| | Genesis Way We Walk, Vol. 1: The Shorts CD Genesis Discography of CDs
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Released as part of a two-volume live set, THE WAY WE WALK, VOL. 1 was recorded during the band's 1992 world tour. Having started out as an over-the-top, theatrical art-rock band, Genesis had become a tireless pop machine by the early '90s. THE SHORTS represents the facet of the band that enabled Genesis to score 16 Top 40 hits in a 12-year span.
The oldest songs on this collection are "That's All" and "Mama," a pair of songs from the band's 1983 self-titled album. The rest of the set is divided between hits from 1986's INVISIBLE TOUCH and WE CAN'T DANCE, the album Genesis was touring behind at the time. The resulting mix is of upbeat numbers ("Land of Confusion"), hopelessly romantic ballads ("In Too Deep," "Throwing It All Away"), and more adult-themed material dealing with father-son splits ("No Son of Mine") and the hypocrisy of televangelists ("Jesus He Knows Me").
Producers: Nick Davis, Robert Colby, Genesis.
Genesis: Phil Collins (vocals, drums); Mike Rutherford (guitar, bass); Tony Banks (keyboards).
Additional personnel: Daryl Stuermer (guitar, bass); Chester Thompson (drums).
Way We Walk, Vol. 1: The Shorts Music Genesis Way We Walk, Vol. 1: The Shorts Songs Way We Walk, Vol. 1: The Shorts Music Review Purchase Way We Walk, Vol. 1: The Shorts CD To buy, Click on price to add to cart | Nightmare On Elm Street 2 - Freddy's Revenge DVD (1985) Widescreen
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| | Terminal CD (2004) Original Soundtrack
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Director Steven Spielberg keeps coming up with different kinds of films, and composer John Williams, with whom he has collaborated on 21 of them now, keeps finding appropriate musical settings. For The Terminal, a film about an Eastern European trapped in the international arrivals airport terminal in New York when his country erupts into civil war, Williams seems to have taken inspiration from the main character's origins and the film's lightly comic mood. His main theme for this character, "The Tale of Viktor Navorski," playfully recalls "The Third Man Theme," even if it is played on a clarinet most of the time. There is also a love theme for the bittersweet romance Navorski enters into, and that minor-key motive echoes such familiar tunes as "In the Wee Small Hours of the Morning" and even the folk ballad "Barbara Allen." The soundtrack album is presented out of sequence from the film, and it is very much oriented to listening as opposed to simply mirroring the actions onscreen. This makes it a better audio experience, with Williams' themes being developed and finished. But it in some ways does not reflect the movie accurately. In particular, the big payoff of the film turns out to be Navorski's purpose in coming to America, which is to get an autograph from a jazz musician, Benny Golson. On screen, ...
| | Severin Eckardstein Glazunov: Piano Concerto No. 1; Symphony No. 5 CD (2008) (Import)
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So stupid, they can't even get rid of this in a sale
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