Playlist
Tarkus
Emerson, Lake & Palmer
Tarkus: Eruption / Stones of Years / Iconoclast / Mass / Manticore / Battlefield / Aquatarkus
Genre: Rock
Year: 1971
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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
I Won't Back Down
Genre: Rock
Year: 1989
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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
Runnin' Down A Dream
Genre: Rock
Year: 1989
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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
Something In The Air
Genre: Rock
Year: 1993
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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
Learning To Fly
Genre: Rock
Year: 1991
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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
American Girl
Genre: Rock
Year: 1976
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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
Don't Do Me Like That
Genre: Rock
Year: 1979
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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
Into The Great Wide Open
Genre: Rock
Year: 1991
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He's sold millions of albums, filled arenas, and hobnobbed with George Harrison, Bob Dylan and Roy Orbison, but Tom Petty's driving heartland rock has often been taken for granted by the same critics who hail John Mellencamp as a genius. Greatest Hits is an airtight argument for Petty's own greatness. Starting with "American Girl," the rollicking, Byrds-inspired single from Petty's first album in 1976, this compilation presents a chronological overview of the guitarist-vocalist's career with and without the Heartbreakers, also chronically underrated as one of today's best bands. Every one of the 16 older tracks is a well-crafted gem, full of solid guitar hooks ("Here Comes My Girl"), arresting images ("Don't Come Around Here No More") and simple but poetic lyrics ("The Waiting"). Petty isn't an innovator; he's a talented craftsman with impeccable taste and a strong sense of rock history, internalizing influences ranging from the Beatles' psychedelic masterpiece, Revolver, to the best of '70s punk. (It's interesting to remember that early efforts such as "Refugee" and "Don't Do Me Like That" first won Petty attention as a New Wave artist). With his Dylanesque vocals and chiming 12-string guitars, Petty is more often linked these days with the sounds of the '60s. But recent tunes such as "Learning to Fly" and "Into the Great Wide Open" are as smart, relevant and (dare I say) alternative as anything in MTV's Buzz Bin. --Jim DeRogatis
Greatest Hits
Tom Petty & The Heartbreakers
Free Fallin'
Genre: Rock
Year: 1991
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For all the delight their fans take in parsing their wry and obstinately obscure lyrics, Steely Dan wouldn't command the kind of following they have if they weren't such consummate craftsmen in shaping melodies, layering keyboard and guitar effects and applying sophisticated doses of jazz, funk and soul. On his own albums, of which Morph the Cat is only the third--and the first since 1993's Kamakiriad--the group's sardonic co-mastermind Donald Fagen avails himself to more socially observant and personally revealing themes. But here, too, it's the music's dark shimmer and bumptious grooves that get under your skin, carrying his serious intentions with them. The grandly allusive "Morph," named after what Fagen describes as a "vast, ghostly cat-thing" that hovers in the Manhattan sky (not unlike Woody Allen's catty mother in "New York Stories"), reflects with no loss of irony or oblique meaning on the angst and sense of loss felt in the post-9/11 world. There are visions of death--including his own--and political oppression. There's a comic romantic encounter with a female airport security guard and a reverent faceoff with the ghost of Ray Charles, whose essence is nailed: "Well, you bring some church but you leave no doubt/As to what kind of love you love to shout about." Even when Fagen's hipster sensibility flirts with preciousness, the music is so richly, radiantly alive, the collective power of the songs can't be denied. --Lloyd Sachs
Morph the Cat
Donald Fagen
Brite Nightgown
Genre: Pop
Year: 2006
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Dig!!! Lazarus Dig!!! finds Nick Cave back at the helm of his long-term band The Bad Seeds after some impressive soundtrack work--2005's The Assassination of Jesse James--and a busman's holiday in the raw, rocking Grinderman. As the title suggests, Lazarus finds Cave returning to familiar themes of God and redemption, although some of the raw poise and wild-eyed humour that resurfaced in Grinderman remains: take the opening title track, which retells the Biblical story of the resurrection of Lazarus as transposed onto the sleazy, poverty-stricken backdrop of modern-day New York City. Musically, the likes of "Moonland" and "Night of the Lotus Eaters" have a swampy feel, all skittering drums, simmering bass and smoky organ riffs; elsewhere, there are rockers that tie on dissonant guitars without losing their dissonant touch ("Lie Down Here"). Probably the album highlight comes with "We Call Upon the Author", a sprawling, "Sister Ray"-like chugger that shows off Cave's skill for magnificent, sung-shouted narratives: "Now mixamatoid kids roam the streets, we've shunned them from the greasy grind/The poor little things, they look so sad and old as they mount us from behind". --Louis Pattison
Dig, Lazarus, Dig!!!
