Its from not one

JUNO MUSIC FROM THE MOTION PI - JUNO MUSIC FROM THE MOTION PI JUNO MUSIC FROM THE MOTION PI - JUNO MUSIC FROM THE MOTION PI Discográfica:   Rhino Director Jason Reitman's warm, compassionate comedy about an unanticipated teen pregnancy was not only a dark horse Oscar® nominee for Best Picture, but saw this soundtrack CD top the charts just two weeks after its release. It's a collection wherein quirky, generation-spanning folk and rock choices are rooted in something more rewarding than mere eclecticism for its own sake--namely the sense of unlikely, hopeful humanity that Kimya Dawson's core songs bring to its slightly askew axis. Dawson's spotlight performances here range from a handful of decidedly twee solo cuts, to the album's key Anyone Else But You, (her 2001 duet with Adam Green released under the Moldy Peaches moniker,) and a couple more upbeat oddballs by the singer's more recent Antsy Pants project. That effusively innocent musical core is augmented with a pair of eminently sympathetic tracks from Scottish twee-pop magnates Belle and Sebastian, then seasoned with a mix of catalog tracks that spans eras from Buddy Holly to Sonic Youth--utilizing styles as diverse as the Kinks, Mott the Hoople, and Velvet Underground--that nonetheless manage to bolster the film's tender emotions with a graceful, (if skewed,) charm that's hard to resist. --Jerry McCulley Director Jason Reitman made a whole slew of great decisions with his justly lauded film Juno. One of them was the choice of music he used, which gave potent voice to this soundtrack companion. While all of the songs added energy and emotional atmosphere to the scenes, it was the inclusion of numerous numbers by Kimya Dawson that subtly enhanced the wonderfully drawn title character. Dawson's homemade immediacy and faux stream-of-consciousness lyrics felt like songs that the character Juno would listen to, or create. Dawson's seven (one recorded with Adam Green, her partner in the Moldy Peaches) are interspersed among a dozen other selections which straddle generations--Buddy Holly, The Vel

ANTHONY MEYNELL & SQUIRE - HITS FROM 3000 YEARS.. (WAH WAH RECORDS, 2015, Limit 500 copies) mod ANTHONY MEYNELL & SQUIRE - HITS FROM 3000 YEARS.. (WAH WAH RECORDS, 2015, Limit 500 copies) mod Originally released in 1981 it was the debut release of Hi Lo Records—a label born to issue the recordings by Squire. At first launched as an Anthony Meynell solo album, it compiles 14 numbers, including some Squire classic anthems, written by Anthony between 1979 and 1981. These songs had become stage favourites of the Squire repertoire, and on the versions included here they can be heard in their rawest naked demo form. "Though the songs never enjoyed the full studio production they perhaps deserved at the time, it remains pop, dancy and crystal cool in its sparseness! It keeps its 60's influences and the 'understated' production is akin to early Who and Kinks albums. Maybe by avoiding the 80’s studio gimmickry that makes the era sound so dated, the songs retain a timeless quality. In the end, the original sleeve notes sum it all up wonderfully..." - Anthony Meynell If you like The Who, The Kinks, The Byrds, Big Star, The Jam, Secret Affair or The Chords, you'll love Squire! The LP was later reissued as Anthony Meynell and Squire, with a new pop-art sleeve which is the one we have decided to use for this new reissue. It comes with remastered sound and features a colour inserto with photos and detailed liner notes written by Anthony Meynell himself. Limited to 500 copies only.

CHANNEL 3 - BELLWETHER EP CHANNEL 3 - BELLWETHER EP Discográfica:   Hostage Records So-Cal punk legends Channel 3 return to vinyl with this homage to their Posh Boy punk past, the classic 5 song 12 inch EP spun at 45 RPM. This in not one of those cheap ass one sided deals, this is the legit homage, 3 songs on one side and 2 on the other and mastered hot for the loud sound that only a 12 inch 45 can bring. Its punk, its rock, its pop and it rips, brand new recordings including a cover of the Plimsouls How Long Will It Take? and a small hit punk-strumental track Mendiolas 1983. Includes liners from the Hemingway of punk, Mike Magrann. Limited to 550 copies total, this is not some re-hashed RSD nonsense and foolishness, this is the real deal. New songs, new sounds and artwork that is not purple for a change. A true collectors piece and mandatory for fans of the OC/SOCAL punk scene and spirit. FFO: PoshBoy Records. So-Cal punk, Classic Punk, Agent Orange, TSOL, Stiff Little Fingers.

SIMPLE MINDS: CELEBRATION [ESP 1982] LP/COMP SIMPLE MINDS: CELEBRATION [ESP 1982] LP/COMP Simple Minds   "Celebration"  LP (Arista)  1982  made in Spain cat. num.   I-204 521 #new wave  #pop rock  #synth pop   Life In A Day   Chelsea Girl   Premonition   Factory   Calling Your Name   I Travel   Changeling   Celebrate   Thirty Frames A Second   Kaleidoscope   Originally released in 1982 by Arista in the U.K. and reissued on CD by the Dutch Disky imprint in 2001,  Celebration  serviceably culls some of the better moments from  Simple Minds ' first three albums: 1979's  Life in a Day  and  Reel to Real Cacophony  and 1980's  Empires and Dance. Given the sadly neglected status of the band's early catalog -- meaning anything that was released prior to 1982's breakthrough  New Gold Dream (81-82-83-84)  -- through the early 2000s, it is doubly unfortunate that a compilation like this remained out of print for an extended period of time. And though the studio albums remained in print in the U.K.,  Simple Minds ' early years hardly received the red carpet compilation treatment that their later works did. While nothing here came close to approaching the stadium-pleasing popularity of later smashes like "Don't You (Forget About Me)," "Alive and Kicking," or even "Promised You a Miracle,"  Celebration  might provide a little shock to an initiated someone who snaps up a copy. It's a near-definite that plenty of people who own  New Gold Dream  and/or the  Glittering Prize 81/92 compilation remain oblivious to the fact that  Simple Minds  released five albums that ranged from good to spectacular between 1979 and 1981, before  New Gold Dream  came along with its perfect balance of art and pop to connect with a mass audience. Not only was 1979-1981 a prolific period for the band, but it was a period that witnessed them blossoming from a decent guitar-based post-punk band to a far more rhythmic and experimental entity that gradually shed their influences while ambitiously building on them. And as the few brave souls who have remained devout  Simple Minds  fans from day one might tell you,  Celebration  has stood the test of time better than  Glittering Prize  track-for-track.

