| | Apollo 3 Startschuss CD - Import Apollo 3 Discography of CDs
Startschuss Music | List Price | $10.98 (You save $1.73) | | Category | Rock/Pop Albums, CD singles CDs, World, German | | Label | Ariola | | CD Universe Part number | 7949409 | | Catalog number | 7539822 | | Discs | 1 | | Release Date | Jun 16, 2009 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Additional Info | Germany |
Apollo 3 Startschuss Songs | 1. | Startschuss |
| 2. | Startschuß |
|
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Purchase Startschuss CD To buy, Click on price to add to cart | Disney Karaoke Vol. 3 CD (2001)
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| | Giorgio Moroder Vs Danny Tenaglia From Here To Eternity CD (1977) (Import) Germany
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One of the predecessors of modern dance music, the entirely electronically produced 1977 album FROM HERE TO ETERNITY includes "Lost Angeles" and "Too Hot To Handle."
From Here to Eternity is Moroder's quasi-instrumental masterpiece, a continuous mix of banging Eurodisco complete with vocoder effects and this statement on the back cover: "Only electronic keyboards were used on this recording." The metallic beats, high-energy impact, and futuristic effects prove that Moroder was ahead of his time like few artists of the 1970s (Kraftwerk included), and the free-form songwriting on tracks like "Lost Angeles," "First Hand Experience in Second Hand Love," and the title ...
| | Green Day American Idiot (2004)
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Rock opera and punk are usually two mutually exclusive musical styles. Then again, Green Day has never followed any rock rulebook, so it's not entirely surprising that the trio crafted a punk-rock opera that takes the Bush administration and its policies to task. It doesn't get any more pointed than a couplet from the frenetic title cut that states, "I'm not a part of a redneck agenda/Now everybody do the propaganda!"
Under the guidance of any other group of agitated punks, the results of such an undertaking could easily become didactic. But with creative spearhead Billie Joe Armstrong at the helm, AMERICAN IDIOT is melodically driven, with the kind of intellectual bent that allows for a pair of mini-operas, "Jesus of Suburbia" and "Homecoming." Trimmed with a light sprinkling of piano ...
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| | Harry James All Or Nothing At All CD (1995)
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This 17-track, 53-and-a-half-minute disc of air checks chronicles the first year of the Harry James band, when a 23-year-old Frank Sinatra was its featured male vocalist. Sinatra is heard on nine tracks, eight of which are also heard in their studio versions on Legacy/Columbia's The Complete Recordings, also released on CD in 1995, and thus make an interesting contrast. The title track, which was the biggest song James and Sinatra enjoyed (albeit not until years later), was even recorded on the same day (Aug. 31, 1939) in the studio for Columbia and at the World's Fair in Flushing, NY, for radio. The set includes one song, "Let's Disappear," and that James and Sinatra did not cut for Columbia. Sinatra sounds typically assured, and the arrangements lean more to the "hot" side of swing than those of Tommy Dorsey on which Sinatra would be featured from 1940 to 1942. Eight songs are James band instrumentals, including their theme, "Ciribirin," and such standards as "Avalon" and "Sweet Georgia Brown." Led by James's bravura playing, the orchestra is in fine form, belying their relative lack of success during this period. ~ William Ruhlmann
With Frank Sinatra
Recording information: 03/28/1939-11/09/1939.
Personnel: Harry James (trumpet); Frank Sinatra (vocals); Bryan ...
| | Chris Botti Night Sessions CD (2001)
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This is a multi-channel Super Audio CD playable only on Super Audio CD players.
At the precise moment when a corporate reshuffling and a reduced roster led to death knells in the press for Columbia Records' jazz division, Chris Botti was signing on after three albums at rival Verve, the jazz arm of Universal. Along with Bela Fleck, poached from Warner Bros., Botti seemed to represent the new lean-and-mean Columbia Jazz, an eclectic, contemporary artist with considerable crossover potential to go with his jazz legitimacy. While the dominant sound on Botti's Columbia debut is naturally his haunting, minor-key trumpet playing, highly reminiscent of the more introspective aspect of Miles Davis, his original music, co-written with one-name producer Kipper, is strongly reminiscent of the pop-jazz approach of his most recent employer, Sting, whose tour hiatus created the opportunity for the recording of the album. Sting even contributes a song, the samba-paced "All Would Envy," complete with lyrics describing a wealthy May-December marriage, sung by Shawn Colvin. But elsewhere his spare, stylish, multi-cultural music provides a guiding principle. Botti is true to the basic tenets of smooth jazz, which hold that a steady beat within a propulsive rhythm track must be maintained, over which the soloist makes his presence felt. But he and Kipper keep things simple, often using an acoustic guitar to create musical textures more suggestive of Rio than west Los Angeles, where the record was actually cut. And even with his less-is-more style of playing, Botti is capable of coming up with melodies that would be strong enough to support lyrics if someone wanted to write them. (A good example is "Light the Stars.") "Easter Parade," the final track, is by the members of the Blue Nile, another good touchstone for the trumpeter's moody, atmospheric sound. The result is a step above most of the cookie-cutter contemporary jazz albums of the day. ~ William Ruhlmann
Recorded at Boogie Nights, Hollywood and Sony Studios, Santa Monica, California; Clear ...
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