Playlist
Back To Love
Beth Nielsen Chapman
Shadows

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Back To Love
Beth Nielsen Chapman
I'll Give My Heart

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The Mighty Sky
Beth Nielsen Chapman
There Is No Darkness

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The Mighty Sky
Beth Nielsen Chapman
The Mighty Sky

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Explicit version of Ben Folds' 2008 album Way to Normal. Ben Folds is best known as a solo artist and as the front-man pianist of Ben Folds Five. He is celebrated for a sound that bridges the worlds of Jazz and Power Rock. Consistently touring, Ben Folds has earned a reputation for his wit, musicality, and energetic live shows. With songs like 'Hiroshima' (which recounts his falling of the stage and hitting his head in Japan), Folds has proven to be a story-teller for the piano-rock generation. Way To Normal is the first full length release since Songs for Silverman, a very honest look at the last few years of Folds' life. Folds collaborated with Dennis Herring (Counting Crows, Modest Mouse, Elvis Costello) and the track 'You Don't Know Me' features a duet with indie songstress, Regina Spektor.
Way to Normal
Ben Folds
Effington
Year: 2008

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Lovely Creatures
Bob Schneider
Changing Your Mind
Year: 2009

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I'm Good Now
Bob Schneider
C'Mon Baby
Year: 2004

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Glenn Gould's recording debut in 1955 of Bach's Goldberg Variations took the world by storm. His decidedly un-Romantic view, absolute technical skill, startling lucidity, and right-on rhythmic changes, combined with his eccentricities--audible humming, sometimes outrageously fast tempi--made him an instantly legendary pianist and elucidated Bach's music in a whole new way. Gould's final recording, 26 years later, was also of the Goldbergs. It's a more relaxed, sometimes much slower, more inward reading (although still very much his own, complete with oddly ferocious attacks and accents), in which he offers repeats of the first half of 15 of the Variations. Both performances are glorious, each in its own way, and this luxurious new set of three CDs is entertaining, a joy to hear, and revelatory; it belongs in any music lover's collection. The third CD is devoted to outtakes and chatter from recording sessions. At one point, Gould improvises "God Save the King" and exhibits how it turns into "The Star-Spangled Banner." And a long interview with critic Tim Page offers great insight into Gould's weird humor and unique outlook. A must-have collection. --Robert Levine
Pages
Pages
O.C.O.E. (Official Cat of the Eighties)

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Glenn Gould's recording debut in 1955 of Bach's Goldberg Variations took the world by storm. His decidedly un-Romantic view, absolute technical skill, startling lucidity, and right-on rhythmic changes, combined with his eccentricities--audible humming, sometimes outrageously fast tempi--made him an instantly legendary pianist and elucidated Bach's music in a whole new way. Gould's final recording, 26 years later, was also of the Goldbergs. It's a more relaxed, sometimes much slower, more inward reading (although still very much his own, complete with oddly ferocious attacks and accents), in which he offers repeats of the first half of 15 of the Variations. Both performances are glorious, each in its own way, and this luxurious new set of three CDs is entertaining, a joy to hear, and revelatory; it belongs in any music lover's collection. The third CD is devoted to outtakes and chatter from recording sessions. At one point, Gould improvises "God Save the King" and exhibits how it turns into "The Star-Spangled Banner." And a long interview with critic Tim Page offers great insight into Gould's weird humor and unique outlook. A must-have collection. --Robert Levine
Pages
Pages
You Need a Hero

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Glenn Gould's recording debut in 1955 of Bach's Goldberg Variations took the world by storm. His decidedly un-Romantic view, absolute technical skill, startling lucidity, and right-on rhythmic changes, combined with his eccentricities--audible humming, sometimes outrageously fast tempi--made him an instantly legendary pianist and elucidated Bach's music in a whole new way. Gould's final recording, 26 years later, was also of the Goldbergs. It's a more relaxed, sometimes much slower, more inward reading (although still very much his own, complete with oddly ferocious attacks and accents), in which he offers repeats of the first half of 15 of the Variations. Both performances are glorious, each in its own way, and this luxurious new set of three CDs is entertaining, a joy to hear, and revelatory; it belongs in any music lover's collection. The third CD is devoted to outtakes and chatter from recording sessions. At one point, Gould improvises "God Save the King" and exhibits how it turns into "The Star-Spangled Banner." And a long interview with critic Tim Page offers great insight into Gould's weird humor and unique outlook. A must-have collection. --Robert Levine
Pages
Pages
Automatic