DAVID BOWIE - LET'S DANCE - VINILO ORIGINAL PRIMERA EDICION EMI AMERICA ESPAÑA 1983 DAVID BOWIE - LET'S DANCE - VINILO ORIGINAL PRIMERA EDICION EMI AMERICA ESPAÑA 1983 Let's Dance es el decimoquinto álbum de David Bowie, publicado en 1983. En su llamado período comercial, Bowie cambia de discográfica (hasta la fecha había sido RCA), firmando un contrato multimillonario con EMI y graba el que será su disco más vendido: Let's Dance, producido por Nile Rodgers de la banda Chic. La canción homónima del álbum se convirtió en uno de los más grandiosos sencillos con éxito, llegando al número 1 en el Reino Unido, los EE. UU. y varios otros países. Los sencillos posteriores " Modern Love" y " China Girl ", llegaron al número 2 en el Reino Unido, y se convirtieron en grandes éxitos a ambos lados de Atlántico. El álbum obtuvo ventas millonarias convirtiéndose en el segundo disco más vendido de 1983, tan sólo por detrás de Thriller de Michael Jackson. " China Girl " fue en realidad una nueva versión de una canción la cual Bowie había coescrito con Iggy Pop para el álbum del posterior The Idiot. Respaldado por canciones de ritmos bailables y con llamativos vídeos musicales, Let's Dance se convertiría en el disco más vendido de la carrera de Bowie y le colocaría en el nº1 de los países de todo el mundo y en la portada de todas las revistas de moda. David Bowie había planeado originalmente trabajar con Tony Visconti en el álbum, ya que los dos habían trabajado juntos en anteriores cinco álbumes de estudio de Bowie. Sin embargo, cambió de idea y eligió a Nile Rodgers como su productor, una medida que fue una sorpresa para Visconti, que ya había ajustado fechas para trabajar en el disco. Visconti llamó a Coco [la asistena de Bowie] y ella dijo: "Bueno, mejor que lo sepas - Ha estado en el estudio durante las últimas dos semanas con alguien más y está funcionando bien y no va a necesitar de ti.. Lo sentimos mucho ". Esto daño la relación de ambos y Visconti no volvería a trabajar con Bowie nuevamente por otros 20 años (hasta el 2002 en Heathen). Rodgers recordaría más tarde cómo Bowie se acercó a él para producir su álbum de modo que Bowie pudiera conseguir sencillos de éxito. Bowie, que acaba de firmar con EMI Records un contrato de 17,5 millones de dólares, trabajó con Rodgers para lanzar un nuevo álbum "comercial" que fue descrito como "un original funk festivo más grande que la suma de sus influencias." Las influencias del álbum fueron artistas como Louis Jordan, la sección de instrumentos de viento del Jukes Asbury, Bill Doggett, Earl Bostic y James Brown. Lista de canciones: Todas las canciones escritas por David Bowie excepto las indicadas: LADO A 1.- "Modern Love" – 4:46 2.- "China Girl" (Bowie, Iggy Pop) – 5:32 3.- "Let's Dance" – 7:38 4.- "Without You" – 3:08 LADO B 1.- "Ricochet" – 5:14 2.- "Criminal World" (Peter Godwin, Duncan Browne, Sean Lyons) – 4:25 3.- "Cat People (Putting Out Fire)" (Bowie, Giorgio Moroder) – 5:09 4.- "Shake It" – 3:49 " Let's Dance " is the title song from English singer David Bowie's 1983 album of the same name. It was also released as the first single from that album in 1983, and went on to become one of his biggest-selling tracks. Stevie Ray Vaughan played the guitar solo at the end of the song. The single was one of Bowie's fastest selling to date, entering the UK Singles Chart at number five on its first week of release, staying at the top of the charts for three weeks. Soon afterwards, the single topped the Billboard Hot 100, becoming Bowie's second and last single to reach number 1 in the U.S. In Oceania, it narrowly missed topping the Australian charts, peaking at number two, but peaked at number one for 4 consecutive weeks in New Zealand. The single became one of the best selling of the year across North America, Central Europe and Oceania. " Let's Dance " was described by Ed Power in the Irish Examiner as "a decent chunk of funk-rock". Writing for the BBC, David Quantick said "the combination of Bowie and Rodgers on the title track was perfect – Bowie’s epic lyric about dancing under 'serious moonlight' and the brilliant filching of the crescendo 'ahh!'s from the Beatles' version of the Isley Brothers' 'Twist and Shout' were masterstrokes, each welded to a loud, stadium-ised drum and bass sound". The song introduced Bowie to a new, younger audience oblivious to his former career in the 1970s. Although the track was his most popular to date, its very success had the incongruous effect of distancing Bowie from his new fans, with Bowie saying he did not know who they were or what they wanted.His next two albums, made as an attempt to cater to his new-found audience, suffered creatively as a result and Bowie cited them as the albums he was least satisfied with in his career. In 2007, Bowie gave R&B singer Craig David permission to sample the song for his single "Hot Stuff (Let's Dance)".

