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Liner Note Author: Roger Dopson.With "Let the Heartaches Begin, " Baldry abandoned all pretenses at blues or soul for treacly MOR pop of the worst sort. The marketplace did not respond with the emphatic veto that cosmic justice demanded; on the contrary, the single went to number one in Britain and was the singer's greatest commercial success by far. The album offered material in the same vein: over-orchestrated, sentimental ballads with female backup vocals supporting Long John's hoarse wall of gravel, many written by the same Tony Macaulay-John Macleod team that was responsible for "Heartaches." Even if you've got a yen for MOR British pop of the period, you're much better off with Tom Jones, or even Engelbert Humperdinck. The BGO CD reissue combines this and the 1969 LP Wait for Me on one disc. ~ Richie Unterberger

All tracks have been digitally remastered.This is part of BMG U.S. Latin's Cuban Originals series.This volume of RCA's Cuban Originals series spotlights Beny Moré, and includes original recordings of classic songs like "Bonito y Sabroso, " "La Culebra, " "Rumberos de Ayer, " "Mucho Corazon, " "Oh Vida, " and "Company Jose, " all of which feature Moré's powerful voice and dynamic big band backing. ~ Heather Phares

Secretly Canadian ( March 07, 2006 ), Genre: Rock & Pop

Rhino Records (USA) ( January 13, 1998 ), Genre: R&B

Basibozuk by Mor ve ÖtesiThis product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.

Mid-Fi Records ( March 12, 2002 ), Genre: Rock & Pop

Nuclear Blast Records (USA)

Even those who don't instinctively like bluegrass will have a hard time ignoring the measure of Alison Krauss's talent. With an angelic, elastic voice that seems perfectly suited to the music, and her spectacular fiddle playing, Krauss has had a hand in revitalizing the genre and enjoyed popularity with bluegrass and mainstream audiences alike. I'VE GOT THAT OLD FEELING, Krauss's third outing for Rounder Records, released in 1990, was also her first Grammy-winner.Lilting dobro, banjo, mandolin, and sweet harmonies flank Krauss throughout these 12 tracks that range from ballad-like sway ("It's Over") to mid-tempo bounce ("One Good Reason") to chugging foot-tappers ("Dark Skies"). The album is also notable for its merging of traditional bluegrass roots with pop accessibility, pointing the way for Krauss's future releases and eventual commercial breakthrough. The band's down-home technical skills are unassailable, as "Will You Be Leaving" proves (with the banjo, mandolin, and fiddle lines on this song giving Fla

Darren Hayes is not only one of the finest (if not most underrated) singers and songwriters of our generation, he is also a master of reinvention. 'This Delicate Thing We've Made' is released on Hayes' own label, Powdered Sugar, and is the record he has wanted to make for years. Now he is his own boss, he's doing everything his own way. Bizarrely, it's the most commercial-sounding thing he's ever done. His old record label, Columbia, must be kicking themselves. The album is a double-disc pop opus. It is a deeply felt, moving, and joyous celebration of life and of pop music. Though the tracks vary in style and genre, often deliberately sequenced so as to draw attention to their differences ("Setting Sun" followed by "A Hundred Challenging Things" is one of the most dramatic changes of mood I've ever heard), together they form a whole that is one of the most enjoyable and one of the most intelligent pop albums of the last decade. It seems inspired by, and certainly deserves to be regarded alongside, albums such as Madonna's 'Ray of Light', U2's 'Achtung Baby', Prince's 'LoveSexy', and Peter Gabriel's 'So'. There are musical nods to these artists, and others. In terms of style, there is pure pop celebration here, in the form of songs like "Listen All You People", "Tuning of Violins" and the first single "On the Verge..." "Casey" proves that melancholy, yearning lyrics don't have to be stuck on ballads, but can be sung over up-tempo synth-pop to heart-wrenching effect. In tracks like "Bombs Up in My Face" and "Me, Myself and (I)" Hayes is channeling Prince at his funkiest best. To be honest, any 11 of the tracks could have been released as an album, and would have made a great record. But by giving himself room to explore musical avenues, develop his themes, and (dare one say it) nudge the whole thing towards being a concept record. Hayes has managed to craft an album of intricate narratives and personal confessions that simultaneously document his arrival at peace within himself. He has created something that really demands to be listened to, that hooks you and completely seduces you. The UK's NME Magazine called him a genius. They weren't wrong.