Nick Cave & The Bad Seeds
More News From Nowhere
Genre: Alternative Rock
Year: 2008
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GREATEST HITS VOL 2
Greatest Hits, Vol. 2
James Taylor
Another Day
Genre: Singer/Songwriter
Year: 2000
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2011 release from the critically adored Americana/Bluegrass singer/songwriter. The Harrow & The Harvest, Gillian's first album in eight years, is an all acoustic affair containing 10 new songs. The album was produced by David Rawlings and recorded at Woodland Sound Studios in Nashville, TN.
The Harrow & The Harvest
Gillian Welch
Hard Times
Genre: Folk
Year: 2011
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Packaging:Two discs packaged in a lift top box including an extended booklet with newly written liner notes by Rolling Stone contributing editor David Wild + 7 collectible band postcards. Description:The Beach Boys' new 50th Anniversary Greatest Hits: 50 Big Ones collection features the band's most popular songs, including "California Girls," "Good Vibrations," "Surfin' U.S.A.," "Wouldn't It Be Nice," "God Only Knows," "Kokomo," and two songs from the band's newest studio album -- the title track "That's Why God Made The Radio" and a new single version of "Isn't It Time," For five decades, America's first pop band to reach the 50 year milestone has recorded and performed the music that has become the world's favorite soundtrack to summer. Founded in Hawthorne, California in 1961, The Beach Boys were originally comprised of the three teenaged Wilson brothers: Brian, Carl and Dennis, their cousin Mike Love, and school friend Al Jardine. In 1962, neighbor David Marks joined the group for their first wave of hits with Capitol Records, leaving in late 1963, and in 1965, Bruce Johnston joined the band when Brian Wilson retired from touring to focus on writing and producing for the group. The Beach Boys signed with Capitol Records in July 1962 and released their first album, Surfin' Safari, that same year. The album spent 37 weeks on the Billboard chart, launching the young group known for its shimmering vocal harmonies and relaxed California style into international stardom. The Wilson/Love collaboration resulted in many huge international chart hits, and under Brian Wilson's musical leadership, the band's initial surf-rock focus was soon broadened to include other themes, making The Beach Boys America's preeminent band of the 1960s.
Fifty Big Ones: Greatest Hits
The Beach Boys
Fun, Fun, Fun
Genre: Rock
Year: 2012
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2016 release, the second studio album from the British soul singer/songwriter. Includes 'Overcome' (featuring Nile Rodgers), 'People' (featuring Wretch 32) and "Phenomenal Woman."
The Dreaming Room
Laura Mvula
Kiss My Feet
Genre: R&B/Soul
Year: 2016
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2016 release, the second studio album from the British soul singer/songwriter. Includes 'Overcome' (featuring Nile Rodgers), 'People' (featuring Wretch 32) and "Phenomenal Woman."
The Dreaming Room
Laura Mvula
Overcome (feat. Nile Rodgers)
Genre: R&B/Soul
Year: 2016
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Now You See It...Now You Don't
Michael Brecker
Escher Sketch (A Tale Of Two Rhythms)
Genre: Jazz
Year: 1990
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Brute Force (Stephen Friedland) is best know for 1969's The King of Fuh, which was arranged by George Harrison and released on The Beatles' Apple Records. Brute Force is the rarest artist on Apple. With this expanded edition of Brute's rare 1967 Columbia debut, "I, Brute Force - Confections of Love," you will be introduced to the memorable characters inhabiting Brutopia, an alternative 1960s America in which satire doesn't bite but only nips a little, inhibitions get nudged and collapse all akimbo, and love, however weird, conquers all. That's Brute's party, a shindig for the ages.
I, Brute Force, Confections of Love
Brute Force
To Sit On a Sandwich
Genre: Pop
Year: 1967
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Brute Force (Stephen Friedland) is best know for 1969's The King of Fuh, which was arranged by George Harrison and released on The Beatles' Apple Records. Brute Force is the rarest artist on Apple. With this expanded edition of Brute's rare 1967 Columbia debut, "I, Brute Force - Confections of Love," you will be introduced to the memorable characters inhabiting Brutopia, an alternative 1960s America in which satire doesn't bite but only nips a little, inhibitions get nudged and collapse all akimbo, and love, however weird, conquers all. That's Brute's party, a shindig for the ages.