JOHN LEE HOOKER-BOOGIE CHILLEN,cd JOHN LEE HOOKER-BOOGIE CHILLEN,cd Descripción   This 20-track compilation is taken solely from 1948-49 sessions, an era that has been drawn from repeatedly for Hooker anthologies. If anyone ever assembles a comprehensive Hooker discography that delineates not only his original releases, but where and when these have been reissued, he or she deserves a government grant or something, because it's not so easy to determine where or if some of these have not appeared on reissues or CD elsewhere. It does, however, yield a sizable scoop of material from Hooker's most primeval phase, the first half devoted to recordings he issued under his own name, including the well-known "Boogie Chillen" and "Crawlin' King Snake." It's the final ten tracks that might be more of a draw for collectors, since it features songs he cut under the pseudonyms Delta John, Birmingham Sam, and Texas Slim. All of those songs are recognizably early Hooker, with their irregular meters, foot-stompin' beats, and intense bursts of citified Delta blues notes. Whether because these were cut under assumed names or due to other reasons, occasionally it seems like these were opportunities to ramble afield into rather far-out territory for urban blues of the era. "Goin' Mad Blues," originally credited to Birmingham Sam, has a compelling almost rock boogie rhythm and violently strident guitar riffs, while Texas Slim vented a darker side of the Hooker persona, as indicated in titles like "Nightmare Blues," "Devil's Jump," and "I'm Gonna Kill That Woman." By all means, there are more coherent overviews of John Lee Hooker's early recordings, but this has its rewards for those who want to dig deeply into the period. ~ Richie Unterberger Compilation featuring 20 tracks from one of the greatest blues artists of all time. All the tracks were recorded between 1948 & 1949 and have been digitally remastered, many appearing on CD for the first time. Includes informative liner notes and artist history. Recording information: Detroit, MI (09/1948-08/1949). Personnel: John Lee Hooker (vocals, whistling, guitar); Eddie "Guitar" Burns (piano). Liner Note Author: Les Fancourt. JOHN LEE HOOKER-BOOGIE CHILLEN   Código de referencia:  IGOCD2122 Artista: JOHN LEE HOOKER Sello: Indigo Recordings   Formatos: CD Estilo: BLUES Lista de Títulos 1 Boogie Chillun   2 Sally Mae   3 Drifting From Door To Door   4 Crawlin' King Snake   5 Hobo Blues   6 Whistlin' And Moanin' Blues   7 Hoogie Boogie   8 Burnin' Hell   9 Miss Sadie Mae   10 Weeping Willow   11 Low Down Midnite Boogie   12 Goin' Mad Blues   13 Helpless Blues   14 Landing Blues   15 Stomp Boogie   16 Black Man Blues   17 Nightmare Blues   18 Devil's Jump   19 I'm Gonna Kill That Woman   20 The Numbe

TANGERINE DREAM: EXIT [UK 1984] CD/RE TANGERINE DREAM: EXIT [UK 1984] CD/RE (Virgin)  1984  made in UK cat. num.  CDV 2212 #space rock  #progressive rock   1 Kiew Mission 9:18 2 Pilots Of Purple Twilight 4:19 3 Choronzon 4:07 4 Exit 5:33 5 Network 23 4:55 6 Remote Viewing 8:20   Exit marks the beginning of a new phase in Tangerine Dream's music: Gone were the side-long, sequencer-led journeys, replaced by topical pieces that were more self-contained in scope, more contemporary in sound. Johannes Schmoelling's influence is really felt for the first time here; Tangram, for all its crispness and melody, was simply a refinement of Force Majeure's principles, and the soundtrack to Thief not an album proper. On Exit, listeners are introduced to electronic music's next generation, notably on "Choronzon" and "Network 23," which brought the sound of the dancefloor into the mix (it hasn't left since). That's not to suggest that Tangerine Dream has stopped creating eerie, evocative music; both "Pilots of Purple Twilight" and the stately "Exit" will feel familiar to fans, and the opening "Kiew Mission" is a captivating commentary on nuclear war that includes vocals after a sort (a woman's voice reading locations in Russian). Exit ends on a surprisingly dark note, the alien and foreboding "Remote Viewing." It's on this track more than any other that Tangerine Dream returns to its past, invoking Phaedra and the sequencer-driven works that followed, as if to tell fans that Exit's changes weren't the result of a new band, just a new direction. With one foot in the excesses of the past and one clearly on the road to a more concise sound, Exit is a transitional work. As Schmoelling and, later, Paul Haslinger exerted their influence on Tangerine Dream's music, the emphasis shifted from dark and moody commentary to more positive subjects. It's worth noting that Edgar Froese's social conscience fuels much of Exit -- copies of the record were made available to a cross-section of Russian citizens free of charge to promote an open exchange of ideas at a time when nuclear annihilation was taken seriously. Future albums channeled Froese's activism to environmental concerns, which dovetailed with the band's by-then new age sensibilities. Both here and on White Eagle, Tangerine Dream ushers in the promise and the peril of a new world where reality has caught up with science fiction. Perhaps with such a message, the medium needed to be simpler and more direct.

