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90s Music

Janet

Janet

Fan Mail (Edited)

Fan Mail (Edited)

Beastie Boys - In Sound From Way Out - Music & Performance - CD

Beastie Boys - In Sound From Way Out - Music & Performance - CD

Fanmail [CD]

Fanmail [CD]

Storm In The Heartland

Storm In The Heartland

Like A Virgin

Like A Virgin

True Blue Madonna (CD)

True Blue Madonna (CD)

Flutes Of The Sun

Flutes Of The Sun

Embarking on a solo career after the breakup of his two '80s bands, The Rip and Plagal Grind, Alastair Galbraith has established himself as a charming eccentric in the finest New Zealand tradition. Useful touchstones include his fellow Kiwi nutters Chris Knox and the Tall Dwarfs. Galbraith's songs often sound folk-based, partly because he favors modal rather than chordal melodies. Around this appealing center, Galbraith layers noisy experimentation, creating an unearthly racket that occasionally relents to reveal a gorgeous bit of guitar pop or a haunting violin melody. Galbraith released the GAUDYLIGHT EP and MORSE, a compilation of early demos and singles, on tiny indie in the early '90s. This CD, issued several years later, combines both titles, providing a handy introduction to one of experimental pop's best-kept secrets.

Embarking on a solo career after the breakup of his two '80s bands, The Rip and Plagal Grind, Alastair Galbraith has established h

Karaoke: Greatest Songs Of 90S Country Hits

Karaoke: Greatest Songs Of 90S Country Hits

Karaoke: Greatest Songs Of 90S Pop Hits

Karaoke: Greatest Songs Of 90S Pop Hits

Personnel includes: Mike Ladd (synthesizer, bass, programming); Jeff Cordero (guitar); Charles Calello (keyboards); Eric M.O. (bass); Bruce Grant (tape loops); Fred Ones (cuts); Company Flow, Starship Nigga. Recorded at Ozone Studios, New York, New York. Includes liner notes by Mike Ladd. Mike Ladd, like the incendiary proto-rap group Last Poets, spews politically charged lyrics, set to jazzy beats and live instrumentation. With a hint of space-age, "out there" samples, he pushes the boundaries of hip-hop. What's been called experimental hip-hop has been inspired by poetry slams, free jazz, funk, and even '70s and '80s electronic music. First dabbled by early-'90s hip-hop prodigies A Tribe Called Quest, Digable Planets and De La Soul, the practice of mixing chunky beats with acoustic and electronic music started a revolution of new expression. Now upheld by the likes of Ladd, Antipop Consortium, and Saul Williams, the Afro-futuristic message is being heard. On WELCOME TO THE AFTERFUTURE, Ladd's fifth release, electro, ambient, and loungey beats and samples project his smooth flow for a cohesive overview of some disparate influences. Heavy with science fiction references and political undertones (e.g. "Bladerunners," featuring Company Flow) the album twists your ears and mind to a whole other level. At times completely digital, at others acoustically jazzy, the album takes its place in a time capsule that kids will be digging out of the crates in decades to come.

Personnel includes: Mike Ladd (synthesizer, bass, programming); Jeff Cordero (guitar); Charles Calello (keyboards); Eric M.O. (bas

Gang Starr: The Guru Keithy E (rap vocals); DJ Premier (turntables, samples). Additional personnel: Damo D-Ski (vocals). Producers: Gang Starr, The Guru Keithy E., Mark The 45 King. Includes liner notes by Reginald Dennis. Digitally remastered by Carlton Batts (Frankford Wayne). Gang Starr's first release, 1989's NO MORE MR. NICE GUY, is a true gem. The album offers a glimpse of genius in progress. These early DJ Premier tracks stand the test of time, though many are at a faster tempo than his typical creations. NO MORE MR. NICE GUY helped create the jazz aesthetic that would dominate East Coast hip-hop music for the next six or seven years. "Jazz," an ode to the genre that greatly influenced DJ Premier, is a history lesson demonstrating both group members' musical knowledge. "Manifest" is undoubtedly the most memorable cut on the album, and the song that catapulted the duo into hip-hop's hall of fame. Also included on the set is the remix of "Positivity" a hard-hitting banger that heralds the Premier style adopted on the scores of important hip-hop albums with which the DJ was involved throughout the 1990s.

