Mos Ride - Ride CD

Track Listing of songs: Wenn ein Stern am Himmel steht; Die Nacht der tausend Rosen; Vaya con Dios amor; Heimweh nach Santa Marlena; Ich kann dich nie mehr vergessen; Ich hör' dein Herz ganz leise weinen; Wenn in Piräus schon die Rosen blüh'n; Bella Madonna; Ein Stern am Himmel ist noch frei; Weine nicht Corinna; Ich träum von dir heut Nacht; Der letzte Tango;

N.Y. MUSCLE contains 11 tracks from legendary electronica DJ and producer Hell. By the point Hell settled down in New York City to produce what would become his NY Muscle album, he'd pretty much done it all. He'd been DJing for two decades, having long ago arisen to "superstar" status; he'd produced a legion of tracks of various sorts for various labels, beginning back in the early '90s when techno was first overtaking his native Germany; he'd released numerous albums, both DJ mix and production ones; and he'd founded one of Germany's (and, by extension, the world's) premier electro-techno labels, International Deejay Gigolo Records, the home of such marquee talent as Tiga, Miss Kittin & the Hacker, and Fischerspooner, to just name a few of the more commercially successful artists he'd released recently. So when it came time for Hell to produce NY Muscle, his first studio album in a long while, he did so with great ambition, not content with just releasing a run-of-the-mill slab of dance music. He not only moved to New York City for about a half-year, he also collaborated with a number of colorful artists, most notably Alan Vega (of Suicide), Erlend Oye (of the Kings of Convenience), James Murphy (of the DFA), and Billie Ray Martin (a German techno diva of a myriad one-off collabos). The resulting album is across the board, in a good way, with essentially every track distinct and interesting. NY Muscle is the sort of album where you're continually (and pleasantly) surprised from one track to the next as it veers to and fro, never settling into a complacent groove for more than a track or two at a time. Hell sticks with his forte -- dark and foreboding yet quirky electro-techno -- and produces what might seem on the surface like rather simple tracks, except nothing here is straightforward. There is no preexisting schema for these productions. They may be electro-techno, but they purposefully steer away from the norm and venture into curious territory without fail, whether it be jacking acid techno or Miss Kittin-style electro-pop. To make mention of the individual tracks themselves is beyond the confines of this space, for every track here is noteworthy on some level; however, there are a few standout tracks, chief among them those featuring the aforementioned collaborations. "Keep On Waiting" is ...

Important new discovery Jungle from the beginning till the end. This is not a movie. Only avaiable on mp3 and WMA.

With the Pixies and as Frank Black, Black Francis often tucked away some of his best songs as B-sides, and the collection Abbabubba reveals that this is still the case. In sharp contrast to the high-concept albums like the Herman Brood homage Bluefinger, the exploration of sexuality that was NonStopErotik, and the score to the 1920 silent film The Golem, these songs are mostly short and direct, sometimes rudimentary, and almost always refreshing. Francis mixes demos of songs that made it onto full-fledged albums, like ...

Tributee: Judas Priest. Track Listing of songs: Breaking the Law; Fozzy; Electric Eye; Desert Plains; Diamonds and Rust; Heading Out To the Highway; Broken Teeth; Hell Bent For Leather; You've Got Another Thing Coming; Living After Midnight; Turbo Lover; Exciter; Screaming For Vengeance; Ripper, The;

B-Sides Ourselves was intended to be a stopgap EP, but it turned out to be Skid Row's last recording for three years. It wasn't a bad way to step away from the spotlight, actually. A collection of five covers, B-Sides Ourselves ranks among the best music Skid Row ever recorded, simply because it's so raw and seething with energy. Produced by the band, the EP careens through the songs -- including selections by Kiss and the Sex Pistols -- at a breakneck pace, creating vicious ...

Left of Sunday Afternoon, the latest release by Austin guitarist Darin Layne, is a journey at once familiar and exotic. Layne, known for his soulful jazz work as leader of the Darin Layne Trio and his traditional Brazilian /choro/ interpretations as a le Recording information: Austin School Of Music; Crazy Kong Music Studios, Austin, TX. Personnel: Darin Layne (acoustic guitar, acoustic 12-string guitar, slide guitar, steel guitar, nylon-string guitar, cavaquinho, melodica, gong); Roberto Riggio (violin); Jason McKenzie (tabla). Audio Mixer: Darin Layne.