CHICAGO: HOT STREETS [CBS - ESP 1990] LP CHICAGO: HOT STREETS [CBS - ESP 1990] LP Chicago   "Hot Streets"  LP (CBS)  1990  made in Spain cat. num.  LSP 982369 1 #pop rock   Alive Again 4:17 The Greatest Love On Earth 3:43 Little Miss Lovin' 4:32 Hot Streets 5:12 Take A Chance 4:35 Gone Long Gone 3:55 Ain't It Time 4:08 Love Was New 3:32 No Tell Lover 4:15 Show Me The Way 3:18   Although  Chicago  tragically marked its decade anniversary with the bitter loss of lead guitarist  Terry Kath,  Hot Streets  (1978) was not only the first release without him, it was also the band's initial offering away from  James William Guercio  -- with whom the group had worked on every one of its previous dozen long-players.  Donnie Dacus  (guitar/vocals) was brought in to fill  Kath 's formidable shoes. His maiden voyage would likewise mark the beginning of a downward spiral in terms of the string of hits that was usually associated with  Chicago  albums. Both the upbeat and pumping opener "Alive Again" and the typical adult contemporary balladry of "No Tell Lover" became their last Top 40 hits for nearly four years.  Phil Ramone 's production gives the material an added and noticeable bite. The  Peter Cetera  (bass/vocals) rocker "Little Miss Lovin" recalls the band's earliest sides by blending an aggressive backbeat with a funky and soulful rhythm. "Gone, Long, Gone," the disc's other  Cetera contribution, also stands out for  Dacus ' spot-on slide guitar intonation, which mimics a similar style used most notably by  George Harrison. Although it failed to chart when extracted as a single, Robert Lamm's (keyboards/vocals) "Love Was New" is one of the more jazz-influenced tunes on  Hot Streets. The laid-back groove effortlessly carries the melody behind a fusion of light rock and contemporary jazz. The rapidly changing pop music landscape, whose horizons would embrace disco and new wave, would all but abandon  Chicago  for the group's next few albums. Although the band attempted to adapt to the trends, it would be four LPs and four years before  Chicago  would re-emerge in full form on its comeback,  Chicago 16  (1982).

David Chesky - Songs for a Broken World (CD, Album) (2021) (Precintado) David Chesky - Songs for a Broken World (CD, Album) (2021) (Precintado) A new large work for orchestra, choir, and soloists, David Chesky is able to capture the immeasurable difficulty that each of us have gone through this past year in his distinct compositional voice. This new album by David Chesky is a sincere statement of worries the composer feels necessary to share with the world, in which all of us live and die. Its monumental form allows us to reflect on many tragic events (such as the latest disaster of COVID-19). By entering our lives, it unavoidably demands us to define our beliefs. Chesky’s music not only concerns our preferences in aesthetics, but also demands political awareness from us (while being far away from political activism). We are confronted by phenomena we do not understand, but ultimately determine our choices - what really has, had, and still will have meaning in our lives. We have to learn separate the “important” and “unimportant” things and events. No one is obligated to go to the “barricade,” but we are simply obligated to recognize injustice in all forms and name it personally (even in silence) instead of accepting terror as something “common” and “far away from us.” Politicians, social media, opinions, commercial accusations - all of these should be seen as instruments of “terror.” If we want to remain humans with hearts and souls, we will find ourselves in tune with David Chesky’s sounds, which speak to us and awake our empathy. -Gidon Kremer (December 2020) Envíos CD Envío Ordinario: 1,5€ (envío sin caja de plástico y con responsabilidad a cargo del comprador) Envío Certificado y tarifa plana: 3,5€ Combina lotes y ahorra gastos de envío. Envíos gratuitos a partir de 40€.  

STANLEY CLARKE: I WANNA PLAY FOR YOU [UK 1979] LPx2/GAT STANLEY CLARKE: I WANNA PLAY FOR YOU [UK 1979] LPx2/GAT (Epic - CBS)  1979  made in UK cat. num.  EPC 22133 #jazz rock  #jazz funk  #fusion   A1 Rock 'N' Roll Jelly 2:35 A2 All About 5:15 A3 Jamaican Boy 3:27 A4 Christopher Ivanhoe 3:22 A5 My Greatest Hits 6:28 B1 Strange Weather 1:45 B2 I Wanna Play For You 6:20 B3 Just A Feeling 6:02 B4 The Streets Of Philadelphia 5:55 C1 School Days 10:43 C2 Quiet Afternoon 9:00 D1 Together Again 5:40 D2 Blues For Mingus 2:18 D3 Off The Planet 3:10 D4 Hot Fun-Closing 7:50   Stanley Clarke  stretches his muscles and comes up with a mostly impressive, polystylistic, star-studded double album (now on one CD) that gravitates ever closer to the R&B mainstream.  Clarke 's writing remains strong and his tastes remain unpredictable, veering into rock, electronic music, acoustic jazz, even reggae in tandem with British rocker  Jeff Beck.  Clarke 's excursion into disco, "Just a Feeling," is surprisingly and infectiously successful, thanks to a good bridge and  George Duke 's galvanizingly funky work on the Yamaha electric grand piano (his finest moment with  Clarke  by far). The brief "Blues for Mingus," a wry salute from one master bassist to another (Mingus  died about six months before this album's release), is a cool acoustic breather for piano trio, and the eloquent  Stan Getz  can be detected, though nearly buried under the garish vocals and rock-style mix, on "The Streets of Philadelphia." Yet even the talented  Clarke  in full creative flower couldn't quite fill a double set with new material, so he has a tendency to reprise some of his old memorable riffs a lot, and there are several energetic snapshots of his live band in action. In its zeal to get this two-LP set onto one disc, Epic deleted three of the original 15 tracks -- including at least one gem, the sizzling hard rocker "All About" -- and scrambled the order of the remaining tunes. Which is dumb, because the missing tracks only take up a bit less than 12 minutes of playing time, not enough to overload a 65-minute disc. Hunt for the double-LP version if you can still play vinyl.

