| | Peter Mafay Liebeslieder CD - Import Peter Mafay Discography of CDs
Peter Mafay Liebeslieder Songs | 1. | Liebe Heisst das Lied | |
| 2. | Sir War Nur Ein Wintermar | |
| 3. | So Bist Du | $0.99 | |
| 4. | Josie | $0.99 | |
| 5. | Ein Bild Kann Nicht Lache | |
| 6. | Dein Gesicht | |
| 7. | Du Hattest Keine Tranen M | |
| 8. | Sonne und Erde | |
| 9. | Und es War Sommer | $0.99 | |
| 10. | My Love | |
| 11. | Liebe Tief Wie das Meer | |
| 12. | Du Bist Anders | |
| 13. | Der Wind Erzahlt Ein Lied | |
| 14. | Du | |
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Liebeslieder Review
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Personnel: Mercedes Sosa (vocals).
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DAVID FOSTER won the 1994 Grammy Award for "Producer, Nonclassical."
The instrumental "Love Theme From St. Elmo's Fire" by mega producer David Foster from his self-titled album hit the Top 15 in 1985, following the number one success of Foster's production of John Parr, also from the film St. Elmo's Fire. Foster's work overshadowed larger-than-life producers who came before him -- Jimmy Miller, who was signed to a CBS label as a vocalist before his stellar career with Blind Faith and the Rolling Stones, as well as Bob Crewe, who was produced by Jerry Wexler when he released the Motivation disc. One would think Foster could have launched himself further into the mainstream given his tremendous success -- or the fact that, unlike Crewe and Miller, he actually had a hit with Skylark in 1973, the Top Ten "Wildflower." An instrumental of that classic would have lent itself well to this Atlantic recording featuring a bevy of name session players from Carlos Vega to the horn section from the group Chicago, as well as Olivia Newton-John appearing on the tune "The Best of Me." The handsome producer stares out of the cover of this album, and he certainly has the look, the drawback here being that it's difficult for the mass audience to get a handle on an album of mostly instrumentals. "Elizabeth" is beautiful, while "Playing With Fire" has techno elegance, but without balance it becomes too much of a good thing, all high-tech frosting when some of the producer's famous vocalist friends/clients would have lifted the project to a different level. Imagine Ray Kurzweil's computers, which write their own poetry, coming up with instrumental music, and that's pretty much what you'll find here. Cool as ice and at times soulless, there's no disputing it is well-crafted and listenable. But outside of Newton-John on "The Best of Me" and Richard Page helping out with backing vocals on the Asia-sounding "Who's Gonna Love You Tonight," the David Foster album plays like a movie soundtrack rather than an album that contains movie music: "Theme From the Color Purple" and "Love Theme From St. Elmo's Fire." "Sajé" is a very nice conclusion to the disc, and it is all first class. Maybe with a future re-release, Foster can put voices and lyrics to some of the instrumental tracks and realize the potential in these grooves. ~ Joe Viglione
The instrumental "Love Theme From St. Elmo's Fire" by mega producer David Foster from his self-titled album hit the Top 15 in 1985, following the number one success of Foster's production of John Parr, also from the film St. Elmo's Fire. Foster's work overshadowed larger-than-life producers who came before him -- Jimmy Miller, who was signed to a CBS label as a vocalist before his stellar career with Blind Faith and the Rolling Stones, as well as Bob Crewe, who was produced ...
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More a spin-off soundtrack to a DVD than an essential live release, The Roots Present is exciting in parts but fails to build the winning momentum The Roots Come Alive did. Of course this is a revue of artists involved with the Roots' Okayplayer.com label/promotion firm, so it's no big surprise the vibes are varied. What is surprising is how slapped-together the collection feels, especially from a group that has always had a keen eye on the album experience when others just focus on singles. Take the way "Break You Off" stops dead in its tracks with a quick fade-out, a jarring moment that's repeated throughout the collection. Without an overall flow, tracks like Jazzyfatnastees' broken-voiced and surprisingly faithful version of Britney Spears' "Toxic" make no sense. In concert, the Britney tune probably made for a fun, chuckle-worthy interlude, but here it's just silly. After the Roots' band finally agree on a tempo, Martin Luther's "Daily Bread" turns out ...
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Mathcore has become quite crowded, ...
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