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Sky Full of Holes
Fountains Of Wayne
Hate to See You Like This
Year: 2011

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Sky Full of Holes
Fountains Of Wayne
A Dip in the Ocean
Year: 2011

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Sky Full of Holes
Fountains Of Wayne
Action Hero
Year: 2011

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Consolers Of The Lonely
The Raconteurs
These Stones Will Shout
Year: 2008

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No Description AvailableNo Track Information AvailableMedia Type: CDArtist: RAMONESTitle: END OF THE CENTURYStreet Release Date: 08/20/2002
End of the Century
Ramones
Rock 'N' Roll High School

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"They'll get better," said Keith Richards of punk musicians in 1977. "You can't help but get better." And Road to Ruin is the album that demonstrated the Ramones had gotten "better" at being musicians, if not at becoming stars. "I Just Want to Have Something to Do" is quite simply one of the greatest opening tracks on any rock album, ever. For the first time, Johnny actually throws in pyrotechnics that go beyond basic power chords. "I Don't Want You" is riff-driven punk rock, while "I Wanna Be Sedated" and "She's the One" are some of their best pop-punk. But Road to Ruin also breaks some stylistic barriers. "Don't Come Close" is almost country & western and "Questioningly" is a simple ballad. A cover of the Searchers' "Needles & Pins" is downright reverent, though it's sadder than the original. The superbly remastered Rhino reissue of what was arguably their last great album includes original artwork, liner notes by Punk! magazine's Legs McNeil, and the band's tracks from the Rock 'N' Roll High School soundtrack--meaning the title track as produced by Ed Stasium as opposed to Phil Spector. --Bill Holdship
Road to Ruin
Ramones
Needles and Pins

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"They'll get better," said Keith Richards of punk musicians in 1977. "You can't help but get better." And Road to Ruin is the album that demonstrated the Ramones had gotten "better" at being musicians, if not at becoming stars. "I Just Want to Have Something to Do" is quite simply one of the greatest opening tracks on any rock album, ever. For the first time, Johnny actually throws in pyrotechnics that go beyond basic power chords. "I Don't Want You" is riff-driven punk rock, while "I Wanna Be Sedated" and "She's the One" are some of their best pop-punk. But Road to Ruin also breaks some stylistic barriers. "Don't Come Close" is almost country & western and "Questioningly" is a simple ballad. A cover of the Searchers' "Needles & Pins" is downright reverent, though it's sadder than the original. The superbly remastered Rhino reissue of what was arguably their last great album includes original artwork, liner notes by Punk! magazine's Legs McNeil, and the band's tracks from the Rock 'N' Roll High School soundtrack--meaning the title track as produced by Ed Stasium as opposed to Phil Spector. --Bill Holdship
Road to Ruin
Ramones
I Wanna Be Sedated

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"Our records have the bitterness of life in them," quoth Dee Dee Ramone, and Rocket to Russia brought the pain. Despite carrying on the celebratory tone of the Ramones' debut and Leave Home in the likes of "Sheena Is a Punk Rocker," "Cretin Hop," a tribute to dirty "Rockaway Beach," and covers of the Trashmen and "Do You Wanna Dance?" their third LP displays a dark humor that's less jokey than the previous releases' goofs on bad mental health and dysfunctional relationships. The group's best-produced of its first three releases, Rocket achieves an almost smooth texture thanks to a clean mix and increased use of Beach Boys-inspired vocal harmonies. Still, the joyous grind of Johnny's guitar is front and center for much of this enduring album. Rhino's refurbished version offers five bonus tracks, including a rough early version of "It's a Long Way Back to Germany" and a demo, "Slug," which imagines (?) a world crawling with insects. --Rickey Wright
Rocket to Russia
Ramones
Sheena Is a Punk Rocker