DEPECHE MODE - STRIPPED - CD BONG 10, (7 TRACKS), EDICION MUTE RECORDS LONDON 1991 DEPECHE MODE - STRIPPED - CD BONG 10, (7 TRACKS), EDICION MUTE RECORDS LONDON 1991 Stripped es el décimo quinto disco sencillo del grupo inglés de música electrónica Depeche Mode, el primero desprendido de su álbum Black Celebration, publicado en 7 y en 12 pulgadas sólo en Europa en 1986. La canción " But Not Tonight " fue el lado B estándar. " Stripped " y " But Not Tonight " fueron compuestas por Martin Gore. " But Not Tonight " fue incluida en la edición estadounidense de Black Celebration. Los otros lados B fueron las canciones " Breathing in Fumes " y " Black Day ". " Breathing in Fumes " es una nueva canción utilizando samples de " Stripped " y " Black Day " es una versión acústica cantada por Martin Gore, coescrita por Alan Wilder y Daniel Miller, de la canción " Black Celebration " que dio título al álbum. Una versión extendida de " But Not Tonight " se incluyó también en la edición europea en CD del álbum Black Celebration. Por su parte, la versión larga de " Stripped ", llamada Highland Mix y que fuera durante varios años la reproducida en conciertos, fue realizada por el productor Mark Ellis Flood, quien previamente se encargara de la ingeniería del sencillo "Shake the Disease" y posteriormente trabajara con Depeche Mode produciendo sus álbumes Violator y Songs of Faith and Devotion. Mute CD Bong10,Stripped – Highland Mix 1. «Stripped» 3:51 2. «But Not Tonight» 4:16 3. «Stripped» (Highland Mix) 6:41 4. «But Not Tonight» (Extended Remix) 5:13 5. «Breathing in Fumes» 6:06 6. «Fly on the Windscreen» (Quiet Mix) 4:24 7. «Black Day» 2:37 " Stripped " is Depeche Mode's fifteenth UK single, released on 10 February 1986. It was the first single from the album Black Celebration, and the band's thirteenth overall and sixth consecutive single to hit the UK Top 20, peaking at number 15. " Stripped " is well known for its innovative use of sampling. The underlying beat is a distorted and slowed-down sound of a motorcycle engine running, while the main melody begins with a car's ignition starting, and the end uses sounds of fireworks. The band's U.S. label Sire Records, however, decided to use the B-side " But Not Tonight " on the soundtrack to the movie Modern Girls and included the song on US editions of Black Celebration. As a result, the single was flipped, and released as " But Not Tonight " in the United States to help promote the movie. The band was not happy with this decision, seeing "But Not Tonight" as a useless pop track recorded in less than a day. The single did not chart. Surprisingly, despite previous criticism of the song by the band, an acoustic version of "But Not Tonight" was sometimes performed by Martin Gore on Depeche Mode’s Delta Machine Tour and is included in the 2014 album "Live in Berlin". The other two B-Sides are " Breathing in Fumes " and " Black Day ". " Breathing in Fumes " was a new song using samples from " Stripped ", mixed by the band and Thomas Stiehler. " Black Day " is an acoustic, alternate version of "Black Celebration" sung by Martin Gore, and is co-written by him, Alan Wilder, and producer Daniel Miller – the only Depeche Mode song where Miller receives a writing credit. The " Highland Mix " of " Stripped " was mixed by Mark Ellis (better known as Flood), who in the future would produce Depeche Mode's Violator and Songs of Faith and Devotion records. Some editions of the Black Celebration CD include the extended remix of "But Not Tonight" along with "Black Day" and "Breathing in Fumes" as bonus tracks. The music video for "Stripped" was the last Depeche Mode video to be directed by Peter Care and was filmed outside of Hansa Studios in Berlin. The music video for "But Not Tonight" was directed by Tamra Davis and is available in multiple versions. "Stripped" was featured in the film Say Anything....  

CULT THE - PURE CULT - THE SINGLES 84-9 CULT THE - PURE CULT - THE SINGLES 84-9 Discográfica:   Beggars Banquet Us The Cult, unlike its predecessor bands the Southern Death Cult and the Death Cult, was unapologetic about its mainstream rock & roll aspirations, which makes PURE CULT: THE SINGLES 1984-1995 the best possible starting place for the group, and for many, the logical end point as well. The Cult was a singles band, and a pretty great one, too, as evidenced by the Stones-like Love Removal Machine and the blazing Fire Woman. The ensemble's mixture of '60s influences (no wonder Ian Astbury became the lead singer of the reformed Doors) and hard-rock power (no wonder drummer Matt Sorum went on to join Guns N' Roses) not only helped define a whole subset of the late-'80s alternative-rock scene, it's fair to say that the groups like Stone Temple Pilots owed at least some of their success to the Cult's early flirtations with the rock mainstream. Although the set isn't chronologically ordered, PURE CULT still gives a good sense of the band's surprisingly organic shift in sound, ranging from the gothy neo-psychedelia of She Sells Sanctuary to the sneering rock of Star.

LOVE ACTUALLY - LOVE ACTUALLY LOVE ACTUALLY - LOVE ACTUALLY Discográfica:   Real Gone Music Ten interlocking love stories, one big (mostly) happy ending'Love Actually is one of the best romantic comedies of the last two decades, capturing, in poignant, bittersweet fashion, all of the complexity of modern love. One reason why Richard Curtis' 2003 film succeeded with critics and audiences alike (and still plays on cable and even in theaters all the time!) was its incredible cast: Hugh Grant, Emma Thompson, Keira Knightley, Colin Firth, Liam Neeson, Laura Linney, Billy Bob Thornton, Andrew Lincoln, Rowan Atkinson'the list goes on. But another very important reason was its score; as Curtis writes in the personal note we've included in the package, 'Without its music, Love Actually wouldn't work at all. I know'because I saw the film without the music, and 1t's a shocker.' Indeed, the high wattage star power of the actors in Love Actually is matched by its musical artists: The Beach Boys, Maroon 5, Kelly Clarkson, Norah Jones, Dido, Eva Cassidy, Joni Mitchell, The Pointer Sisters, and more (plus a bonus Christmas-themed track from Otis Redding)! The result: a listening experience every bit as satisfying (and romantic) as the film. For this holiday vinyl release, we've pressed up red and white 'candy cane' platters and put 'em inside a comely gatefold jacket. A must for the movie's many fans and a Christmastime essential!

