| | Smooths Very Own Vegas CD Smooths Discography of CDs
Ben Treat (guitar); Tim Hoenig (tenor saxophone); Jenny Stillwaggon (baritone saxophone); Tim Doscher (trombone); Jeb Crandell (keyboards); Brodie Ruland (bass); Jamie Robertson (drums).
Recorded at Sonic Studios, Philadelphia, Pennsylvania.
Recording information: Sonic Studios, Philadelphia, PA (01/1996-06/1996).
The Smooths: Tommy Gilhuley (vocals, percussion); James Stillwaggon (vocals);
Smooths Very Own Vegas Songs | 1. | In the Grass |
| 2. | 78th of Soon |
| 3. | Letter After J |
| 4. | Enemy |
| 5. | Property Is Theft |
| 6. | Mr. Figurehead |
| 7. | Tout Seul |
| 8. | Durango 95 |
| 9. | Lord Jack |
| 10. | Bewitched |
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Very Own Vegas Review
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Purchase Very Own Vegas CD To buy, Click on price to add to cart | David Lee Roth DLR Band CD (1998)
Very Own Vegas album
 $13.09   
David Lee Roth is back! Not that he ever left us in the first place. The self-professed Toasmaster of the Immoral Minority has delivered his most thunderous release since 1988's SKYSCRAPER. After venturing into the world of "R&B metal" with his last effort, Roth has gone back to doing what he does best; tearin' the roof off the sucka' and putting it into hyperdrive. DLR BAND contains all of the tongue-in-cheek Roth innuendoes, combined with the lightning-hot guitar licks of John Lowery (also in Rob Halford's Two), and veteran Roth sideman ...
| | Mighty Mighty Bosstones Question The Answers CD (1994)
Very Own Vegas CD music
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As the music industry's fixation with the commercial possibilities of all things "alternative" grows, many record companies look towards punk's glory days of the late 70's and the mid-80's for divine inspiration.
Towards that end, the Mighty Mighty Bosstones, a hard-working octet from Boston, snugly fit the niche. They borrowed from England's Two-Tone movement (which punkified ska, an off-shoot of reggae), and from Los Angeles' punk-funk stew (which produced such hybrid-happy acts as the Red Hot Chili Peppers and Fishbone). Yet while the Bosstones wear these influences on ...
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| | Smooths No Brakes CD (1998)
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Live Recording
| | Alejandro Sanz No Es Lo Mismo CD (2003)
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NO ES LO MISMO won the 2004 Grammy Award for Best Latin Pop Album.
Alejandro Sanz, one of Spain's biggest musical stars, expanded his stylistic palette with NO ES LO MISMO. The title ("It's Not the Same") hints that Sanz will be mixing it up here, and that's exactly what he does. In addition to his usual concoction of flamenco-infused Latin pop, Sanz adds rock, hip-hop, bolero, and son, among other styles. Among the love ballads the artist is known for, there are also songs that address social issues, and production from Cuban musician Lulo Perez gives the album a sharp appealing sheen.
There's a bigger beat to Alejandro Sanz's seventh studio album, but that beat isn't rock & roll, or Ricky Martin-type disco, either. The title track says it all--"It's Not the Same." And in case there was any mistake, Sanz throws us curveballs such as "Sandy," a title that on another singer's album would probably mean a run-of-the-mill love song. Instead, it's about 2003's catastrophic oil spill on Spain's Costa De La Muerte.
NO ES LO MISMO is perhaps the most European of Sanz's releases thus far in its confident melding of Latin and pop rhythms. His signature flamenco style is well represented here, as well as bossa nova and son, all set against a backdrop of blues, jazz, and a hint of disco. But to reduce Sanz's oeuvre to its component parts is to do the man a disservice. What is most compelling about NO ES LO MISMO is the way Sanz and his co-producer, the Cuban ...
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$52.55 | | Iona Leigh Beside The Waves Of Time CD (2009) (Import)
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Leigh delivers her nu-folksy songs with effortless sincerity and graceful serenity; she's surrounded herself here with a host of experienced, like-minded and similarly ilked musicians from Scotland and Ireland and their combined 'feel' for the more traditional and Celtic genre provides Leigh with the perfect backdrop onto which she layers her beautifully crisp vocals.Although Leigh errs on the side of the more traditional, this aint all fingers-in-ears, ...
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