Berlin - All the Way In CD

All the Way In songs Evanescence won the 2004 Grammy Award for Best New Artist. FALLEN was nominated for Album Of The Year and for Best Rock Album. "Bring Me To Life" won for Best Hard Rock Performance. The song was also nominated for Best Rock Song. Picture Tori Amos fronting Nickelback and you'll get an idea of the sound behind Evanescence, an Arkansas quartet whose introduction to the world came via the DAREDEVIL soundtrack. With its debut FALLEN, Evanescence further pushes the envelope on the aforementioned description, with frontwoman Amy Lee pouring her light-yet-strong vocals into the aggro-rock workout "Bring Me to Life" and industrial trip-hop of "My Last Breath." Although guitarists Ben Moody and John LeCompt leave no riff unplayed on hard-hitting cuts like "Going Under" and "Taking Over Me," Lee brings a nice balance to the table with her gorgeous piano runs, which come to the fore on the very Amos-like "Hello." The perfect balance of hard and soft is met on "Haunted" with its ambient nuance stoked by clattering beats and loops, crunching riffs, and the use of a children's choir. Goth-like in mood yet nu-metal in execution, FALLEN could very well have been where Amos' first group Y Kant Tori Read ended up had they not come along 15 years too soon. Personnel: Amy Lee (vocals); David Hodges (piano, keyboards, programming); Josh Freese (drums); Chris Johnson , Zac Baird (programming). Audio Mixers: Dave Fortman ; Jay Baumgardner; Mark Curry. Recording information: Conway Recording Studios, Hollywood, CA; Newman Stage, Twentieth Century Fox; NRG Recording Studios, North Hollywood, CA; Ocean Studios, Burbank, CA; Track Records, Inc., North Hollywood, CA. Arranger: Amy Lee . Evanescence: Amy Lee (vocals); Ben Moody (guitar, percussion, programming). Additional personnel: Paul McCoy (vocals); David Hodges ...

All the Way In buy CD music Return To Summer Lake is Steven's third recording. Special guest artists on the CD include Molly O'Brien, Nina Gerber, Debi Smith, SONiA of Disappear Fear, Pete & Maura Kennedy, Al Petteway & Bruce Molsky. Steven Bio:Billboard Magazine describes Steven Gellman's music as "intensely sensitive and impressively intelligent at the same time". As another reviewer aptly phrased it, Gellman's songs are "Kodak moments" from his life.He often performs in nursing homes and retirement communities, and even used a choir of senior citizens as backup on the track "Almeda at 90" from his album "Photobook". Dick Cerri, President of the World Folk Music Association says "Steve's natural ability on stage enables an audience to not only enjoy the songs and stories, but to participate in the performance."Nowhere is there a better example of how Gellman touches people's lives than the story of fan Jennifer Baker, blind and wheelchair bound from a lifelong struggle with kidney failure. She first heard Steven at a Borders Book store concert and instantly became one of his most ardent fans. His music was an inspiration to her in her last months and Gellman performed at a memorial service in her honor to benefit the National Kidney Association. The song "A Little Bit Fine" on Steven's CD "Return to Summer Lake" was written for Jennifer and is one of his most requested songs.His new release, "Love Loss Longing", is Steven's first concept album. The eleven-song collection describes the journey one goes through at the end of a relationship. As Steven puts it, "To me, each song represents a chapter in a book, there is a beginning, middle and end. Every emotion is explored here -- sadness, anger, hope and joy."Gellman performs throughout the United States and Canada at the premiere acoustic music venues such as The Birchmere in Alexandria, VA, The Ark in Ann Arbor, Michigan, The Blue Bird Café in Nashville, TN, The Tin Angel in Philadelphia, PA, and Club Passim in Boston, MA. In Washington, DC, he has performed at the venerated National Theatre and the most sought after venue of all, The White House. Steven has opened shows for Dar Williams, Cheryl Wheeler, Richie Havens, Richard Shindell and Al Stewart.Steven has garnered critical acclaim across the country - he was nominated for 4 awards from The Washington Area Music Association Awards (WAMA) and by The Gay/Lesbian American Music Awards (GLAMA) for Debut Album of the Year. His release "Return to Summer Lake" was chosen by Barnes & Noble for national distribution and was featured on their listening post wall. Don Murphy of the National Theatre says "Steven Gellman's insightful original songs and homespun stories provide a soul-warming folk rock respite in a busy chilly world." Principally recorded at Recording Arts, Fairfax, Virginia. Includes liner notes by Steven Gellman. Personnel: Steven Gellman (vocals, acoustic guitar); Debi Smith (vocals, background vocals); Amy White (whistling, background vocals); Nina Gerber (guitar, slide guitar); Marco Delmar (acoustic guitar, organ, electric bass, tambourine, hand claps); Al Petteway (acoustic guitar, bodhran); Sean McGhee (acoustic 12-string guitar); Pete Kennedy (electric guitar); Bruce Molsky (fiddle); Fred Lieder (cello); Margaret Wolfe (harmonica); Bob Tyler (recorder); George Welling (upright bass); Robbie Magruder (drums); Maura Kennedy, Mollie O'Brien, Susan Graham-White (background vocals). Recording information: Recording Arts, Fairfax, VA. Photographer: Robert Corwin . Personnel includes: Steven Gellman (vocals, acoustic guitar); Debi Smith (vocals); Marco Delmar (acoustic & slide guitars, organ, electric bass, tambourine, egg shakers, hand claps); Al Petteway (acoustic guitar, bodhran); Jennie Dawson (flute, clarinet); Robbie Magruder (drums); Maura Kennedy (background vocals).