Gang Starr: The Guru Keithy E (rap vocals); DJ Premier (turntables, samples). Additional personnel: Damo D-Ski (vocals). Producers

Hollywood Singing And Dancing: A Musical History - The 1980s, 1990s & 2000s (Full Frame)

Hollywood Singing And Dancing: A Musical History - The 1980s, 1990s & 2000s (Full Frame)

Beastie Boys - The Sounds Of Science - Music & Performance - CD

Beastie Boys - The Sounds Of Science - Music & Performance - CD

Personnel: Steve Forbert (vocals, acoustic guitar, harmonica); Bill Hullet (acoustic & electric guitars, banjo, dobro, mandolin, ukelele); Garry Tallent (electric guitar, bass); Ken Lovelace (fiddle); Tim Coats (auto harp, jaw harp); Bobby Ogdin (keyboards); Charlie Chadwick (upright bass); Bobby Lloyd (drums). Producers: Garry Tallent, Steve Forbert, Tim Coats. Recorded at Moondog Music Studio, Nashville, Tennessee between May and June 2002. ANY OLD TIME was nominated for the 2004 Grammy Award for Best Traditional Folk Album. Jimmie Rodgers, the "Singing Brakeman" who helped invent country music as we know it today, was born in Meridian, Mississippi in the 1890s. Folk-rock singer/songwriter Steve Forbert was born in the same town some six decades later, and the influence of Rodgers was seemingly not lost on him. After numerous albums of his own wry, poetic songs, Forbert decided to take time out to pay tribute to the elder Meridian man with ANY OLD TIME. Wisely, Forbert doesn't try to come off 100 percent "authentic," so there's no uncomfortable retro tint here. Neither does he tart things up in ill-fitting contemporary arrangements. Instead, he leads a mostly acoustic band through some of Rodgers's best songs, from the minor-key plaint "Gambling Barroom Blues" to the amiable hobo tale "Waiting on a Train." Forbert's throaty warble serves the down-home feeling of the songs well, and his band serves tradition without being shackled by it.

Personnel: Steve Forbert (vocals, acoustic guitar, harmonica); Bill Hullet (acoustic & electric guitars, banjo, dobro, mandolin, u

Classic Albums: Nirvana: Nevermind (DVD), Eagle Rock Ent, Music & Performance

Classic Albums: Nirvana: Nevermind (DVD), Eagle Rock Ent, Music & Performance

Unplugged in New York

Unplugged in New York

This CD is a reissue of the original release with bonus tracks from DANCE FOR TWO PEOPLE (KM-161) and BLUES GUITAR WORKSHOP (KM-141). Personnel: Davey Graham (vocals, guitar). Recorded at Livingston Studio, London, England in 1977. Originally released on Kicking Mule Records (KM-138). Includes liner notes by Duck Baker. Digitally remastered by Joe Tarantino (1999, Fantasy Studios, Berkeley, California). For most performers, titling an album THE COMPLETE GUITARIST would be an act of inexcusable hubris. For the British folk-blues master Davey Graham, however, it makes perfect sense. The first star of the '60s British folk scene, the Scottish-Guyanese Graham directly influenced such vocal acolytes as Paul Simon, John Renbourn, and Bert Jansch, all of whom have recorded versions of Graham's signature composition, "Angi." Graham's wide-ranging tastes could never be limited to one style of music. His later work, such as this classic 1978 album, leavens Graham's folk-blues roots with surefooted explorations of a variety of ethnic musics. The album's fertile cross-pollinations include the Scandinavian/Scottish "Road to Lisdoonvana (Jig and Reel)." In the '80s and '90s, such musical inter-breeding would be common, but this classic album is a trailblazing example of the form. The CD contains eight bonus tracks from the contemporaneous releases DANCE FOR TWO PEOPLE and BLUES GUITAR WORKSHOP.

