| | Girl Anthems CD - Import
2 cd set. Girl anthems' is the ultimate party album for any occasion; perfect to celebrate with or simply sing out loud to! 40 tracks, all hot, and all for girl power! 2008. Girl Anthems Music | List Price | $42.99 (You save $2.24) | | Category | Rock/Pop Albums, Rock CDs | | Label | Phantom | | CD Universe Part number | 7678076 | | Discs | 2 | | Release Date | Jun 03, 2008 | | Additional Info | Import |
Girl Anthems Review
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Purchase Girl Anthems CD To buy, Click on price to add to cart | Tom Waits Glitter And Doom Live CDs (2009) Digipak
Girl Anthems 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 & Bastards, to mention ...
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$19.10 NEVER A DULL MOMENT picks up where EVERY PICTURE TELLS A STORY left off. Here we have more raucous rock & roll with healthy dollops of soul and twang thrown in for good measure. ...
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$6.05 "Suicide Note Pt. I" was nominated for a 1997 Grammy Award for Best Metal Performance.
Pantera's fourth major-label album is as dementedly metallic as anything the band has done. Over the years, this band has built a massive following with its adroit combination of guitar virtuosity that rivals Metallica's and an attitude as dark as Nine Inch Nails'. Philip Anselmo's vocals for THE GREAT SOUTHERN TRENDKILL were recorded at Trent Reznor's Nothing Studios, and they are positively demonic. They perfectly complement Dimebag Darrell's thunderous and dexterous guitar work. Vinnie Paul's ferocious, double-kick drumming is the final garnish on Pantera's infernal sound. Pantera may be the definitive modern metal band.
Thankfully, Pantera has stopped attempting to outdo each successive album in terms of start-to-finish intensity, but that doesn't mean they don't try in spots. The Great Southern Trendkill is burdened with passages in which Phil Anselmo's vocals cross the line into histrionics, making the band's trademark intensity sound dull, forced, and theatrical rather than sincere. The lyrics, which ...
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$15.55 Evan Parker Electric-Acoustic Ensemble: Evan Parker (soprano saxophone); Philipp Wachsmann (violin); Agusti Fernandez (piano); Barry Guy (double bass); Lawrence Casserley (signal processing instrument); Joel Ryan (computer); Walter Prati, Marco Vecchi (programming); Paul Lytton (percussion).
The Evan Parker Electro-Acoustic Ensemble has been an ever-changing entity in both personnel and musical direction. Originally structured as a free jazz unit whose players were given "electronic shadows," this model has given way to something entirely other in composition and execution. The ensemble now numbers nine members. Only five of these players -- Parker (saxophones, tapes, samples), Philipp Wachsmann (violin, electronics), Augusti Fernandez (piano, prepared piano), Barry Guy (double bass), and Paul Lytton (percussion, electronics) -- are considered "free jazz" players in anything resembling proper usage. Six members of the ensemble play electronics (the others are Joel Ryan, Walter Prati, Marco Vecchio, and Lawrence Casserley). Memory/Vision is a work commissioned by the Huddersfield Contemporary Music Festival and Oslo's Ultima Festival. These recordings of the work were taken from those performances. What is so remarkable about this work is that four of the ensemble members (the final four mentioned above) make music by transforming sounds and phrases from the musicians in real time according to individual interpretation and re-offering them as improvisational material. Talk about walking on a wire; this all happened live in front of an audience! In his introductory notes, Parker gives credit for the inspiration for the structure of this work to Charles Arthur Musés and his concept of "chronotopology." At each of the seven stages here a "strand" of prior recordings exists, sometimes already containing prior recorded improvisations. These are reacted ...
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$10.09 MiszProducer. Composer. Arranger. Drummer. Keyboardist. Vocalist.Misz has had a love for music most of her life. Her music career began at the age of five. The first of formal music lessons were on the piano. "Piano Saturday's" is how Misz refers to those days, which began at the age of nine.Piano lessons didn't last long. Misz didn't like spending Saturday mornings taking piano lessons over watching cartoons and playing with friends.Misz is a keyboardist and self-taught drummer.Misz was influenced by many artists and musical styles. From Motown ,70's Rock, Soul, Funk and 70's and early 80's Contemporary Jazz and Jazz Fusion. These are the musical elements you will hear in the compositions and arrangements from Misz. This great music was and still is a great influence in the musical comprehension,composition and arrangements by Misz. She enjoys blending musical styles,therefore creating unique, musical sounds.Misz loves the great jazz artists of the past. "They are the originators and innovators of this great American music. You must know your past in order to understand you present and hope to make an impact on tomorrow. I hope that I can do that with my music. I hope it will be around for a long time and have a great impact on the listener."The first jazz influence for Misz was hearing Herbie Hancock and the Headhunters. "Wow!" When she heard 'Chameleon', she knew she wanted to play music like that. A few years later, her brother introduced her to the sounds of Bob James.After hearing Bob James, that was it. There was no turning back. "The way that he was able to combine jazz and classical music was unbelievable. ...
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