| | Muki Album CD Muki Discography of CDs
Muki Album Songs | 1. | Munk Funk |
| 2. | I Don't Want to Know |
| 3. | Quiet Riot |
| 4. | Late Nite |
| 5. | Funky Sofa |
| 6. | WPPK |
| 7. | Floating |
| 8. | Spin Dry |
| 9. | Judy |
| 10. | Space Out |
| 11. | Airborne |
| 12. | Ghost |
|
Album Review
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Purchase Album CD To buy, Click on price to add to cart | Bruce Springsteen Tunnel Of Love CD (1987)
Album
 $6.89   
Recorded in New Jersey and at A&M Studios, Los Angeles, California.
TUNNEL OF LOVE (Bruce Springsteen's ninth album) is essentially a solo release and marked the final chapter of The E Street band, whose members appear separately on several tracks. Springsteen's home studio in Rumson, New Jersey was the primary recording location.
Popular music as an art form has attained some of its greatest peaks when dealing with the thorny material of relationships. Bruce Springsteen's Tunnel Of Love, a powerful meditation on his own disintegrating marriage, represents a classic of its type. Predominantly an intimate solo recording the songs convey the gamut of emotions experienced in a long-term relationship, from desire ('Ain't Got You') through disquiet and deceit ('Tunnel Of Love' and 'Brilliant Disguise') to despair ('When You're Alone'), ending on a note of cautious optimism ('Valentine's Day'). Springsteen would never again be as nakedly emotional as he was on this beautiful and honest album.
Personnel: Bruce Springsteen (vocals, guitar, harmonica, sound effects); Nils Lofgren (vocals, guitar); Clarence Clemons (vocals, saxophone); Danny Federici (vocals, organ); Patti Scialfa (vocals); James Wood (harmonica); Garry Tallent (horns); Roy Bittan (piano, keyboards, ...
| | Buddy Guy Sweet Tea CD (2001)
Album
$8.99 
SWEET TEA was nominated for the 2002 Grammy Award for Best Contemporary Blues Album.
Over the years, blues guitar hero Buddy Guy has embraced everything from Chicago blues to R&B and pop balladry, always retaining his hardcore blues underpinning and fretboard wizardry as touchstones. While SWEET TEA represents a significant stylistic detour for Guy, it's a surprisingly familiar one. Seemingly inspired by the raw, electrified Mississippi blues of Fat Possum recording artists such as R.L. Burnside and Junior Kimbrough, Guy presents one of the most impassioned, gritty albums of his career. A couple of musicians from the Fat Possum camp are on board to lend ballast, but the heart of the sound is the titanic fury of Guy's guitar.
The album opens with a low-key solo acoustic tune ("Done Got Old") in the manner of John Lee Hooker, but from there on it's no holds barred, as Guy delivers simple, slashing riffs and leads over pounding, primal rhythms in a Delta-meets-Chicago stew that's transcendently visceral. While blues-rockers like Led Zeppelin and Cream got rich by turbo-charging the riffs of vintage bluesmen like Guy, the guitar wizard turns the tables here by beating them at their own game. The pure, blazing, electric energy on these tracks makes the heaviest efforts of those bygone bands sound like Gerry & the Pacemakers. Kudos to Guy for making such a gutsy album so late in the game.
Recorded at Sweet Tea Studios, Oxford, Mississippi. Includes liner notes by Andy Schwartz.
Personnel: Buddy Guy ...
