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Milan La Scala Orchestra Maria Callas: Popular Music from TV, Film and Opera

Milan La Scala Orchestra Maria Callas: Popular Music from TV, Film and Opera

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The voice of Maria Callas has found its way into the most unlikely nooks and crannies of the film and television industry. One recording was the inspiration for a rather overheated scene in the film Philadelphia, and she's also been roped in to sell drinks and cars (the Ford Mondeo). This compilation capitalises on this new aspect of her fame, and includes the film and advert recordings. But it also--rather cannily--includes music (not originally sung by her) which has become famous through the same celluloid and cathode routes. Thus "O mio babbino caro", which was sung by Kiri te Kanawa in A Room With a View and, "Ebben? ne andrò lontana" sung by Wilhemina Wiggins in the film Diva are here given the Callas treatment. And what a treatment--the unmistakable voice, the intensity, the impeccable phrasing, the drama, the intelligence, the technique--it's all here, so just listen and marvel. (And there are also some glorious shots of Callas to keep you drooling while you do.) A treat. -- Warwick Thompson
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Milan La Scala Orchestra Maria Callas: Popular Music from TV, Film and Opera
True Love Waits - The Music of Radiohead

True Love Waits - The Music of Radiohead

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As befits the dedicated expectancy of its title, True Love Waits is a belated expression of admiration for the music of Radiohead from the renowned American concert pianist Christopher O'Riley, a man who ordinarily plys his craft performing Rachmaninoff, Chopin and Prokofiev but whose affinity for the anomalous Oxford quintet has inspired him to transpose 15 of their songs into his own interpretive, classical piano recitals. While it's true to say that classical is classical and pop is pop and ne'er the twain shall meet, Christopher O'Riley's True Love Waits sits alongside the Balanescu String Quartet's transcriptions of Kraftwerk compositions and Swedish choristers the Nau Ensemble's variations on Joy Division's Closer as a brilliantly effulgent exception to the rule. Amusingly serious sleevenotes aside (classical music etiquette deems Radiohead songs are actually written by Thomas Yorke, Jonathan Greenwood, Edward O'Brien, etc), O'Riley finds sedative melodic beauty hidden behind the rodent-bashing fancy of "Knives Out" while "Exit Music" and "Airbag" are chillingly distant, seemingly conveyed by invisible fingers from the haunted ballroom at the end of the marble corridor. "Arrest this man? he's like a detuned radio" sang Thom Yorke in 1997. However, thanks to Christopher O'Riley, the hitherto unthinkable concept of Middle-Englanders chinking their afternoon cups and saucers to the strains of "Karma Police" on Classic FM has just become a reality. --Kevin Maidment
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True Love Waits - The Music of Radiohead
Jamie T Panic Prevention [VINYL]

Jamie T Panic Prevention [VINYL]

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"I think that's the scrappiest version I've ever done of that in my life," mutters Jamie T. He's just finished playing "Brand New Bass Guitar", the first track on debut album Panic Prevention - but the fact it makes the cut says a lot about the free-wheeling, spontaneous spirit of this Wimbledon-born singer-songwriter. Equal parts Joe Strummer and Dizzee Rascal, Jamie narrates witty, filthy, sometimes tragic tales of London life peppered with patois and accompanied by cheap drum-machine beats and the twang of an acoustic bass guitar. That's not to say these songs sound in any way half-formed. On the contrary, in fact, apparently disparate sounds - post-Libertines garage rattle, bumping ska, UK hip-hop - gel neatly thanks to Jamie's garrulous charisma and brassy, clever wordplay. "Salvador" is a driving, spooked slice of punk-blues that couches tales of nightclub pulling in feral, predatory terms, while the deceptively sing-along "Shelia" conceals a tragic narrative of assorted alcoholics and various ne'er do wells that meet with various sticky ends. It's a dangerous, cutthroat London that Jamie roams, but importantly, Panic Prevention makes it sound like ruddy, bloody good fun from start to close. --Louis Pattison
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Jamie T Panic Prevention [VINYL]
Mortal Kombat: Armageddon /PS2

Mortal Kombat: Armageddon /PS2

Se flere produkter fra Coolshop.dk
Introducing Mortal Kombat: Armageddon - The latest chapter in Midway's award-winning, best-selling video game fi ghting franchise.Select Any Character From The Entire MK Library (Past, Present & Future): From Liu Kang to Shang Tsung to Shao Kahn, Mortal Kombat:Armageddon will feature more playable fi ghters than any other Mortal Kombat game to date.All-New Customized Create-A-Fighter Mode: For the fi rst time ever in a Mortal Kombat game, players will be able to use an extremely robust create-a-fighter feature to create and defi ne their fi ghter's look, abilities and personality.Fans now have the ability to create their own custom fatalities by stringing together a series of attacks via a series of button combos, those that prove worthy can take their very own death moves online to showcase to the world.Entirely Revamped & Improved Konquest Mode: What originally served as a basic training echanism has been upgraded to a full-blown adventure with a deep story and a variety of gameplay. Rating:AA Platform:PlayStation 2 Genre:Fighting Anmeldelse:Link Demo:Link Multiplayer: Krav: Lignende produkt:Link Lignende produkt:Link Lignende produkt:Link
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Mortal Kombat: Armageddon /PS2
Kancheli: Caris Mere/Night Prayers