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The Ramones' April 1976 debut, recorded for little more than $6,000, long ago passed into legend. Its exalted status as the inspiration for thousands of punk bands worldwide, though, hasn't overshadowed its monolithic roar, the knowing hilarity of its lyrics ("Judy Is a Punk" crams the SLA, the Ice Capades, and a salute to Herman's Hermits into a 90-second frame), and the impulse to blast it for everyone within earshot: Hey, listen to this. Embracing and rewriting rock & roll history at once, Ramones speeded up heavy music, adding a pop patina to songs inspired by horror movies and glue sniffing, and claiming a great Chris Montez tune ("Let's Dance") from the supposedly fallow period that had fallen between Elvis and the Beatles. Absurdist, yeah (how could anything with Joey's super-affected Liverpool-via-Queens accent be otherwise?) and also smart: "Havana Affair" is the greatest song about the cold war this side of Dylan. This remastered edition complements the original LP with a slew of demos, including a Spectoresque "I Wanna Be Your Boyfriend," and the single version of "Blitzkrieg Bop," that, equally prophetically, puts Joey's vocal through a mixing trick that makes him sound like he's on the mic at a football game. --Rickey Wright
Ramones
Ramones
Beat On the Brat

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The album title Paper Walls comes from the song of the same name, which begins "Let's burn a hole so we can climb out of these paper walls in this empty house." It's a reference to the barriers that built up between the band members over the years and everyone's desire to tear down the obstacles and heal old scars. "If you really love each other as much as we do, you want to knock those walls down and get back to the place where you enjoy being with each other and making music together," says Key. "The song is basically saying let’s get back out there and remember why this is important to us, why we love being on stage and why we love making records." Album opener "The Takedown" starts with a shot – an indelible guitar hook and ferocious drums charge forth as Yellowcard's trademark mix of airtight vocal harmonies, entwined guitar lines and flourishes of violin crackle with energy. "Fighting" brings together the band's many strengths – tight, melodic, propulsive riffs gather steam before launching into an epic, undeniable chorus. And bruised but beautiful lead single "Light Up the Sky" has an even more massive payoff, its refrain won't leave your head in this lifetime, but allows for some ringing dissonance beneath it all. Yellowcard Photos       More from Yellowcard Ocean Avenue Lights and Sounds Beyond Ocean Avenue DVD
Paper Walls
Yellowcard
The Takedown
Year: 2007

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Critics buzzed loudly over this slide-playing American storyteller's 1991 debut Living with the Law, but there was a decidedly muted reception for 1995's sophomore effort. Here Whitley is back on course with a strong, original effort. "Automatic," one of the more conventional tunes here, is the most impressive. --Jeff Bateman
Terra Incognita
Chris Whitley
Clear Blue Sky
Year: 1997

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The Randy Newman Songbook Vol. 2
Randy Newman
Losing You
Year: 2011

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Redux '92: Live In Japan
Todd Rundgren's Utopia
Princess Of The Universe

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Fordlândia
Jóhann Jóhannsson
Melodia (IV)
Year: 2008

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Upright & Locked Position
Don Ross
Wall of Glass (Duet with Brooke Miller)
Year: 2012

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Live at Martyrs'
Chris Whitley
New Machine
Year: 2000

