| | La Deportation: Testimony And Historical Achives 1942-1945 CD
(4-CD set) FRENCH AUDIOBOOK - Qui r‚pondrait en ce monde … la terrible obstination du crime, si ce n'est l'obstination du t‚moignage? Albert Camus - TRACK LISTING: Au lendemain de la victoire sur le nazisme et de la lib‚ration des camps, l'ampleur des cr La Deportation: Testimony And Historical Achives 1942-1945 Music La Deportation: Testimony And Historical Achives 1942-1945 Review
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$13.75 At first glance, Halford's entry into the crowded holiday market looks like a parody. Heavy metal and Christmas make for strange bedfellows, and WINTER SONGS' pastoral cover art -- which depicts Rob Halford staring wistfully (with a goatee and shades) into a soft, snowy pine forest -- screams Spinal Tap. That said, the Judas Priest frontman approaches yuletide standards like "We Three Kings" and "What Child Is This?" with the same conviction that he applied to Priest classics like "Electric Eye" and "Freewheel Burning" -- it probably helps that most traditional Christmas hymns tend to ...
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La Deportation: Testimony And Historical Achives 1942-1945 album
$14.38 Glitter and Doom Live, a double-disc set, marks Tom Waits' third live effort in his nearly 40-year career, each one summing up his career to the point of its release. The first, Nighthawks at the Diner issued in 1975 on Asylum, is regarded by many as one of the greatest live albums of all time. The second was Big Time, released during his tenure at Island in 1986. The musical performances on disc one of Glitter and Doom Live were culled from Waits' historic sold-out tour of the U.S. and Europe. He compiled and sequenced the set himself, intending to make them sound like a single show. The material leans, understandably, on his recordings with the Anti label. There are stellar performances here, such as "Get Behind the Mule" from The Mule Variations, "Trampled Rose" from Real Gone, and a haunting version of Leadbelly's "Fannin Street" from Orphans: Brawlers, Bawlers ...
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$14.29 Digitally remastered by Doug Sax (The Mastering Lab, Los Angeles, California).
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The breakthrough success of DARK SIDE OF THE MOON made WISH YOU WERE HERE a crucial follow-up in strictly commercial terms. Further pressure came from it being Pink Floyd's first recording for a new label, Columbia. Yet the demands on the band only provided Roger Waters with more fodder for his lyrics, which glanced at the band's roots as well as their new responsibilities.
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$14.75 In 1992, the Indiana Historical Society marked native son Cole Porter's centenary a year late by issuing the box set You're the Top: Cole Porter in the 1930s. The organization followed in 1999 with another box that surveyed the rest of Porter's career, You're Sensational: Cole Porter in the '20s, '40s & '50s. In 2002, the three discs from that collection were released separately. This is the first of them, named after a 1929 Porter musical. The organizing principle of both of the boxes, explained in the liner notes (which are not included here), was to take Porter's ...
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$12.35 On Going Places, Montag's Antoine Bédard collaborates with a bunch of his friends (including M83's Anthony Gonzales, Stars' Amy Millan, and Au Revoir Simone), and ends up making the most confident, dazzling album of his career. Bédard's music has been moving toward poppier sounds and more structured songs since Alone, Not Alone, but even compared to that album, Going Places is a big leap forward. Here, Bédard feels a lot less indebted to his immediate influences. His gift for crafting atmospheres is now in service to gorgeous melodies and arrangements, and even though the concept of a sonic mastermind drafting his pals to sing on his songs feels very close to the approach of, say, Dntel, the results are uniquely Montag. Bédard plays with two major sonic motifs on Going Places: '60s lounge-pop and '80s synth pop. Crucially, though, he doesn't milk either sound for kitsch value; in fact, in Bédard's hands, they sound pretty timeless. "I Have Sound" kicks off the album with an aptly named confection of timpani, acoustic guitar, woodwinds, subtle keyboards, and layer upon layer of Bédard's vocals. The song's widescreen sound and vulnerable lyrics ("I have sound, I have heart") make it a sweetly sophisticated update on ...
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