Darren Hayes is not only one of the finest (if not most underrated) singers and songwriters of our generation, he is also a master of reinvention. 'This Delicate Thing We've Made' is released on Hayes' own label, Powdered Sugar, and is the record he has wanted to make for years. Now he is his own boss, he's doing everything his own way. Bizarrely, it's the most commercial-sounding thing he's ever done. His old record label, Columbia, must be kicking themselves. The album is a double-disc pop opus. It is a deeply felt, moving, and joyous celebration of life and of pop music. Though the tracks vary in style and genre, often deliberately sequenced so as to draw attention to their differences ("Setting Sun" followed by "A Hundred Challenging Things" is one of the most dramatic changes of mood I've ever heard), together they form a whole that is one of the most enjoyable and one of the most intelligent pop albums of the last decade. It seems inspired by, and certainly deserves to be regarded alongside, albums such as Madonna's 'Ray of Light', U2's 'Achtung Baby', Prince's 'LoveSexy', and Peter Gabriel's 'So'. There are musical nods to these artists, and others. In terms of style, there is pure pop celebration here, in the form of songs like "Listen All You People", "Tuning of Violins" and the first single "On the Verge..." "Casey" proves that melancholy, yearning lyrics don't have to be stuck on ballads, but can be sung over up-tempo synth-pop to heart-wrenching effect. In tracks like "Bombs Up in My Face" and "Me, Myself and (I)" Hayes is channeling Prince at his funkiest best. To be honest, any 11 of the tracks could have been released as an album, and would have made a great record. But by giving himself room to explore musical avenues, develop his themes, and (dare one say it) nudge the whole thing towards being a concept record. Hayes has managed to craft an album of intricate narratives and personal confessions that simultaneously document his arrival at peace within himself. He has created something that really demands to be listened to, that hooks you and completely seduces you. The UK's NME Magazine called him a genius. They weren't wrong.

UK two disc (CD + Pal/Region 0 DVD_ live release from the British rockers including a bonus DVD. Caught on both tape and film, England's very own Quireboys release their stunning performance at the legendary Marquee Club. Spike (QB Frontman) is in great form after triumphantly touring the UK arena's as part of the 2004 Monsters Of Rock Tour. He quotes "The Marquee show was just us having a party with the fans following our MOR Arena Tour. I remember is as one of the funnest shows I've ever done!" Listen and watch the band play all of their greatest hits and join the band in their party of a lifetime! Demolition.

This selection is also available on Walking Frog (distribution) 466.This selection is a High Definition Compatible Digital (HDCD) recording.Personnel: Melinda Jean Wilson, Kathy K. Johnson (flute); Juli Purcell Powers (piccolo); Barbara Zickler, Alex Yeselson, Sharon Knox Deuby, Bonnie Dieckmann, Jeanie Murrow, Hunter Nolen (clarinet); Mickey Owens (bass clarinet); Marty Spake, Kelbert Taylor (bassoon); David Lovrien (alto saxophone); Roy Allen, Jr. (tenor saxophone); John Sweeden (baritone saxophone); Luis E. Martinez, James Sims, Raymon F. Vasquez (trumpet); Chris Clark, Bob Burnham, Jim Clark (trombone); Barney McCollum (bass trombone); David Strand (euphonium); Edward Jones , Alex Cauthen (tuba); Erin Brewer, Tim Stevens, Ron Crisco, Anne Allred (horns); Dale Powers (timpani); Nate Bonviri, Michael E. McNicholas, Chris Michael, Roland Muzquiz (percussion).Recording information: Meyerson Symphony Center, Dallas, TX (07/15/1998).

The second full-length by Psycho & the Birds was recorded in the same fashion as 2006's All That Is Holy and its follow-up EP, Check Your Zoo: Robert Pollard recorded his rough guitar and voice demos (according to the press kit, on the same cheap department store boombox that much of the early Guided by Voices material was recorded on) on his own and sent them to multi-instrumentalist producer Todd Tobias to be fleshed out. Because Tobias was Pollard's primary creative foil in the final era of Guided by Voices (Universal Truths and Cycles, Earthquake Glue, and Half Smiles of the Decomposed), the overall effect on We've Moved is that of a cross-generational GBV mashup, as if the defiantly lo-fi sound of Propeller and Vampire on Titus and the more polished pop/rock sound of the mature band are battling each other out. Occasionally, early GBV wins: "Tomorrow Man" finds Pollard singing lines like "Hey, you burned-out piece of shit" to little more than amplified tape hiss, stray guitar chords, and what sounds like

UK two disc (CD + Pal/Region 0 DVD_ live release from the British rockers including a bonus DVD. Caught on both tape and film, England's very own Quireboys release their stunning performance at the legendary Marquee Club. Spike (QB Frontman) is in great form after triumphantly touring the UK arena's as part of the 2004 Monsters Of Rock Tour. He quotes "The Marquee show was just us having a party with the fans following our MOR Arena Tour. I remember is as one of the funnest shows I've ever done!" Listen and watch the band play all of their greatest hits and join the band in their party of a lifetime! Demolition.