Their Greatest Hits 1971-1975 The Eagles: Bernie Leadon (vocals, guitar, banjo); Glenn Frey (vocals, guitar, piano); Don Felder (vocals, guitar); Randy Meisner (vocals, bass); Don Henley (vocals, drums).Producers: Glyn Johns, Bill ...More info »
Greatest Hits by Peter Cetera Peter Cetera's GREATEST HITS features all the songs you know and love including "Hard For Me To Say I'm Sorry" and "One Clear Voice."More info »
Misplaced Childhood [Bonus CD] [Remaster] by Marillion Marillion: Fish (vocals); Steve Rothery (guitar); Mark Kelly (keyboards); Pete Trewavas (bass); Ian Mosley (percussion). Recorded at Hansa Ton Studios, Berlin, Germany between March & May 1985. Includ ...More info »
The Black Album [Limited] by Prince THE BLACK ALBUM was available as a bootleg since December 1987, when it had been scheduled for official release but was pulled by the artist; it was not officially released until November 1994 and it ...More info »
Find portable computers at Target.com! Finally, a light and lean computing machine for great value: the aspire v5 series. At only 1 slim and super light, the v5 still packs potent power and graphics and even features an optical drive and handy lan/vga combo port, while promising cool-to-the-touch comfort. The elegant design sports silky surfaces and has cool features that make connecting and sharing media easy so you can have fun and stay productive without any extra effort. More info »
Unbelievable package! New indie label out of LA comes up with a seven album box set of Sigur Ros catalog, plus thirty-two page 12 x 12 book of unique photos, observations and quotes that capture the band in there arctic home. Packaged in a hard cover album with unique pockets similar to how 78s were once packaged. Contains the three albums Agaetis Byrjun, (), and Takk, plus Smaskifa which has never previously been available on 12 vinyl. Expensive but well well worth the cost! Limited to 5000 copies, and supported by an unbelievable site which can be visited at www.ainr.com More info »
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Griselda, the last of Alessandro Scarlatti's 70-or-so operas, was performed only once, in Rome in 1721. Conductor René Jacobs has pared down the original 41 (!) arias to a mere 29--about three hours' worth--and they're splendid and varied in tone, orchestration and tempi, always throwing light on the complex characters. The disgusting plot shows us King Gualtiero, whose shepherdess wife Griselda was disliked by the people, so he gave away their daughter years before the opera begins and claimed that she had died. Now, with the people still disapproving, he puts Griselda through humiliating and hurtful tests, trying to break her, but all she wants is his happiness. The daughter shows up but Griselda doesn't recognize her; Gualtiero demands that their son be killed and that she, Griselda, be given to his slimy courtier, Ottone. That's where Griselda draws the line and the people finally give her the respect she deserves. She's a doormat--but with enough integrity to resist Ottone--and Gualtiero is a sadist who, in asides, feels bad about what he's doing to his wife. Very odd indeed. The performance is riveting enough to make you care about what happens. Dorothea Röschmann's Griselda is always noble, purposefully belying this character's humble origins; Lawrence Zazzo as Gualtiero is an unusually firm countertenor, and he uses his sound remarkably. The others in the cast--Baroque specialists Bernarda Fink , Veronica Cangemi and Kobie van Rensburg--are superb, and newcomer mezzo Silvia Tro Santafé is a spicy, nasty Ottone. The orchestral playing is sharp, incisive, and dramatic. This is very highly recommended. --Robert Levine More info »
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Disc 1 features both the mono and stereo versions of the album first issued in August 1964. The mono edition is now on CD for the first time ever. Disc 2 contains 19 rare and unreleased songs from the sessions that were recorded for the album - plus, from the same recording timeline, tracks for the album The Supremes Sing Ballads And Blues, a project that ultimately went unfinished. Yes. This expanded edition includes another bonus: The Supremes' complete homecoming show, at Detroit's Twenty Grand nightclub, recorded upon their return from the Dick Clark Caravan Of Stars just as Where Did Our Love Go was on its way to Number One. While brief, this is their complete performance from the show, and not only captures the moment of the Supremes' ascent but also their only recorded live performance of A Breath Taking Guy, and the much sought-after live version of People, led by Florence Ballard. The lovely packaging includes a booklet with many rare and unseen photographs, a detailed essay and a recording timeline. Featured in the essay are quotes from the people who made the record and influenced its success: Brian Holland, Lamont Dozier, Edward Holland, Dick Clark, Janie Bradford, and, yes, Mary Wilson, Florence Ballard and Diana Ross. Where Did Our Love Go took Motown to a whole new level of sales, visibility and respectability. The Supremes, as Motown's flagship, became the most successful female group in the world. This expanded edition tells the story of how it happened, and the determination of three teenage girls (formerly) known as the 'no-hit' Supremes. Looking back, Lamont Dozier tells us, Diana Ross was the best. She will go down in history as one of the best. Mary and Florence were there adding to the spice. This particular recipe called the Supremes came together because everybody had the right elements, the right seasonings, and the right flavors to make it happen. More info »