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Mezzanine is the third studio album by English trip-hop group Massive Attack, originally released in 1998 on Virgin Records. The band's most successful commercial outing, 'Mezzanine' went on to sell over 4 million copies, and win the Q Award for 1998's Best Album. Produced by Neil Davidge, 'Mezzanine' showed once again that despite a rapidly changing trip-hop scene, Massive Attack could not be ignored. Hits like, 'Angel,' 'Risingson' and 'Teardrop' - which make up the powerhouse beginning to the album - have been heard across a variety of media, including movies, television shows and video games. Another of 'Mezzanine''s many claims to fame include that it was the first full album available for legal download on Massive Attack's website. Massive Attack consistently pushes the envelope with their revelatory songs - myriad mixing effects, fuzzy guitars, eerie vocals - and 'Mezzanine' is a shining example of the group's enduring creativity.
Mezzanine
Massive Attack
Risingson
Year: 1998

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SYNCHRONICITY
Synchronicity (Remastered)
The Police
Every Breath You Take
Year: 2003

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SYNCHRONICITY
Synchronicity (Remastered)
The Police
Walking in Your Footsteps
Year: 2003

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SYNCHRONICITY
Synchronicity (Remastered)
The Police
King of Pain
Year: 2003

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Nick Laird-Clowes's penchant for writing odes to tragic icons like Nick Drake and Edie Sedgwick paid off with the success of 1985's "Life in a Northern Town," a sleeper hit that brought the group's commercially stillborn debut album back to life. Dedicated to Drake, the lead track sets the tone for the British trio's dreamy set of sensitive baroque-pop excursions. On tracks like the pastoral "One Dream," Kate St. John's arsenal of classical instruments adds color to Laird-Clowes's folk-rock strummings, while Gilbert Gabriel's keyboards give an '80s sheen to the '60s sentiments of "Love Parade." Dream Academy even lured Pink Floyd's David Gilmour into the production booth, ensuring the group its own little niche in art-rock history. --Bill Forman
The Dream Academy
The Dream Academy
Life In a Northern Town
Year: 1985

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The monolithic 1970 debut and lone album from the German prog-rock trio featured an intriguing formula of bass, drums, and keyboards (with both fuzz-drenched organ and ELP-like synth), augmented occasionally by a full orchestra. Tracks include: Entropy, Black Sheep of the Family, Post War Saturday Echo, Good Lord Knows and more. Also here are 2 bonus tracks, including Punting .
Quatermass
Quatermass
Good Lord Knows
Year: 1970

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The Ark
Chad & Jeremy
Pantheistic Study for Guitar and Large Bird
Year: 1968

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The Ark
Chad & Jeremy
Sidewalk Requiem, los Angeles, June 5Th and 6Th
Year: 1968

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The Ark
Chad & Jeremy
Sunstroke
Year: 1968

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The Ark
Chad & Jeremy
Paxton Quigley's Had the Course
Year: 1968

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The Ark
Chad & Jeremy
The Ark
Year: 1968

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To celebrate the 40th anniversary of their last album for Columbia Records, The Ark, Chad & Jeremy now release Ark-eology, a newly recorded tribute to their legendary classic albums The Ark and Of Cabbages And Kings, favorites long sought after by collectors and fans worldwide. Produced by Chad Stuart, the album is the 25th release of the duo, as they revisit eighteen of the most popular recordings from over a dozen worldwide LP releases in their impressive catalog. These brand new recordings, including Summer Song, Yesterday's Gone, and Homeward Bound, are a sonic marvel compared to the decades old material. They reveal the crystal clear vocals and harmonies like never before. With a mixture of original arrangements and new adaptations, Chad & Jeremy show what it s like to be masters of their craft, recording this new album themselves, and playing all the instruments. All of their Columbia albums, and several others, are represented in this brilliant new digital recording. After more than 30 years of performing together, Chad & Jeremy deliver their best ever. From 1964 to 1967, Chad & Jeremy had eleven U.S. hit singles and over seventeen worldwide releases. In the ensuing years, the music of Chad & Jeremy has been re-released on over thirty three albums around the world. The Chad & Jeremy bio at the All Music Guide states: Of the many British Invasion acts that stormed the charts in the wake of the Beatles, Chad & Jeremy possessed a subtlety and sophistication unmatched among their contemporaries, essentially creating the template for the kind of lush, sensitive folk-pop embraced by followers from Nick Drake to Belle & Sebastian . Chad Stuart and Jeremy Clyde met at drama school in 1960 and soon began playing folk clubs in London where they were discovered by famed movie composer, John Barry. They became a sensation in America riding the wave of the British Invasion with eleven Top 40 hits including Summer Song, Yesterday s Gone, Willow Weep for Me, and Distant Shores. The duo appeared as themselves in legendary TV shows including The Dick Van Dyke Show, Patti Duke Show, Batman and Laredo. They hosted Hullabaloo, appeared on The Tonight Show and all the classic variety shows like The Hollywood Palace, Andy Williams, Danny Kaye and Red Skelton. Some of their most critically acclaimed work was the progressive 1967 release Cabbages and Kings, followed a year later by The Ark, which prompted Rolling Stone Magazine to proclaim: Chad and Jeremy - out of schlock rock into progressive rock. The Ark proved to be their last album for Columbia, as Jeremy returned to acting and the duo disbanded. They reunited for an album and tour in the 1980 s as well as a musical, Pump Boys & Dinettes. The latest phase in their career began in 2003 with a PBS TV music special. Since then they have performed their two-man show all over the United States, Canada, Hawaii and the Philippines.
The Ark
Chad & Jeremy
The Ark
Year: 1968

