| | Marina Inoue Energy CD - Import Marina Inoue Discography of CDs
Japanese pressing includes a sticker with the first pressing. Sony. 2005. Energy Music | List Price | $19.99 (You save $1.60) | | Category | World Albums, Japanese CDs | | Label | Phantom | | CD Universe Part number | 7000367 | | Catalog number | 6102289 | | Discs | 1 | | Release Date | Dec 27, 2005 |
Marina Inoue Energy Songs | 1. | Energy |
| 2. | Way |
| 3. | Energy(Orignal Karaoke) |
| 4. | Way(Orignal Karaoke) |
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Energy Review
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Purchase Energy CD To buy, Click on price to add to cart | Pink Martini Splendor In The Grass CD (2009) Digipak
Energy album
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Pink Martini follow the around-the-world-in-a-dozen-songs thrills of HEY EUGENE! with SPLENDOR IN THE GRASS, a mellower, simpler set of small pleasures. These are relative terms, however; the group's music is still well-traveled, with China Forbes singing in five languages (English, Spanish, Neapolitan, French, and Italian) instead of the six or so on EUGENE!. However, Pink Martini opt for a more unified sound here, one that draws on the more straightforward lounge-pop of their debut, SYMPATHIQUE, and the mellowness of '60s and '70s pop. SPLENDOR IN THE GRASS' first half is especially smooth, opening with the beautifully soft Neapolitan ballad "Ninna Nanna" and the title track, on which Forbes sings "I think we should take it slow" over swooping strings, brass, and piano that resurrect the glory days of AM pop; that feeling is echoed by the cover of Joe Raposo's "Sing," the Sesame Street song that gained popularity when the Carpenters performed it (Emilio Delgado, aka Sesame Street's Luis, duets with Forbes here in Spanish and English). The album's ...
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| | Buju Banton Til Shiloh... CD (1995) Bonus Tracks; Remastered
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It was not pure ego that led Buju Banton to title his 1993 album VOICE OF JAMAICA; his unique voice is a gruff, melodic instrument, and his lyrics are precise. He built his career on controversial hits and slacker anthems, but has since helped spearhead a movement to swing reggae's pendulum away from sex and violence, back towards conscious lyrics and Rastafarian themes. On `TIL SHILOH, the voice of Jamaica has visibly evolved.
Still, don't let all this consciousness talk scare you; Buju's strength is his ability to create hooks that buoy the weight of his words. The choruses of singles like "Murderer," "I Wanna Be Loved" and "Champion" drill themselves into your head and nest there for days. 'TIL SHILOH is also one of the most experimental dancehall releases ever, utilizing an a capella intro, a track built out of African chanting and percussion ("'Til I'm Laid To Rest"), and a song featuring an acoustic guitar ("Untold Stories"). A duet with the late Garnett Silk ("Complaint") provides a nice respite from Banton's trademark growl. For the most part, Buju and executive producer Donovan Germain steer clear of pandering to cross-over audiences, choosing instead to rely on innovative rhythms and Banton's natural pop sensibilities to win ...
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| | Ry Cooder Chavez Ravine CD (2005)
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With help from musicians associated with the era and location (including Don Tosti, Lalo Guerrero, and Thee Midnighters' Little Willie G.) and studio musicians Jim Keltner, Jon Hassell, and legendary Tex-Mex accordionist Flaco Jimenez, Cooder has created a musical novel that richly celebrates the music, life, and lingering mythos of Chavez Ravine, an L.A. neighborhood razed by the city in the interest of big business (namely to build a stadium for the soon-to-be L.A. Dodgers). Stylistically, the album, performed in both Spanish and English, encompasses Latin folk forms, swing, atmospheric ballads, rhumba, and R&B. Yet the whole feels so rooted in history, so packed with real characters (like boxer Carlos Chavez) and stories (like a Pachuco-slang-speaking UFO sighting) that it plays as an organic whole. Playful, poignant, historically significant, and thoroughly enjoyable, CHAVEZ RAVINE is a stunning achievement.
In the wake of the tremendous impact of the BUENA VISTA ...
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| | Jann Browne Buckin' Around CD (2007)
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Buck Owens was born in Sherman, Texas; Jann Browne in Anderson, Indiana. They’re both Californians to the core, part of the grand sweep of our history. I say this because I think Jann would look good in a T-shirt emblazoned with the words “Part of the Grand Sweep of Our History” and also because it is true. Pioneers headed west, and the most pioneering headed west til their feet hit water. As Frank Lloyd Wright put it: “They turned the country up on its side, and everything loose fell into California.”Further east, things were too set, and feisty folk like Buck and Jann were drawn to California, a state that’s had a hot foot since at least World War Two. Audiences here weren’t interested in sitting still to warmed-over music. They expected more, and challenged performers to come up with it. As Buck once explained, “Out here in the western part of the United States, there weren’t any Grand Ole Oprys or schoolhouse shows. Out here they had dances and honky-tonks, and if you couldn’t play music they could dance to, you couldn’t get a job. So I was always accustomed to a lot of beat and driving-type music.”Meaning he rocked. And unlike the Nashville norm of using studio players to tamp down and tart up an artist’s music, Buck recorded with his stage band, resulting in a signature immediacy that served him well through 75 charting singles. He was still driving and twanging right up into the night he died, March 25, 2006.One of the nice things about stardom is you can influence people you never even meet. An even nicer thing about stardom is sometimes you do meet people you’ve influenced--as Buck did with Jann--and get to hear how well that influence turned out. Jann grew up listening to Buck’s records, and the first song she tried ...
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