| | Tinsley Ellis Live! Highwayman CD (2005)
Album
$14.59 
Tinsley Ellis has some great studio albums in his catalog, but like several blues guitarists, you have to see him live or at least hear him live to experience what the fuss is about. And the guitarist, backed by a strong supporting cast, delivers an exceptionally pleasing and well-rounded set on Live! Highwayman. Beginning with the standard brand of Texas or Austin blues, the musician opens with the mid-tempo "To the Devil for a Dime," which comes off as a blend of Stevie Ray Vaughan and a grittier, rowdier Robert Cray. Cray is also heard somewhat on the heartache soul of "The Last Song," which travels into epic Floyd-ian bombast near the conclusion. Setting the groove early, Ellis has an equally blues soul and voice that suits his fabulous playing to a T. From there he ventures down a slightly less edgy, more swinging vibe on the bouncy, sway-inducing title track the way B.B. King would've performed it in his prime. It's also on this number where you get to see the guitar chops of Ellis front and center. Even the slower, downbeat tunes are strong, especially the deliberately building "A Quitter Never Wins," which brings to mind Cray and Buddy Guy. About halfway through the song he displays his style before asking if any blues fans are in attendance. The second half of the number is more of a rock-blues style à la David Gilmour but just as solid. The first track that seems to be almost run of the mill is the mid-tempo and keyboard-tinted "Real Bad Way" although Ellis manages to play off it well two-thirds of the way in. One of the first sleeper picks is "Hell or High Water," which has the band picking up steam thanks to the Evil One's rapid-fire bass line and Ellis upping the ante. And this flows nicely into the up-tempo, high-energy "The Next Miss Wrong," which could be described by some as Waylon Jennings nailing an old blues ...
| | Joe Bonamassa You & Me CD (2006)
Album
$13.85
Despite his statement in the liner notes that "In an era where it is best to play it safe, I chose to take a risk...," there isn't much surprising or risky about young guitarist Joe Bonamassa's fifth studio album. Most of his previous releases have mixed blues covers with his own originals, all played with a rocker's attitude, volume and less-than-subtle approach. This one follows suit and even though he goes on to say that he "wanted to make a blues album, not a rock album that has blues on it," as in the past; it's impossible to claim that he has succeeded with You & Me. That doesn't make this a bad or disappointing disc; quite the contrary, it's a solid blues-rock release and arguably his best work to date. But as early as the second track, an original rocker titled "Bridge to Better Days," Bonamassa takes off on an early Free/Savoy Brown-styled stomper. Things settle down and get more rootsy on the following two slow blues tracks, although a lovely Bonamassa original, "Asking Around for You," adds strings, not exactly a touch most would associate with pure blues. Regardless, it's extremely effective and when the strings return on a nine-and-a-half-minute cover of Led Zeppelin's "Tea for One," it is a spine-tingling experience and possibly this album's finest moment. Drummer Jason Bonham, who is excellent throughout, brings additional authenticity to the song his dad first played on. Bonamassa unplugs for a few mid-disc tracks, including a cover of "Tamp 'Em Up Solid" (oddly credited to Ry Cooder but typically known as a traditional piece, even on Cooder's version). Twelve-year-old harmonica whiz L.D. Miller does his best John Popper imitation on a hyperactive version of Sonny Boy Williamson's "Your Funeral and My Trial" ...
| | Very Best Of Otis Redding CD (1992)
Album
$7.79  
It is impossible to overrate Otis Redding. This Rhino compilation, while in no way comprehensive, is nonetheless an outstanding sampler of songs by one of soul music's all-time titans. There's not a dud among these 16 songs, and some, like "These Arms Of Mine," "(Sittin' On) The Dock Of The Bay," and "Try A Little Tenderness," rank among the greatest pop songs ever recorded.
Redding's performances are mesmerizing and seem to embody the perfect balance between acute sensitivity and sheer overwhelming emotional strength. The combination of Redding's magnetism and the quality of such songs as "Mr. Pitiful," "I ...
| | Black Eyed Peas E.N.D. (The Energy Never Dies) CD (2009)
Album
$10.59
Black Eyed Peas, the hip-hop crossover juggernaut that propelled singer Fergie and producer Will.I.Am to superstardom, have, since 2003's ELEPHUNK, been audaciously plugging away at their bombastic but lighthearted style of rap-cum-dance pop--an effort that has translated to a run of successful chart-topping singles including "My Humps," "Pump It," and "Don't Phunk with My Heart." Eager to follow up on the platinum-selling success of 2005's MONKEY BUSINESS, Black Eyed Peas have returned with THE E.N.D. (an acronym for "Energy Never Dies"), their third studio effort. Combining Will.I.Am's thumping 808 kick drum-infused beats with production assistance from a host of collaborators (including vocoder-loving Torontoians MSTRKRFT and French house veteran David Guetta), BEP's infectious party-time rhymes are an easy match for the album's Ed Banger-style of electro rapping and Auto Tune jamming, ...
