| | Boban Markovic Go Marko Go! Brass Madness CD Boban Markovic Discography of CDs
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Go Marko Go! Brass Madness Music Boban Markovic Go Marko Go! Brass Madness Songs | 1. | Rromano Bijav (Romany Wedding) |
| 2. | Pijem (I'm Drinking) |
| 3. | Sina Nari |
| 4. | Evo Je Mlada! (Here Comes the Bride) |
| 5. | Cig (Avalanche) |
| 6. | Dzumbus Funk |
| 7. | Latino Cocek |
| 8. | Bori |
| 9. | Atlantis |
| 10. | Dunje |
| 11. | Go Marko Go! |
| 12. | Igraj Devojko (Dance Girl, Dance) |
| 13. | Bubamara/Ne Kuni Me/Kalasnijikov [Bonus Track] |
| 14. | Original Trailer For the Movie "Gucha-Distant Trumpet" [Bonus Video] |
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Go Marko Go! Brass Madness Music Go Marko Go! Brass Madness Review
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Purchase Go Marko Go! Brass Madness CD To buy, Click on price to add to cart | E Ritorno Da Te: The Best Of Laura Pausini CD (2001) Italian
Go Marko Go! Brass Madness
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Personnel includes: Laura Pausini, Gilberto Gil (vocals); Celso Valli (arranger, conductor, piano, keyboards, synthesizer, programming); Geoff Weestley (arranger, conductor); Beppe Pini (acoustic guitar); Mike Landau (guitar, sitar); Massimo Varini (guitar); Christopher Warren Green, Gavin Wright (violin); Dado Parisini (keyboards, synthesizer, programming); KC Porter (keyboards, programming); Eric Buffat (keyboards, background vocals); David Foster (keyboards); Paolo Costa, Nathan East, Nek (bass); Pier Foschi, Massimo Pacciani (drums); Max Costa (programming); Ronny Jones, Julia St. Louis (background vocals); London Chamber Orchestra, London Session Orchestra, London Symphony Orchestra.
Producers include: Laura Pausini, Alfredo Cerruti.
Engineers include: Jon Jacobs, Luca Bignardi, Max Costa.
Personnel: Laura Pausini (background vocals); Michael Landau (guitar, sitar); Paolo Gianolio (guitar, drum programming); Gianni Salvatori (guitar, ...
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This Los Angeles-based band features a Cambodian vocalist (she sings in both English and Khmer) and takes as its primary inspiration the Cambodian rock of the 1960s. As there isn't exactly an overload of bands playing retro-psychedelic Cambodian rock in America in the 2000s, Dengue Fever stands out, and especially so with their beautifully realized second album, VENUS ON EARTH.
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Dengue Fever's music is a heady cocktail of reverb-laden guitar, Farfisa organ, horns, and shuffling rhythms that channels jazz, lounge music, Southeast Asian pop, and spy movie music. "Woman in Her Shoes" sounds like a cross between ...
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Tinariwen strip rock down to its basic building blocks of rhythm, guitars, and voice. On their second CD there are no fancy studio tricks or multiple overdubs. They stick to what they've shown they do well -- keep the music raw and emotional. While there are similarities to the desert blues of Mali, these Tuareg nomads from the Western Sahara are as much as rock band as the Stones at their best, capable of conjuring up magic with a guitar riff or lick. Oftentimes, the music has the same bluesy, undulating, hypnotic rhythm of a camel crossing the sand, as on "Aldhechen Manin." But they can also crank the amps and unleash something to tingle the spine and feet, which they do on "Oualahila Ar Tesninam," ...
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When Howard Stern was given two channels to program on the Sirius satellite radio network he did so with an immature pack of degenerates including Red Peters, who hosts the weekly Red Peters Comedy Music Hour Radio Show. This compilation of listener-submitted smut suggests Red's fans are a creative bunch -- along with sleazy, twisted, unashamed, and mostly hilarious. Sometimes they're even wry, like the great John R. Butler, who nails the Louvin Brothers/old-timey country gospel sound, then adds lyrics that should come nowhere near a house of worship. Much less subtle is the hair metal-loving Joel Moss, who promises to make sweet love to the listener with his rock & roll, although he says something much more instant and offensive than "make ...
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At times highly klezmer-like, this album of Serbian music from the Novi Sad's resident folk ensemble runs the gamut from ultra-high-energy flutes and violins to female martial chants that seem to be straight from the communist era. Each piece hails from a different region of Serbia, both old (now largely Montenegro and in some cases Bulgaria) and new. The vocal pieces can be a bit grating (lying somewhere between the ethereality of Le Mystère des Voix Bulgares and a tragic sea shanty), but the interplay of piccolo and violin at ultra-high tempos is something to marvel at. The sheer speed of performance here demands attention -- this is not something that can be played as background music on a lazy day. With notes, motives, and whole melodic lines flying at breakneck speed, though, it's the slow pieces that really grab ...
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