the end that I look forward to Fulkerson's next installment. Well, here it is and I am glad. The order of the pieces is interesting as he alternates voice and instrument pieces with strictly instrumental pieces (and there has the clarinet, 'cello and piano work in between the two piano trio and chimes pieces (Bewteen Catagories is double the ensemble)). Four out of the seven works date from the 1960's, with a piece from the '40's (Journey to the End of Night), the '50's (cummings songs) and the '70's (Three Clarinets...) added. The earliest work, Journey to the End of Night, has Feldman fresh from his tutelege with Stefan Wolpe. (There are some moments in that piece which remind me of Stravinsky, but that's just my ears.) The cummings songs shows Feldman at his most Webernesque, with the wide leaps in the vocal line, the spare accompaniment from the 'cello and piano, and brevity, the four songs finished in less than four minutes. Intervals and The O'Hara Songs date from the early 1960's and continue the writing style similar to the Durations cycle, where the value of each note is determined by each player. Four instruments (1965) closely resembles the Vertical Thoughts cycle where while the durations are still more or less free, the sounds do not overlap as much as Durations. Between Catagories combines these two. Written for two equal groups of violin, 'cello, piano and chimes (with the stereophonic spacial separation similar to Bartok's Music for Strings, Percussion and Celesta), both ensembles begin at the same time (although one group begins with silence) then proceed as if alone. (Listen for the piano arpeggio midway through that was also used in False Relationships on CRI's Viola in My Life CD.) Three Clarinets, 'Cello and Piano was written in standard notation and investigates opposing sonrities (sustained unattacked notes vs. short attacked notes).

The only downside of this disc is the sound quality, which sounds it bit distant, but I have forgiven all that for the fact that these are the only commercial recordings of most of these items (as of this writing, of course). According to Sir Chris Villar's Morton Feldman website, Fulkerson's next Mode release project will be a survey of Feldman's large ensemble graph pieces. (Final note: there are still but a baker's dozen or so of Feldman chamber works still unrecorded; let's get busy, eh?)

Jazz Workshop
Average customer rating:
Jazz Workshop
Manny Albam
Manufacturer: Lonehill Jazz Spain
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music
Cool Jazz | Jazz | Styles | Music
General | Jazz | Styles | Music
Contemporary Big Band | Swing Jazz | Jazz | Styles | Music
Jazz | Imports | Stores | Music
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Jazz New York

Jazz Greats of Our Time: Complete Recordings

Complete Recordings

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The Blues Is Everybody's Business

ASIN: B000FTBJE2
Release Date: 2006-06-12

Tracks:

Anything Goes
Headstrong
Black Bottom
Changing Scene
Turning Point
Charmaine
Diga Diga Doo
Royal Garden Blues
Swingin' on a Star
Intermezzo
Ferris Wheel
Urbanity
First Movement: Dancers on Drums [*] - Manny Albam,
Second Movement: Bristling [*] - Manny Albam,
Third Movement: Chants of the Witch Doctors [*] - Manny Albam,
Fourth Movement: Skinning the Valves [*] - Manny Albam,
Fifth Movement: Cymbalisms [*] - Manny Albam,
Sixth Movement: The Octopus [*] - Manny Albam,

Album Description

2006 two-on-one CD features the first two albums Manny Albam recorded under his own name. Many outstanding figures participated on the sessions including Joe Newman, Thad Jones, Conte Candoli, Bob Brookmeyer, Al Cohn, Milt Hinton, Urbie Green, Jimmy Cleveland, Hank Jones, Freddie Green, Eddie Costa and Osie Johnson. Albam's recording career spanned seven decades, beginning in 1944 (on his first sessions he was more of a baritone sax player than an arranger) and ending in 1999. 18 tracks total. Lonehill Jazz.

Album Details

This Issue Comprises for the First Time on One CD the First Two Albums Manny Albam Recorded under his Own Name. Many Outstanding Figures Participated on the Sessions. Albam's Recording Career Spanned Seven Decades, Beginning in 1944 (On his First Sessions He was More of a Baritone Sax Player Than an Arranger) and Ending in 1999. Highly Acclaimed, He Died at the Age of 79 on October 2, 2001.

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