All the Way In album for sale Clint Eastwood's first film as a director is a good one with adequate suspense and some timely shocks to keep the story moving. He plays a disc jockey plagued by a female fan who loves him to death... See FATAL ATTRACTION for an interesting comparison. Features the Roberta Flack song "The First Time Ever I Saw Your Face." Clint Eastwood, Donna Mills, Jack Ging, Jessica Walter, John Larch - Dir:Clint Eastwood

All the Way In CD music Recorded live at Le Bataclan, Paris, France on June 25, 1998. LIVE AT THE MARQUEE is a 1993 live set by Los Angeles-based progressive rockers Dream Theater, featuring "Metropolis." Dream Theater finally released their first official live album, the double-disc Once in a Livetime (recorded June 1998 in Paris). Granted, the 1995 release A Change of Seasons contained a wealth of live material, but they were all cover songs, and 1994's Live at the Marquee was only available as a European import. With material spanning their entire career, the many die-hard Dream Theater fans will love Once in a Livetime, but it won't win over disbelievers to their highly technical, sometimes cold style. There's no denying that the band's musicianship is top-notch, but the songs often get repetitious and start sounding similar. But Once in a Livetime may be a breath of fresh air if you've had it with smug alterna-wannabes who can hardly play, or if you long for the glory days of Yes or ELP (in other words, the music punk rock tried to annihilate). Highlights include their instrumental tour de force "Ytse Jam," as well as the fan favorites "Pull Me Under," "Lie," "Metropolis," and certain portions of their lengthy "A Change of Seasons" composition. Also released in conjunction with Once in a Livetime was the home video Five Years in a Livetime. ~ Greg Prato 1993 release on WEA International. Features six songsrecorded live at The Marquee Club in London on April 23rd,1993: 'Metropolis', 'A Fortune In Lies', 'Bombay Vindaloo','Surrounded', 'Another Hand - The Killing Hand' and 'Pull MeUnder'. Personnel: James LaBrie (vocals); John Petrucci (guitar); Kevin Moore (keyboards); Mike Portnoy (drums). Audio Mixer: Doug Oberkircher. Liner Note Author: Dream Theater. Recording information: Marquee Club, London, England; The Marquee, London, England. Dream Theater: James LaBrie (vocals, percussion); John Petrucci (guitar, vocals); Derek Sherinian (keyboards); John Myung (bass); Mike Portnoy (drums, percussion, vocals). Additional personnel: Jay Beckenstein (alto saxophone).