I, Brute Force, Confections of Love
Brute Force
Tierra del Fuego
Genre: Pop
Year: 1967
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Tour de Brute Force
Brute Force
Tapeworm of Love
Genre: Pop
Year: 2004
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Brute Force (Stephen Friedland) is best know for 1969's The King of Fuh, which was arranged by George Harrison and released on The Beatles' Apple Records. Brute Force is the rarest artist on Apple. With this expanded edition of Brute's rare 1967 Columbia debut, "I, Brute Force - Confections of Love," you will be introduced to the memorable characters inhabiting Brutopia, an alternative 1960s America in which satire doesn't bite but only nips a little, inhibitions get nudged and collapse all akimbo, and love, however weird, conquers all. That's Brute's party, a shindig for the ages.
I, Brute Force, Confections of Love
Brute Force
Conjugation
Genre: Pop
Year: 1967
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Brute Force (Stephen Friedland) is best know for 1969's The King of Fuh, which was arranged by George Harrison and released on The Beatles' Apple Records. Brute Force is the rarest artist on Apple. With this expanded edition of Brute's rare 1967 Columbia debut, "I, Brute Force - Confections of Love," you will be introduced to the memorable characters inhabiting Brutopia, an alternative 1960s America in which satire doesn't bite but only nips a little, inhibitions get nudged and collapse all akimbo, and love, however weird, conquers all. That's Brute's party, a shindig for the ages.
I, Brute Force, Confections of Love
Brute Force
In Jim's Garage
Genre: Pop
Year: 1967
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Freak Out!
The Mothers of Invention
Who Are the Brain Police?
Genre: Rock
Year: 1966
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Freak Out!
The Mothers of Invention
It Can't Happen Here
Genre: Rock
Year: 1966
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Official Release #6Originally Released: March 1969Produced by: FZThe Mothers of Invention:Frank Zappa: guitar, low grade vocals, percussion Ray Collins: swell vocals Jimmy Carl Black: drums, droll humor, poverty Roy Estrada: electric bass, chesseburgers, Pachuco falsetto Don (Dom De Wild) Preston: electric piano, tarot cards, brown rice Billy (The Oozer) Mundi: drums on some pieces before he quit to join RHINOCEROS Bunk (Sweetpants) Gardner: piccolo, flute, clarinet, bass clarinet, soprano sax, alto sax, tenor sax, bassoon (all of these electric and/or non-electric depending) Ian Underwood: electric organ, piano, harpsichord, celeste, flute, clarinet, alto sax, baritone sax, special assistance, copyist, industrial relations & teen appeal Artie (With the Green Mustache) Tripp: drums, timpani, vibes, marimba, xylophone, wood blocks, bells, small chimes, cheerful outlook & specific enquiries Euclid James (Motorhead/Motorishi) Sherwood: pop star, frenetic tenor sax stylings, tambourine, choreography, obstinance & equipment setter-upper when he's not hustling local groupiesSpecial thanks to: Ruth Komanoff who plays marimba and vibes with Artie on many of the tracks, and Nelcy Walker the soprano voice with Ray & Roy on Dog Breath & The Uncle Meat VariationsUncredited:Pamela Zarubica as Suzy Creamcheese
Uncle Meat
The Mothers of Invention
A Pound for a Brown On the Bus
Genre: Rock
Year: 1969
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Official Release #6Originally Released: March 1969Produced by: FZThe Mothers of Invention:Frank Zappa: guitar, low grade vocals, percussion Ray Collins: swell vocals Jimmy Carl Black: drums, droll humor, poverty Roy Estrada: electric bass, chesseburgers, Pachuco falsetto Don (Dom De Wild) Preston: electric piano, tarot cards, brown rice Billy (The Oozer) Mundi: drums on some pieces before he quit to join RHINOCEROS Bunk (Sweetpants) Gardner: piccolo, flute, clarinet, bass clarinet, soprano sax, alto sax, tenor sax, bassoon (all of these electric and/or non-electric depending) Ian Underwood: electric organ, piano, harpsichord, celeste, flute, clarinet, alto sax, baritone sax, special assistance, copyist, industrial relations & teen appeal Artie (With the Green Mustache) Tripp: drums, timpani, vibes, marimba, xylophone, wood blocks, bells, small chimes, cheerful outlook & specific enquiries Euclid James (Motorhead/Motorishi) Sherwood: pop star, frenetic tenor sax stylings, tambourine, choreography, obstinance & equipment setter-upper when he's not hustling local groupiesSpecial thanks to: Ruth Komanoff who plays marimba and vibes with Artie on many of the tracks, and Nelcy Walker the soprano voice with Ray & Roy on Dog Breath & The Uncle Meat VariationsUncredited:Pamela Zarubica as Suzy Creamcheese
