| | Body Of Lies Soundtrack CD
Composer: Marc Streitenfeld.
Personnel: Marc Streitenfeld (guitar, saz, tambura); Naser Musa (vocals, oud); Tak Nakamura, Goh Nakamura (acoustic guitar); Craig Ellis (dulcimer, percussion); Mahshid Mirzadeh (santur); George Hamad (violin); Melissa "Missy" Hasin, Steve Erdody (cello); Pedro Eustache (woodwinds); Joe Pusateri, Joe Pusateri, Mike Fisher , Amir Sofi (percussion).
Audio Mixers: Malcolm Luker; Peter Cobbin.
Recording information: Brickstone Studios, Venice, Italy; Eastwood Scoring Stage.
Arranger: Marc Streitenfeld.
BODY OF LIES is director Ridley Scott's latest action thriller, which revolves around government espionage, terrorist operations, and questionable allegiances. Scoring the film is German composer Marc Streitenfeld, Scott's current preferred soundtrack composer, who previously worked with him on AMERICAN GANGSTER and A GOOD YEAR. Adapting his music to Scott's austere film visions seems second-nature to Streitenfeld, who morphs each situational cue effortlessly with string arrangements, percussion, and electronic motifs enveloping the visual settings. Body Of Lies Soundtrack Music Body Of Lies Soundtrack Songs Body Of Lies Soundtrack Review
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Body Of Lies Soundtrack CD Purchase Music From Body Of Lies CD To buy, Click on price to add to cart | George Harrison Dark Horse CD (1974)
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When Love Is All's 2006 debut, NINE TIMES THAT SAME SONG, found its way onto year-end Top Ten lists--somewhat of an uncommon occurrence for a punk/post-punk revival group--it signaled that this band wasn't only aping its predecessors. On the follow-up, 2008's A HUNDRED THINGS KEEP ME UP AT NIGHT, the Gothenburg, Sweden group continues its growth process, retaining the four-track-on-steroids sound of the debut but turning out the kind of good and consistently appealing songs that characterize any legitimate band operating within the pop idiom. "Wishing Well," probably the best tune here, epitomizes Love Is All's approach: the band nicks the most famous keyboard lick by the Clean, speeds it up, and spins it into pure pop chaos, with singer Josephine Olausson--whose distorted vocals split the difference between Karen O. and Bjork--leading the charge.
Love Is All's second album, A Hundred Things Keep Me Up at Night, beats the dreaded sophomore slump by doing two important things. First, they hew closely ...
| | Miller, Amuso & Duff Jazz Trio Tripodity Tales Live CD (2008)
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The Miller, Amuso & Duff Jazz Trio Tripodity Tales - Live Gary Miller- vibraphone & composer of all of the songs Art Amuso- 5 string electric upright bass Emily Duff- soprano saxophone All performances were recorded live at Bellissimo Dolce (BD), Pittsfield, MA during the Summer of 2007 on the following dates: 6-30, 7-28, 8-4, 8-11 or at the Heron Cove Concert Series (HC), Cheshire, MA on 7-4. Why produce a live recording when studio recordings can create \"perfect\" takes through extensive editing and over-dubbing? We wanted to capture the essence of the trio live in performance. Central to the music was the on–the–spot interplay of the musicians as we improvised. The trade-off, of course, was that we had to deal with background noise. You will hear birds singing, people talking or occasionally coughing, doors opening and closing, and the coffee machine hissing steam, along with other \"real-life\" sounds. Check out Gary Miller\'s solo albums, Looking Out- Looking In and Paintings.Gary Miller- vibraphone Musical Bio. Jazz vibraphonist Gary Miller, playing a combination ...
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| | Sonny Boy Williamson, I Later Years 1939-1947 CDs (2009) (Import) Remastered; Box Set; United Kingdom
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Personnel: Yank Rachell, Big Joe Williams (vocals, guitar); Ted Summitt, Willie James Lacey, Big Bill Broonzy (guitar); Eddie Boyd, Joshua Altheimer, Walter Davis, Blind John Davis (piano); Fred Williams, Jump Jackson, Charles Sanders (drums); Washboard Sam (washboard).
Recording information: Chicago, IL (07/21/1939-12/18/1947).
This four-CD set is the perfect companion and complement to JSP's The Original Sonny Boy Williamson, Vol. 1, covering the blues harp legend's final eight years. John Lee "Sonny Boy" Williamson (aka Sonny Boy Williamson I) has, until fairly recently, been the odd man out in the story of Chicago blues stars, at least in terms of how history and posterity treated him. Having died in 1948, long before the significance of the blues or his work was recognized, he receded within the shadow cast by the older yet longer-lived name appropriator Sonny Boy Williamson II (aka Aleck Ford Miller), who got to record for Chess Records into the 1960s, and made it all the way to sessions with the likes of Eric Clapton and even a sadly never fulfilled intersection with the Band. The situation got even more frustrating for scholars when The New York Times, no less (known in the journalism trade as the newspaper of record), in a 1990s article about blues musicians being acknowledged with proper grave markers, obliterated any mention of the existence of John Lee Williamson in the course of telling of Miller/Williamson II's neglect. RCA's efforts at assembling John Lee "Sonny Boy" Williamson's music ended after two volumes and never got near ...
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