| | Bunny Sigler Let Me Party With You CD (1978)
Album
$11.79 
This originally appeared in 1978. Marvin Gaye's "Got to Give It Up" inspired both ...
| | Fatback Band Gigolo CD (1981) (Import) United Kingdom
Album
$12.45
This 1981 outing is probably the slickest album in the Fatback catalog, and that's not necessarily a good thing. Although the instrumentation still has a familiar earthiness to it, the album employs a new set of different, slicker vocalists and just as many engineers to create an album that appears designed to appeal to as many different segments of the R&B market as possible. Gigolo is professional enough to live up to this ambition, but its attempts to be all things to all people cause it end up as an album that is neither fish nor fowl. It also robs the band of the distinctive personality that characterized past albums like Raising Hell and XII. Case in point: The slick but lifeless cover of the Chi-Lites' classic "Oh Girl," which sounds like it could have been recorded by any second-tier soul band. That said, Gigolo still offers enough high points to appeal to the Fatback fan. Knockout tracks on this album include "Higher," a barnstorming track about an addictive love that sports a surprisingly rock-oriented beat, and the title track, an electronic opus with plenty of Zapp-styled synthesizer hooks. There is also an inspired cover of "Na Na, Hey Hey, Kiss Him Goodbye," which transforms that song from a lightweight bubblegum tune into a full-blooded funk outing dressed up with Parliament-style cartoon vocals and synthesizer squiggles. All in all, Gigolo probably won't take pop or soul fans by storm but remains an interesting curio with enough solid tracks for the hardcore Fatback devotee. ~ Donald A. Guarisco
Liner Note Author: Bill Curtis.
Recording information: Monkey Hill Studios, N.Y.C., NY; Power Station, N.Y.C., NY; Power ...
| | Freddie James Everybody Get Up & B/Hollywood CD (2006) (Import)
Album
$11.79
| | Robin Jones Afro-Cuban Rhythms CD (2001)
Album
$7.89
| | Celtic Spirit CDs (2002)
Album
$10.75
Allegro's Celtic Spirit is a tasteful two-disc set of traditional Celtic melodies, medleys, and songs. It's entirely instrumental, and features either a harp or a fiddle leading the understated arrangements. Highlights of disc one include the ...
| | Reparata & The Delrons Best Of Reparata & The Delrons CD (2005) (Import) United Kingdom
Album
$16.39
There have been Reparata & the Delrons compilations before this 2005 release with the bootleg Magical Musical History Tour being the most thorough. This 30-track anthology, however, has the considerable advantage of being an authorized production with correspondingly superior fidelity, as well as a 16-page booklet of historical liner notes with rare photos and comments from Reparata herself. As with every artist where you can't fit everything onto a single CD, there's room for argument on the track selection; one of their better cuts ("Summer Laughter") is missing, and there are a few unimaginative covers of girl group tunes that were hits for other acts. Still, it does include the songs everyone would agree need to be on a best-of ("Whenever a Teenager Cries," "Captain of Your Ship," "I'm Nobody's Baby Now"), as well as a few rarities credited to Reparata alone (and one to the Delrons alone). It still doesn't make an argument for them being among the best girl groups; the material's not always that strong, and the style's often derivative, whether of the Dixie Cups, the Shangri-Las, or other artists and trends. If nothing else, however, it's an impressive feat of cross-licensing, drawing from more than a half-dozen labels. And it does include some tracks that are definitely above average girl group goodies, like the Phil Spector-esque production of Jeff Barry's "I'm Nobody's Baby Now" and the moody, slightly psychedelic-influenced late-'60s obscurities "Saturday ...
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