DOLLY PARTON * 4CD BOX * LIBRO CON 4 CD REMASTERIZADO * PRECINTADO DOLLY PARTON * 4CD BOX * LIBRO CON 4 CD REMASTERIZADO * PRECINTADO Dolly Parton es el último icono de la música country de Estados Unidos. Pero no olvidemos que es una gran cantante pop y excelente compositora, que consiguió un éxito mundial gracias a Whitney Houston que incluía su canción "I Will Always Love You" en 1992... Su carrera comenzó a la edad de 12 años en 1958 y por lo que hoy por lo que después de 50 años de carrera, era el momento para rendir homenaje a una grandísima artista con este fabuloso box de  4 discos que incluyen 101 títulos incluyendo 7 inéditos y abarcando toda la carrera de Dolly Parton. Envío certificado 4,95€ Lista de canciones: Disco 1 1. Puppy Love 2. Girl Left Alone 3. Gonna Hurry (As Slow As I Can) 4. It's Sure Gonna Hurt 5. The Love You Gave 6. Nobody But You 7. Busy Signal 8. Don't Drop Out 9. I've Known You All My Life 10. Put It Off Until Tomorrow - Phillips, Bill 11. Dumb Blonde 12. Something Fishy 13. I Couldn't Wait Forever 14. I'm Not Worth The Tears 15. The Last Thing On My Mind - Wagoner, Porter & Dolly Parton 16. False Eyelashes 17. The Bridge 18. Just Because I'm A Woman 19. Holding On To Nothin' - Wagoner, Porter & Dolly Parton 20. We'll Get Ahead Someday - Wagoner, Porter & Dolly Parton 21. Jeannie's Afraid Of The Dark - Wagoner, Porter 22. In The Good Old Days (When Times Were Bad) - Dolly Parton 23. Daddy 24. Evening Shade 25. Gypsy, Joe And Me 26. My Blue Ridge Mountain Boy Disco 2 1. Just The Way I Am 2. Down From Dover 3. Everything Is Beautiful (In Its Own Way) 4. Daddy Come And Get Me 5. Just Someone I Used To Know - Wagoner, Porter & Dolly Parton 6. Tomorrow Is Forever - Wagoner, Porter & Dolly Parton 7. Daddy Was An Old Time Preacher Man - Wagoner, Porter & Dolly Parton 8. Comin' For To Carry Me Home 9. Golden Streets Of Glory 10. Mule Skinner Blues (Blue Yodel No. 8) 11. Joshua 12. Daddy's Moonshine Still 13. The Last One To Touch Me - Wagoner, Porter 14. Better Move It On Home - Wagoner, Porter & Dolly Parton 15. Coat Of Many Colors 16. Traveling Man 17. My Blue Tears 18. Here I Am 19. God's Coloring Book 20. Will He Be Waiting 21. Touch Your Woman 22. Together Always - Wagoner, Porter & Dolly Parton 23. Lost Forever In Your Kiss - Wagoner, Porter & Dolly Parton 24. My Tennessee Mountain Home 25. Eugene Oregon 26. What Will Baby Be Disco 3 1. Jolene 2. Early Morning Breeze 3. I Will Always Love You 4. Please Don't Stop Loving Me - Wagoner, Porter & Dolly Parton 5. Love Is Like A Butterfly 6. Sacred Memories 7. The Bargain Store 8. On My Mind Again 9. Kentucky Gambler 10. The Seeker 11. We Used To 12. All I Can Do 13. Light Of A Clear Blue Morning 14. You Are 15. Applejack 16. It's All Wrong, But It's All Right 17. Here You Come Again 18. Two Doors Down 19. Me And Little Andy 20. Heartbreaker 21. I Really Got The Feeling 22. Baby I'm Burnin' 23. You're The Only One 24. Sweet Summer Lovin' 25. Starting Over Again Disco 4 1. Old Flames Can't Hold A Candle To You 2. 9 To 5 3. But You Know I Love You 4. Single Women 5. Heartbreak Express 6. Do I Ever Cross Your Mind 7. Potential New Boyfriend 8. Islands In The Stream - Parton, Dolly, & Kenny Rogers 9. Save The Last Dance For Me 10. Tennessee Homesick Blues 11. God Won't Get You 12. What A Heartache 13. Don't Call It Love - Jordanaires, The 14. Think About Love 15. Why'd You Come In Here Lookin' Like That 16. Yellow Roses 17. TIME FOR ME TO FLY 18. He's Alive 19. Rockin' Years - Smith, Gary, Duncan, Glen, Mattingly, Jimmy, Dennison, Richard, Nunley, Lewis, O'Brian, Jennifer, Watkins, Bruce, Smith, Howard, Jackson, Carl, Uhrig, Paul, Van Shelton, Ricky, Turner, Steve 20. Eagle When She Flies 21. Silver And Gold 22. Romeo

