| | Borne Loss Of Signal CD - Import Borne Discography of CDs
Upcoming Australian indie rock outfits debut album has already landed a top 10 spot in Itunes around the world, and the song "Guide" was single of the week. Borne Loss Of Signal Songs | 1. | Don't Go Now |
| 2. | Upside Down |
| 3. | Guide |
| 4. | Beautiful |
| 5. | Morning Star |
| 6. | Easily |
| 7. | Coma |
| 8. | One Last Time |
| 9. | Chariots |
| 10. | Sleep With Your Eyes Open |
| 11. | Souls On Satellite |
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Loss Of Signal Review
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Buy Loss Of Signal CD  | | Borneo
11 x 17 inch
Masterprint
Price: $14.99 |
Purchase Loss Of Signal CD To buy, Click on price to add to cart | Them Crooked Vultures CD (2009)
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Often, supergroups wind up dominated by one particular personality - think Eric Clapton in Derek & the Dominos, Jack White in the Raconteurs -- which makes the egalitarianism of Them Crooked Vultures ...
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| | Alan Parsons Definitive Collection CDs (1997) 2CD
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Digitally remastered by Alan Parsons and Simon Heyworth (Chop Em Out, London, England).
As a man who worked behind the scenes on both the Beatles' ABBEY ROAD and Pink Floyd's DARK SIDE OF THE MOON, Alan Parsons certainly earned his reputation for being a producer and engineer with vision. Parsons applied that same sense of vision to his self-named solo project, which featured a revolving cast of musicians and vocalists. Though the music of the Alan Parsons Project can be classified as soft rock, and its accessible melodies and lush arrangements made it a perfect match for pop radio in the 1970s and '80s, it's also progressive, conceptual, and highly sophisticated.
THE DEFINITIVE COLLECTION is a carefully selected and assembled two-disc set that represents the range and precision of Parsons's music from the '70s to the mid-'90s. His early work, inspired by science fiction and progressive rock, favored synth-heavy instrumentals. At the turn of the '80s, Parsons was leaning toward a more pop-friendly sound (as evidenced by the hits "Time" and "Eye in the Sky," both of which are included here), yet this material sacrifices none of his high-minded aesthetic, a trademark of his sound that continued into the '90s. As an overview of Parsons's career, and as a primer for anyone interested in the art rock of the period, THE DEFINITIVE COLLECTION is indispensable.
Principally recorded at Abbey Road Studios, Mayfair Studios, The Grange, London, England; Mama Jo's Studio, North Hollywood, California; Super Bear Studios, France; Acousti Studio, ...
| | Waxings Let's Make Our Descent CD (2004)
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The Waxwings' third album is the Detroit band's second disappointing effort in a row. After a promising debut album, their second record followed the same formula of blissful guitar pop but forgot the memorable tunes and overcooked the production. Let's Make Our Descent strays from the formula and replaces it with an even less successful one. They seem to have ...
| | Thanxx CD (2006) (Import) Japan
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| | Jennifer Leitham Left Coast Story CD (2008)
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Left Coast StoryLiner Notes: “Left Coast” has several connotations. It is used in reference to politics, to weather, and to location on a printed map, among other things. But for the many loyal fans of Jennifer Leitham, this Left Coast Story is the long-awaited result of several requests for her versions of music from West Side Story to be available on a CD. It is a “Left Coast Story” because the disc was recorded in southern California by L.A. musicians, and the leader of the trio plays the bass left-handed. “Left Coast” also implies unconventionality, and that’s the real story on this disc! This is not a “standard” jazz trio album. Take for example, the solo bass version of “Cast Your Fate to the Wind.” Jennifer makes the bass sound as though the bass viol was originally intended to be a solo instrument, to be handled more like a guitar than the giant time keeper and low voice it usually is. Her rendition of this jazzy pop tune is pyrotechnical, compelling, and contemporary, as she plays melody and rhythm. She plays great throughout the disc, but this piece demonstrates clearly why noted jazz critic Leonard Feather called her “the left-handed virtuoso of the upright bass.” Another unconventional treat on this recording is the presence of Richard Greene on violin and John Chiodini on the dobro-mandolin. Greene pioneered (with mandolinist David Grisman) a style of music called “New Grass,” a blend of jazz and bluegrass, among other styles. Jennifer’s original “Studio City Stomp” works well in this treatment. It includes Jennifer performing a kind of Slam Stewart-like vocal-and-bass solo in addition to singing the offbeat melody. The vocals on this are not unexpected as Jennifer did some swinging vocals on her previous disc. She’s already proven she can deliver a fast-paced, tongue-twisting lyric, but it is always fun to hear her do it! What are unexpected are her vocal ballads, “Blame it On My Youth” and “Detour Ahead.” Jennifer shows off some impressive phrasing and control, as well as catching the poignancy of the lyrics. Really pushing the boundaries is “Ghost.” It was written by Emily Saliers of Indigo Girls fame. Jennifer fits comfortably into the country folk vocal style, which, I admit, took me completely by surprise! It also features Greene again on violin, with Chiodini on guitar, and subtle back-up vocals by Ginger Berglund and Jane Brucker. Some words should be said about pianist Josh Nelson and drummer ...
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Liner Note Author: Bill Dahl.
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