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Screamin' and Hollerin' the Blues: The Worlds of Charley Patton is the musical equivalent of a limited-edition, fine-press book, and it's easily one of the most beautiful collections of recorded music ever assembled. Exquisitely designed, this 78-album-inspired, seven-CD package contains a wealth of information and music, featuring not only the Delta blues pioneer's complete recorded works, but the music of peripheral players (including Son House, Howlin' Wolf, and Henry Son Sims), a disc of fascinating audio interviews with Patton associates, and hours of reading material on the enigmatic songster. It's hard not to romanticize the music contained within this set as you open its retro-looking slipcase, but Patton (1887-1934) doesn't let you down. Under the haze of 78 rpm record hiss, his 50-odd preserved recordings spellbind with great guitar playing and moving lyrics about love, loss, and catastrophes. Who cares if his life lacked the mystique of Robert Johnson, or his low, growling voice wasn't the creepy falsetto of Skip James? Patton's repertoire was unparalleled; his guitar playing--punctuated by striking syncopated, percussive beats--is always in tune and precise; and his slide playing is full subtle whines and flourishes. These remastered tracks sound better than ever, but there's still plenty of hiss (for some tunes, just one abused and poorly pressed record has survived). Copious, scholarly (and, at times, a little arcane) liner notes debate and survey Patton's mysterious life and tunes; the complete lyrics to his songs are included, too--no small feat. But it's the music--utterly raw, striking, and influential blues--that steals the show here. Revenant Records has outdone itself--this is a poignant dream project that label cofounder/guitar great John Fahey didn't live long enough to see completed--and it's well worth every penny. Only a handful of musical artists deserve this lavish a treatment; as evidenced here, Patton--the first great Delta blues musician on record--is certainly one of them. --Jason Verlinde More info »
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This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian Cannonball Adderley on saxophones, Bill Evans (or, on Freddie Freeloader, Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed More info »
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Metal fans appreciate merchandise that's as extravagant as the music is heavy. And Iron Maiden's metal, (tin) box, with a bas-relief, red-eyed Eddie mascot on its lid and a gothic, pewter-based shot glass with a glowering Eddie on the bottom, is indeed a nice bit of heavy metal. Nestled inside are three two-CD sets, comprising 77 live songs, as well as a family tree scroll secured with a metal Eddie ring. As usual with Maiden's prolific live output, Eddie's Archive contains uniformly excellent recordings. The first set, The BBC Archives, chronicles four concerts conducted between 1979 and 1988; it serves up the expected hits, including Run to the Hills, with the first four songs of disc one featuring original singer Paul Di'Anno. The gem of Eddie's Archive is Best of the B-Sides, which features 31 tunes (mostly studio recordings), including awesome covers of Jethro Tull's Cross-Eyed Mary, Golden Earring's Kill Me ce Soir, two Montrose songs, and cuts originally done by Chuck Berry and Led Zeppelin--as well as covers of such obscure bands as Nektar and Beckett. B-Sides is almost worth the price of admission, though the package's stash box and shot glass are musts for militant Maiden devotees. --Katherine Turman More info »
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AMT Wi5II (LS-5C) wireless microphone system for saxophone. Wireless systems from Applied Microphone Technology create a belt pack free playing experience that will change the way an instrumentalist can perform. Roaming the stage without being connected to wires creates freedom to move. Freedom to move allows freedom to create. The Wi5II is the answer for any player looking for a belt pack free wireless system for saxophone. The new Wi5II system comes with AMT’s flagship LS microphone and the Wi5IIC Wireless system. Designed, manufactured by hand, and distributed by AMT throughout the world. The LS is the # 1 choice for top professionals that look for the most natural sound reproduction possible from a clip on microphone. A professional player spends their entire life creating ‘their’ sound, and AMT has spent an entire life working to capture those sounds. Combine the success of the LS with AMT’s second generation wireless system, the Wi5IIC, and you’ll have a package that will not only change the playing experience but allow the audience to hear what exactly what you want them to hear. More info »
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