This CD is a reissue of the original release with bonus tracks from DANCE FOR TWO PEOPLE (KM-161) and BLUES GUITAR WORKSHOP (KM-14

Personnel: Freddie Hubbard (trumpet, flugelhorn); Joe Henderson (tenor saxophone); Bobby Hutcherson (vibraphone); Billy Childs (piano); Larry Klein (bass); Steve Houghton (drums). Recorded live at Keystone Korner, San Francisco, California on November 29, 1981. Includes liner notes by Ed Michel. Digitally remastered by Phil De Lancie (1994, Fantasy Studios, Berkeley, California). This Prestige release from 1981 is an unedited recording of the last night of a live Friday-through-Sunday series at San Francisco's Keystone Korner. The famous club is no longer, but the sound of Hubbard and his splendid company that great weekend survives. SUNDAY was put out as the first volume, because the recording on the final night was truer to the sound in the club. However, do not take that as a reason to dismiss FRIDAY and SATURDAY. The lineup features Hubbard on trumpet, the great Joe Henderson (tenor saxophone), Bobby Hutcherson (vibes), and a seething young rhythm section that would quickly move to the forefront of jazz in the '80s and '90s. The blowing on that night was furious, and it's captured perfectly here. Hubbard's own tunes-"Birdlike" (for Charlie Parker), "The Intrepid Fox," and the funky "Skydive"-all catch fire. The solos exchanged between Henderson and Hubbard on "The Intrepid Fox"-long, passionate explorations packed with leaping phrases and dynamic tension-show these two giants at their straight-ahead best.

Personnel: Freddie Hubbard (trumpet, flugelhorn); Joe Henderson (tenor saxophone); Bobby Hutcherson (vibraphone); Billy Childs (pi

Karaoke: All Fired Up 80S & 90S Hit / Various

Karaoke: All Fired Up 80S & 90S Hit / Various

Karaoke: Male Hits Of The 90S / Various

Karaoke: Male Hits Of The 90S / Various

Karaoke: Female Hits Of The 90S / Various

Karaoke: Female Hits Of The 90S / Various

Mobb Deep: Prodigy, Havoc. Additional personnel includes: Ron Isley, Lil' Mo, 112, Big Noyd, Littles (vocals); Vita, Johnson Sisters (background vocals); Chucky Thompson. Producers: EZ-Elpee, Scott Storch, Alchemist, Havoc. Engineers: Steve Sola, Oscar Monsalve, Sheldon Guide. Recorded at Kejuan Entertainment Studios, Long Island, New York and Right Track Studios, New York, New York. Though Havoc and Prodigy, the east coast duo known as Mobb Deep, have been famed since the mid-1990s as one of the most intense, powerful outfits on the hardcore gangsta rap scene, they've never resorted to in-your-face delivery or over-the-top production. In a sonic tradition continued on INFAMY, the two heavyweight rappers prefer to take a deadpan approach to their delivery of unrelenting, gritty lyrics that describe the thug life with detail and candor. Likewise, the production eschews party-hearty jeep beats for a subtle, often almost seductive sound that finds room for lilting female vocals, R&B grooves, and twinkling keyboard atmospheres. While INFAMY finds Mobb Deep losing none of their signature lyrical fire, neither have they lost the ability to make their message more palatable via some exceptional production skills.

Mobb Deep: Prodigy, Havoc. Additional personnel includes: Ron Isley, Lil' Mo, 112, Big Noyd, Littles (vocals); Vita, Johnson Siste

Danzig: Glenn Danzig (vocals, guitar); Lazie (bass); Joey C. (drums). Additional personnel: Jeff Chambers (guitar). Recorded at NRG Studio & Big Love Studio, Hollywood, California. In the early '90s, Danzig appeared to be on the brink of global domination with such best-selling titles as DANZIG III: HOW THE GODS KILL and THRALL: DEMONSWEATLIVE. Commercial audiences finally appeared to be embracing the band. Danzig headlined bigger venues, earned gold albums, and even achieved an MTV hit with 1993's live version of the anthemic "Mother." Soon after, however, singer/leader Glen Danzig started exploring electronic sounds in addition to his expected blues metal, and the band members began leaving one by one. Such albums as 1994's DANZIG 4 and 1996's BLACKACIDEVIL failed to match the group's early efforts artistically or commercially. 1999 saw the release of 666 SATAN'S CHILD. While Danzig's sixth full-length album still reflects his recent electronic direction, it also sees more of a return to the band's earlier direction. New members Lazie (bass) and drummer Joey C. join Danzig and bring his cartoon horror stories to life.

Danzig: Glenn Danzig (vocals, guitar); Lazie (bass); Joey C. (drums). Additional personnel: Jeff Chambers (guitar). Recorded at NR

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