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CHILDREM'S VINTAGE RECORD
The Ark
Unknown
Paxton Quigley's Had the Course (Single Version)

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Released in 1981, My Life in the Bush of Ghosts is a collaboration between ambient pioneer Brian Eno and Talking Heads frontman David Byrne. On Ghosts, the two strong-willed musicians manage to come to a meeting of the minds, blending Byrne's herky-jerky funk with Eno's atmospheric sound sculpting. More than anything, this is a large album, intent on pushing itself to the front of the listener's consciousness. Abundant percussion (everything from booming tribal drums to eerie electronics) reverberates in the background while Byrne and Eno toss all manner of found sounds, field recordings, and radio broadcasts into the mix. What results is a groundbreaking album that introduced a generation to the dazzling possibilities offered by electronic recording techniques. Highlights include "The Jezebel Spirit," an electro-funk workout that uses a recording of an exorcism as its focal point, and "Very, Very Hungry," a mysteriously ethereal display of electronic percussion and large-scale sonic architecture. --S. Duda
My Life In the Bush of Ghosts
Brian Eno/David Byrne
America Is Waiting
Year: 2006

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Trout Mask Replica
Captain Beefheart and The Magic Band
My Human Gets Me Blues
Year: 1970

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Tokyo '96
Keith Jarrett
My Funny Valentine / Song
Year: 2000

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A trio of Grammy Award-winning albums by the Pat Metheny Group return to the artists's active discography on Nonesuch. Still Life (Talking (1987), Letter from Home (1989), and The Road To You (1993) are the first in a series of remastered reissues of Geffen Records titles.
Letter from Home
Pat Metheny Group
Spring Ain't Here
Year: 2006

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After a four-year hiatus notable for some film and television soundtrack work, a lapsed contract, and a relaxed songwriting schedule Fountains of Wayne return with their third and best CD to date. The New York-based power-pop quartet delivers a diverse feast of infectious melodies and endlessly clever lyrics. Songwriters Adam Schlesinger and Chris Collingwood still slide on a sweet scale between the Beatles and the Monkees, but they've branched out from '60s sounds to include bona fide alt rock ("Little Red Light," "Bought for a Song"), orchestrated pop ("Halley's Waitress"), a country lark worthy of Dwight Yoakam ("Hung Up On You"), and hints of psychedelia ("Supercollider"). The Cars-flavored "Bright Future in Sales" and "Stacy's Mom" warrant heavy-rotation airplay. Following their acclaimed eponymous debut and the vastly underrated Utopia Parkway, Welcome Interstate Managers leaves no doubt that Fountains of Wayne are gaining strength. --Jeff Shannon
Welcome Interstate Managers
Fountains of Wayne
Hey Julie
Year: 2003

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