THE CURE - CONCERT (THE CURE LIVE) - ALBUM VINILO ORIGINAL PRIMERA EDICION POLYDOR 1984 THE CURE - CONCERT (THE CURE LIVE) - ALBUM VINILO ORIGINAL PRIMERA EDICION POLYDOR 1984 Concert es el primer álbum en vivo de la banda británica de rock, The Cure. La edición en cassette fue doble, ya que contenía el resto de caras B y se tituló Curiosity (Killing the Cat): Cure Anomalies 1977–1984. El disco es el resultado de las grabaciones de los conciertos que dio la banda en el actual Hammersmith Apollo de Londres y en Oxford en mayo de 1984. La portada fue diseñada por el mismo Robert Smith, bajo el seudónimo de Toberr, con un fotograma de vídeo de una emisión de televisión en directo el 25 de agosto de 1984 durante el concierto que The Cure ofrecieron en el Barrowland Ballroom situado en Glasgow, Escocia y que tenía la intención de que ilustrase un disco pirata de la banda. Algunos de los temas que los Cure tocaron en los conciertos de mayo de 1984 en Oxford y Londres durante la gira promocional del álbum "The Top", se inmortalizarían en el primer directo oficial de la banda de Robert Smith. Así, de lo poco que se podía salvar del mediocre y antes mencionado "The top", se incluyeron " Shake dog shake " y " Give me it ". También, una revisión más acorde con su estilo del hit discotequero " The walk ". Del oscuro y taciturno "Pornography" dejarían patente una intensidad épica con " One hundred years " y " The hanging garden ". Del tétrico y tormentoso "Faith" se incluiría la menos tenebrosa, esa fantástica " Primary ". Además, la inclusión de " Charlotte sometimes " permitió conocer más ampliamente una de las rarezas inéditas publicadas en formato single de The Cure. Del frío y experimental "Seventeen seconds" se recogería " A forest " en una psicodélica versión que se convertiría a posteriori en la joya del siniestro afterpunk. Finalmente, para cerrar este álbum " 10:15 Saturday night " y " Killing an arab ", los dos temas de su primer single con aquel primerizo powerpop característico. En definitiva, en "Concert - The Cure Live" se recogían las mayores virtudes del primer y más interesante período de una de las bandas más exitosas de la década de los 80. Listado de canciones: 1. «Shake Dog Shake» 4:14 2. «Primary» 3:29 3. «Charlotte Sometimes» 4:06 4. «The Hanging Garden» 4:05 5. «Give Me It» 2:49 6. «The Walk» 3:31 7. «One Hundred Years» 6:48 8. «A Forest» 6:46 9. «10:15 Saturday Night» 3:44 10. «Killing an Arab» 2:51 In 1984, the Cure released The Top, a generally psychedelic album on which Smith played all the instruments except the drums—played by Andy Anderson—and the saxophone—played by returnee Porl Thompson. The album was a Top 10 hit in the UK, and was their first studio album to break the Billboard 200 in the US, reaching number 180. Melody Maker praised the album as "psychedelia that can't be dated", while pondering, "I've yet to meet anyone who can tell me why the Cure are having hits now of all times." The Cure then embarked on their worldwide Top Tour with Thompson, Anderson and producer-turned-bassist Phil Thornalley on board. Released in late 1984, The Cure's first live album, Concert consisted of performances from this tour. Near the tour's end, Anderson was fired for destroying a hotel room and was replaced by Boris Williams. Thornalley also left because of the stress of touring. However, the bassist slot was not vacant long, for a Cure roadie named Gary Biddles had brokered a reunion between Smith and former bassist Simon Gallup, who had been playing in the band Fools Dance. Soon after reconciling, Smith asked Gallup to rejoin the band. Concert: The Cure Live is the first live album of English rock band The Cure. It was recorded in 1984 at the Hammersmith Odeon in London and in Oxford. Its cassette tape edition featured on the B-side a twin album of anomalies, titled Curiosity (Killing the Cat): Cure Anomalies 1977–1984.

HOWELL PETER & JOHN FERDINANDO - ITHACA AGINCOURT HOWELL PETER & JOHN FERDINANDO - ITHACA AGINCOURT Discográfica:   Munster Records If one is aware of high prices on online music sites or is a part of any worldwide record collectors' circles, albums from groups such as Ithaca and Agincourt might sound familiar. Producers, composers, singers and multi-instrumentalists Peter Howell and John Ferdinando are two English musicians who started their partnership in the mid-1960s. From 1968, with the release of their soundtrack for the play Alice Through The Looking Glass, until the release of a project called Friends in 1974, they put together a total of five albums, Ithaca (1973) and Agincourt (1970) being the two most expensive and collectable of all of them. Incredibly rare and highly sought-after for years, the records contained a magical world brimming with folk music, soft psychedelia, psych-pop and progressive overtones; their music is absolutely exquisite and truly unique. It is predominantly folk, but very far from its traditional format. The longer one listens to their legacy, the longer one is going to find peculiar elements of classical gestures plus many flourishes of soft psychedelia, idiosyncratic progressive overtones, acid-folk and a taste that one is always entering the enchanting toy world of psych-pop. It does make total sense that the word ''cult'' is frequently applied to describe their creations. On Ithaca, Agincourt And Other Psych-Folk Fairy Tales (a 21 track double LP accompanied by a 19 track CD of totally distinct material), one also has the chance to read their own words. Both of them were interviewed for the liner notes, where they reveal their secret influences and their simple but unexpected ways of creating and composing. Be subtle, be daring, and be immersed in the magic world of Peter Howell and John Ferdinando.

COLOURBOX: THE OFFICIAL COLOURBOX WORLD CUP THEME [UK 1986] 7' COLOURBOX: THE OFFICIAL COLOURBOX WORLD CUP THEME [UK 1986] 7' Colourbox   "The Official Colourbox World Cup Theme"  single 7" (4AD)  1986  made in UK cat. num.  AD 605 #synth pop   A The Official Colourbox World Cup Theme 3:06 B Philip Glass 3:29   One of the legendary 4AD label's earliest and most under-recognized acts,  Colourbox  were among the first artists outside of the realm of hip-hop to rely heavily on sampling techniques; ultimately, their arty blue-eyed soul -- a fusion of far-ranging influences spanning from classic R&B to dub to industrial -- reached its commercial and creative apotheosis through their work on  M/A/R/R/S ' seminal "Pump Up the Volume" project, a reflection of the group's longstanding interest in the burgeoning underground dance music scene of the 1980s.  Colourbox  were primarily the work of London-based brothers Martyn and  Steven Young, who recruited vocalist  Debbion Currie  to sing on their 1982 4AD debut, "Breakdown."  Curry  was replaced by  Lorita Grahame  in time for the trio's 1983 re-recording of the same track, this time produced by  Mick Glossop.  Colourbox 's self-titled debut EP -- a collection of dub and scratching experiments heralding their first plunge into sampling technology, edited down from three hours of studio sessions -- appeared later that same year, with the single "Say You" following in 1984. After another 12", "Punch," the group issued 1985's "The Moon Is Blue," a teaser for its upcoming full-length LP, also a self-titled affair; "Baby I Love You So" and "The Official Colourbox World Cup Theme" both appeared the following year.  In 1987, at the behest of 4AD chief  Ivo Watts-Russell, the Young brothers teamed with labelmates  A.R. Kane  as  M/A/R/R/S  to record a single fusing the rhythms and beats from classic soul recordings with state of the art electronics and production. Complete with scratches by champion mixer  Chris "C.J." Mackintosh  and London  DJ Dave Dorrell, "Pump Up the Volume" -- a breakthrough effort heralding sampling's gradual absorption from hip-hop into dance music and ultimately the pop mainstream -- soon topped the British charts, the first 4AD release to accomplish that feat. Plans for a follow-up never materialized, however; stranger still, despite  M/A/R/R/S ' success, both the Youngs and  Colourbox seemed to vanish, with no future recordings forthcoming.  