Uncle Meat
The Mothers of Invention
Sleeping In a Jar
Genre: Rock
Year: 1969
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Frank ZAPPA & THE MOTHERS OF INVENTION Weasels Ripped My Flesh CD
Weasels Ripped My Flesh
The Mothers of Invention
Weasles Ripped My Flesh
Genre: Rock
Year: 1970
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Frank ZAPPA & THE MOTHERS OF INVENTION Weasels Ripped My Flesh CD
Weasels Ripped My Flesh
The Mothers of Invention
Prelude to the Afternoon of a Sexually Aroused Gas Mask
Genre: Rock
Year: 1970
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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
Have You Heard
Genre: Jazz
Year: 2006
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Celtic fiddles, Irish reels, old-time banjo, gospel vocals, and Latin percussion forge a common spirit within the uncommonly vibrant fusion of the Duhks (pronounced "ducks"). The young band from Winnipeg casts a wide net over traditional influences, breathing fresh life into the age-old balladry of "The Wagoner's Lad," generating a dynamic tension between the soulful depth of Jessica Havey's vocals and Tania Elizabeth's fiddle on a pair of spiritual standards ("Death Came a-Knockin'" and "True Religion"), and keeping the dance floor jumping with their sprightly instrumental medleys. Though the Canadian quintet doesn't feature much original material, they extend their interpretive reach to contemporary songs as well, with the desperate edge of Ruth Ungar's "Four Blue Walls" providing a bracing change of mood, while the bittersweet rendition of Paul Brady's "You and I" (with the songwriter on harmony vocals) carries the musical interplay beyond the traditional realm. (Their attempt at fellow Canadian Leonard Cohen's "Everybody Knows" represents a rare misstep, lacking both the droll humor and the dark fatalism of the original.) Banjo iconoclast Béla Fleck coproduced the album, championing the Duhks as fellow trailblazers who use traditional elements to create a sound all their own. --Don McLeese
The Duhks
The Duhks
Dance Hall Girls
Genre: Rock
Year: 2005
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Dobro wizard Jerry Douglas is well aware that less is more, that lyrical lines and harmonies can take a tune to the farthest shores. As a collaborator, he has brought out the best in fellow "newgrass" innovators from Sam Bush to Bela Fleck to Russ Barenberg, and, luckily, Douglas also knows when to let his slide take center stage. On his first solo album in six years, the Resophonic monster--rightly nicknamed "Flux"--ranges from breakdowns to bouncing blues to the exquisite longing of his own "For Those Who've Gone Clear." As always, he brings his instrument's vocal ability to the fore--take the great stoner song "Turkish Taffee" or the wide-open "TV Doctor," on which John Cowan contributes a surprisingly bombast-free vocal. And his interplay with Maura O'Connell on Paul Brady's "Follow On" is a classic bit of shivery Celtic eloquence. --Kerry Fried
Restless On the Farm
Jerry Douglas
A Tribute to Peador O'Donnell
Genre: Country
Year: 1998
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Jack's third solo album from 1971 featuring stella performances from Chris Spedding, John Marshall and Pete Brown. Includes five previously unreleased tracks.
Harmony Row
Jack Bruce
Smiles And Grins
Genre: Rock
Year: 1971
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Reconfigured Austin quartet engage producer Ethan Johns for joyous, adrenaline-fueled 2016 album
Stiff
White Denim
There's a Brain in My Head
Genre: Alternative
Year: 2016
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veur - Single
Sigur Rs
Óveður
Genre: Alternative
Year: 2016
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Part of track list Disc. 1 Mellon Collie And The Infinite Sadness// Tonight, Tonight Jellybelly // Zero // Here Is No Why // Bullet With Butterfly Wings // To Forgive // An Ode To No One // Love // Cupid De Locke // Galapogos // Muzzle // Porcelina Of The Vast Oceans // Take Me Down // Disc. 2 Where Boys Fear To Tread // Bodies // Thirty-three // In The Arms Of Sleep // // Tales Of A Scorched Earth // Thru The Eyes Of Ruby // Stumbleine // X.y.u. // We Only Come Out At Night // Beautiful // Lily (my One And Only) // By Starlight // Farewell And Goodnight //
Mellon Collie and the Infinite Sadness (Deluxe Edition)
Smashing Pumpkins
1979
Genre: Alternative
Year: 1995