All the Way In buy CD music The Berlin entry in Universal Music's discount-priced best-of series, 20th Century Masters/The Millennium Collection, is a straight reissue of the 1988 album The Best of Berlin 1979-1988. Berlin's electro-pop sound is salvaged only by the enduring and assertive voice of Terri Nunn, which is why The Best of Berlin is the most preferable place to hear this Los Angeles-based group's music. The synth-soaked punch of ""No More Words"" from 1984's Love Life album and the week-long number one ballad ""Take My Breath Away"" from the film Top Gun are the album's high points, while the other tracks are made up of clean and bright techno pop/rock with heavy emphasis stemming from three different keyboard players employed throughout the band's career. Berlin's '80s poignancy provided some rather palatable music, even if the charts didn't say so. Songs like ""For All Tomorrow's Lies"" and ""Blowin' Sky High"" could compete with anything Soft Cell or A Flock of Seagulls spouted at the time, and the range of Nunn's vocals elevated most of Berlin's efforts above the norm of the run-of-the-mill synthesizer glitz, but only marginally. A compressed lineup of their most accomplished material is definitely the best way in which to enjoy Berlin, avoiding all the inessentials that crept through their albums. ~ Mike DeGagne Producers include: Chas Sandford, Giorgio Moroder, Richie Zito, Bob Ezrin, Daniel R. Van Patton. Engineers include: Gary McGachan. Berlin (Group): John Crawford (vocals, guitar, keyboards, bass guitar); David Diamond (vocals, guitar, keyboards); Richard Olsen (guitar); Matthew Reid (keyboards); Rob Brill, Terri Nunn. Personnel: John Crawford (vocals, guitar, keyboards); Bob Brill, Rob Brill (vocals, drums); Marietta Waters, Terri Nunn (vocals); Gene Black, Mark Christian, Gregg Wright, Rick Olsen, Chris Ruiz-Velasco, Kane Roberts, Alan Murphy, Richie Zito, Chas Sandford (guitar); Osamu Kitajima (biwa, koto); Masakazu Yoshizawa (shakuhachi); Z. Jimmy (harmonica, saxophone); Bob Ezrin (organ, keyboards); Andy Richards (keyboards, programming); Matt Reid (keyboards); Daniel VanPatten (drums); Julian Joseph, Arthur Barrow, Charles Judge (keyboard programming); George Merrill, William Batstone (background vocals). Audio Mixer: John Purdell. Recording information: Secret Sound, LA, CA; Smoketree Ranch, Chatsworth, CA. Photographers: Matt Reid; Ed Colver; Martin Mann; Rick Olsen; Phillip Dixon. Arranger: Julian Joseph. Berlin: Terri Nunn (vocals); Ric Olsen (guitar); John Crawford (bass, keyboards, guitar, vocals); David Diamond (keyboards, guitar, vocals); Matt Reid (keyboards); Rob Brill (drums, vocals). Additional personnel: Marietta Waters (vocals); Chas Sandford, Mark Christian, Chris Ruiz-Velasco, Gene Black, Kane Roberts, Alan Murphey, Gregg Wright, Richie Zito (guitar); Masakazu Yoshizawa (shakuhachi); Jimmy Z (harmonica, saxophone); Bob Ezrin (keyboards, Hammond organ); Andy Richard (keyboards, programming); Dan Van Patton (drums); Osamu Kitajima (koto, biwa); Charles Judge, Joseph Julian, Arthur Barrow (keyboard programming); John Lee Batoff, William Batstone, George Merrill (background vocals).

All the Way In songs All tracks have been digitally remastered using 24-bit technology. Recorded in 1976, Blondie's self-titled debut was part of the New York City/CBGB's crowd's initial salvo of punk/new wave, radically different from anything in the American mainstream at the time. While other CBGB scenemakers strove for either artiness (Television) or primitivism (Ramones), Blondie was always about pure pop, served with a healthy dose of irony. Its early-'60s rock & roll/girl-group roots were never so apparent as on this album--"In the Sun" sounds like a classic slice of sunny '60s West Coast pop, while "In the Flesh" reaches even further back for a '50s ballad feel. The sly lyrics, Debbie Harry's knowing delivery, and especially Jimmy Destri's gloriously cheesy organ riffs make it apparent that revivalism was never Blondie's intention; the band simply used the past to hijack the punk present and lay claim to a new wave future. Over the next few years, countless groups would adopt the template laid down on the first couple of Blondie albums, with varying degrees of success, but, as this recording makes plain, Blondie did it first and best. Digitally remastered 1994 reissue on Chrysalis of their 1976debut for the label. Contains 11 tracks, including the cultclassics 'Rip Her To Shreds', 'X Offender' and 'In TheFlesh'. Recorded at Plaza Sound Stuidos, New York, New York in August & September 1976. Originally released on Private Stock (2023) in January 1977, reissued on Chrysalis (1165) in September 1977. Includes liner notes by Mike Chapman. Producer: Richard Gottehrer. Reissue producer: Kevin Flaherty. Composer: Marty Thau. Personnel: Debbie Harry (vocals); Gary Valentine (guitar, bass guitar); Chris Stein (guitar); Jimmy Destri (piano, grand piano, Farfisa); Clem Burke (drums); Ellie Greenwich, Micki Harris, Hilda Harris (background vocals). Audio Remixer: Craig Leon. Liner Note Author: Richard Gottehrer. Recording information: Plaza Sound Studios, New York, NY (08/1976-09/1976). Photographers: Jonathan Postal; Ray Stevenson; Bob Gruen. Blondie: Deborah Harry (vocals); Chris Stein, Gary Valentine (guitar, bass); James Destri (piano, organ, synthesizer); Clement Burke (drums). Additional personnel: Ellie Greenwich, Micki Harris, Hilda Harris (background vocals).