DEVIANTS - DEVIANTS #3 (BLACK & WHITE NU DEVIANTS - DEVIANTS #3 (BLACK & WHITE NU Discográfica:   Real Gone Music The Deviants were the closest thing the '60s British rock scene had to The Mothers of Invention, with a Stoogeslike fondness for fuzz guitar freakouts thrown in. And playing the Frank Zappa role as lyricist, singer, and provocateur was Mick Farren, one of the most intriguing figures to emerge from the UK underground. Farren actually had a much longer and distinguished career as a writer than he did as a musician…he penned a total of 23 novels and 11 works of non-fiction, all of them redolent of his unique sensibility (his 1976 article The Titanic Sails at Dawn for New Musical Express predicted the rise of punk rock). And on the music side, he never did anything that wasn't extreme, collaborating with Lemmy of Hawkwind and Motörhead and Wayne Kramer of the MC5 among others residing on the cutting and bleeding edge of rock and roll. 1969's Deviants III was the third and last record he cut with his band The Deviants (the other members went on to form Pink Fairies); despite the strains in the band and Farren's later panning of its quality, it's regarded in some quarters as a masterpiece, capturing the dark side of the end of the '60s with such songs as Billy the Monster and The People's Suite. Our reissue features the rare gatefold art that came out on the Sire label in the States, with a black and white nun's habit vinyl pressing limited to 1000 copies. Farren collapsed while playing on stage with a re-formed (but not reformed!) version of The Deviants in 2013 and died soon thereafter…a fitting way for the unrepentant radical to go. R.I.P. Mick Farren.

COTTON MATHER - DEATH OF THE COOL COTTON MATHER - DEATH OF THE COOL Discográfica:   Star Apple Kingdom It did not take 15 years for Cotton Mathers Austin-based main man, Robert Harrison to write the 64 songs (64 songs!) that comprise his latest musical vision, one song for each hexagram (defined as any of a set of 64 figures made up of six parallel whole or broken lines) of the I Ching, it s actually the amount of time that has passed since the last full-length album of new Cotton Mather songs was released. With so much new material on deck, it seems like Harrison is making up the difference. Half a dozen tracks from this treasure trove of new tunes have already been posted one-by-one in real time and real weather as Harrison describes this creative process, and now the first of an eventual four albums that will ultimately contain much of the entire song cycle, has been announced. Arriving on CD and Digital on July 29th 2016 and a deluxe Limited Edition Vinyl LP release on September 2nd 2016, the eleven-track Death of The Cool contains another nine of Harrisons pure pop meditations on Chinese philosophy, along with the two currently available tracks that initially announced the project The Book of Too Late Changes (based on I Ching hexagram #24: The Return) and Child Bride (based on #4: Youthful Folly.) Each songs commentary on the albums reflects how a translator traditionally shares thoughts on the reading, Harrison says. However, I will limit my commentary to the readings themselves, and let the songs enjoy a free-range lifestyle. For anyone thinking that 64 songs written around a single theme cant possibly maintain a standard of quality, welcome to the unlikely world of Cotton Mather. Founded by Robert Harrison in Austin in the early 1990s, the band initially had an experimental sound, but soon evolved into a guitar-driven pop group defined by accessible melodies, strong vocal harmonies and lyrical wit. Cotton Mather released its debut album Cotton Is King in 1994, but it was the follow-up album Kontiki, famously recorded on four-

COLEMAN ORNETTE - ATLANTIC YEARS (10 X12-LTD.) COLEMAN ORNETTE - ATLANTIC YEARS (10 X12-LTD.) Ornette Coleman recorded one of the greatest bodies of work in jazz during a 22-month-long burst of creativity. Between 1959 and 1961, the saxophonist and composer released six studio albums on Atlantic Records that helped usher in the avant-garde, free jazz movement.  - Those albums, along more than two hours of session outtakes, are featured together in the 10-LP boxed set ORNETTE COLEMAN: THE ATLANTIC YEARS, featuring newly remastered audio by John Webber at AIR Studios. Several of these titles are long out-of-print on vinyl. The Ornette Coleman Legacy, featuring six songs originally released for the first time in 1993 as part of Rhino’s CD boxed set Beauty Is A Rare Thing, making its vinyl debut. - On most of his Atlantic albums, Coleman recorded with a quartet that included trumpeter Don Cherry, plus either Charlie Haden or Scott LaFaro on bass, and either Billy Higgins or Ed Blackwell on drums. One notable exception is Free Jazz, a ground-breaking single-track album where Coleman led a double quartet through a nearly 40-minute collective improvisation. The stereo mix used for the album separates the quartets into different channels; one on the right and the other on the left.  - Coleman worked extensively with producer Nesuhi Ertegun on the music featured in this collection. Their partnership began in 1959 with Coleman’s Atlantic debut, The Shape of Jazz To Come, an album the Library of Congress added to its National Recording Registry in 2012.   - Among the albums included in THE ATLANTIC YEARS are three compilations that Atlantic released in the 1970’s: The Art Of Improvisers (1970), Twins (1971), and To Whom Who Keeps A Record (1975.) These albums include outtakes from recording sessions for all six of Coleman’s studio albums.