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Part of track list Disc. 1 Mellon Collie And The Infinite Sadness// Tonight, Tonight Jellybelly // Zero // Here Is No Why // Bullet With Butterfly Wings // To Forgive // An Ode To No One // Love // Cupid De Locke // Galapogos // Muzzle // Porcelina Of The Vast Oceans // Take Me Down // Disc. 2 Where Boys Fear To Tread // Bodies // Thirty-three // In The Arms Of Sleep // // Tales Of A Scorched Earth // Thru The Eyes Of Ruby // Stumbleine // X.y.u. // We Only Come Out At Night // Beautiful // Lily (my One And Only) // By Starlight // Farewell And Goodnight //
Mellon Collie and the Infinite Sadness (Remastered)
Smashing Pumpkins
1979
Genre: Alternative
Year: 1995
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The Smashing Pumpkins' greatest-hits album, Rotten Apples, traces the band's evolution (or devolution, depending on your feelings about the band's radical sonic shift in the mid-'90s) from its early days to its status among the kings of alt rock. For fans of the Pumpkins' beginnings as a tripped-out indie/art rock act, Apples opens with some of the band's strongest material. "Siva" and "Rhinoceros" (from Gish, the Pumpkin's first--and arguably best--album) seamlessly mixed dream pop with noisy goth-rock as prime examples of the Pumpkins' early '90s sound. Apples also showcases three stellar tracks ("Cherub Rock," "Today," and "Disarm") from Siamese Dream, the Pumpkins' breakout album. This disc makes the band's mid-'90s directional swing obvious, though, starting with "Bullet with Butterfly Wings," the aggressive alt rock/alt metal concoction released on Mellon Collie and the Infinite Sadness. Fans of songs like "Zero," "Tonight, Tonight," and "The Everlasting Gaze" will be happy to know that pretty much every cage-rattling hit made it to this disc, along with the previously unreleased dream pop track "Real Love" and an untitled new track (that sounds a lot like the Siamese Dream-era Pumpkins) to round out the mix. --Jennifer Maerz
Greatest Hits
Smashing Pumpkins
1979
Genre: Alternative
Year: 2001
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Blood Money is up there with Waits's best albums from the mid-'80s, veering as it does from sexy insomniac circus music to gorgeously heart-tugging lullabies to woozy zigzag bluesy romps to what can only be described as Oscar the Grouch singing out of tune on top of the soundtrack to an old French film. Blood Money's 13 songs were cowritten by Tom Waits and longtime collaborator and wife Kathleen Brennan for a Robert Wilson production of Georg Büchner's unfinished, protomodernist 1837 play, Woyzeck, about a Kafkaesque German soldier who goes crazy after doing medical experiments for money and kills his girlfriend after witnessing a perceived infidelity. The album's worldview is, necessarily, bleak. The lyrics are hilariously misanthropic, occasionally hallucinatory, and ring with the truth of Tin Pan Alley clichés turned inside out. "Coney Island Baby," in particular, is a grand statement, with Waits delicately croaking the lines "She's a rose, she's the pearl / She's the spin on my world / All the stars make their wishes on her eyes." The album's manifesto, however, is to be found in the title tune, as Waits spits out the words "If there's one thing you can say about mankind / There's nothing kind about man / You can drive out nature with a pitch fork / But it always comes roaring back again." Released at the same time as the lyrical, lovely Alice, the ragged and rhythmic Blood Money marks the return of one of our most gifted meta-singer-songwriters to the top of his game. --Mike McGonigal
Blood Money
Tom Waits
God's Away On Business
Genre: Alternative & Punk
Year: 2002
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4 CD's & Bonus DVD Deluxe Box Set commemorating the 20th Anniversary of Multi Grammy-Winning Pianist, Singer-Songwriter Bruce Hornsby. 53 tracks on 4 CD's (26 previously unreleased) 23 performances on DVD (21 previously unreleased) Collaborations with The Grateful Dead, Shawn Colvin, members of the NY Philharmonic Orchestra, Ricky Skaggs, Ornette Coleman, Bill Evans, Robbie Robertson, Branford Marsalis, Chaka Khan, Roger Waters, Bonnie Raitt, Pat Metheny, Gregory Hines, the Nitty Gritty Dirt Band and many more! Full Color Booklet includes track-by-track annotations (written by Bruce), rare memorabilia & personal photos from Bruce's collection.
Intersections 1985-2005
Bruce Hornsby
Song B (Instrumental)
Genre: Rock
Year: 2006
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Illinoise
Sufjan Stevens
The Black Hawk War, or, How To Demolish An Entire Civilization and Still Feel Good About Yourself in the Morning, or, We Apologize for the Inconvenience But You're Going To Have To Leave Now, or, "I Have Fought The Big Knives And Will Continue to Fight...
Genre: Alternative Rock
Year: 2005
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