Kancheli: Caris Mere/Night Prayers

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Giya Kancheli is not a member of any compositional "school", but in its profoundly simple means of expression and its mystical preoccupation with time, space, and motion, his music shares similarities with several other 20th-century Eastern European composers. From a primordial mix of musical elements, Kancheli seems not to compose in a formal sense, but rather guides the formation of melodic and rhythmic forces--what he calls a "musical progression", in which "silence turns into music". If this sounds just too strange to you, listen to the music, which is completely natural, fascinating, and beautiful. This programme is divided into three sections--"Morning Prayers" (for chamber orchestra, voice, and flute), "Abii ne viderem" (string orchestra and viola), and "Evening Prayers" (chamber orchestra and voices). Chances are that you'll find yourself entranced, enchanted, and even moved by its emotional intensity. You'll also be impressed with the performers, who couldn't be more attuned, involved and impassioned. -- David Vernier
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Kancheli: Caris Mere/Night Prayers
Jamie T Panic Prevention

Jamie T Panic Prevention

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"I think that's the scrappiest version I've ever done of that in my life," mutters Jamie T. He's just finished playing "Brand New Bass Guitar", the first track on debut album Panic Prevention - but the fact it makes the cut says a lot about the free-wheeling, spontaneous spirit of this Wimbledon-born singer-songwriter. Equal parts Joe Strummer and Dizzee Rascal, Jamie narrates witty, filthy, sometimes tragic tales of London life peppered with patois and accompanied by cheap drum-machine beats and the twang of an acoustic bass guitar. That's not to say these songs sound in any way half-formed. On the contrary, in fact, apparently disparate sounds - post-Libertines garage rattle, bumping ska, UK hip-hop - gel neatly thanks to Jamie's garrulous charisma and brassy, clever wordplay. "Salvador" is a driving, spooked slice of punk-blues that couches tales of nightclub pulling in feral, predatory terms, while the deceptively sing-along "Shelia" conceals a tragic narrative of assorted alcoholics and various ne'er do wells that meet with various sticky ends. It's a dangerous, cutthroat London that Jamie roams, but importantly, Panic Prevention makes it sound like ruddy, bloody good fun from start to close. --Louis Pattison
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Jamie T Panic Prevention
A Place of Hiding

A Place of Hiding

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In this latest from bestseller Elizabeth George, A Place of Hiding, recuperating from a failed love affair, agrees to accompany her ne'er-do-well brother Cherokee ...
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A Place of Hiding
DJ Shadow Pre-Emptive Strike

DJ Shadow Pre-Emptive Strike

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This set compiles much of DJ Shadow's pre-major label material in one convenient package in an attempt to foil bootleggers and bring new fans up-to-date in the curriculum. The results are naturally varied, but all point to a marvellous evolution of talent. The collection is kept together primarily by its propensity for jazzy beats and psychedelic loops. Shadow (né Josh Davis) moves through everything from old school funk ("In/Flux") to grungy 1960s-style guitar rave-ups ("High Noon"). The centrepiece of the set, however, is a four-part composition called "What Does Your Soul Look Like", which is likely to be the first ever entirely sample-driven rock opera. It's a brilliant piece of work, laced with intriguing sounds, sound bites, and a detectable set of motion. It is also quite possibly better than anything on the critically -acclaimed Entroducing. --Aidin Vaziri
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DJ Shadow Pre-Emptive Strike
Deus Ex - PC

Deus Ex - PC

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A richly simulated world of unparalleled interactivity, engineered to react to your every action. A globe-hopping, epic adventure. Span the world from Ne...
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Deus Ex - PC
Lesley Garrett When I Fall In Love

Lesley Garrett When I Fall In Love

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When I Fall In Love, the latest album from English soprano and media personality Lesley Garrett, is being touted as something of a personal journey. Though she has covered pop songs in the past, this is her first collection of love songs and, as such, is a move into fairly new territory. As she works her way through the hand picked selection of evergreen gems that make up When I Fall In Love, it becomes quickly apparent that this is an album of mixed results. Garrett's smoothly operatic versions of the title track, "The Way We Were," and Shirley Bassey's "He Was Beautiful" give the album an airbrushed, superficial feel that continues through upbeat fare such as her version of Edith Piaf's "Non Je Ne Regrette Rien." As the album wears on it becomes obvious that it lacks the potency of previous projects like Tranquility or Travelling Light. Her take on usually vibrant songs like "Come What May" (alongside Michael Ball) and Louis Armstrong's "What A Wonderful World" come across as surprisingly lackluster, and though Garrett is undoubtedly more than capable of holding her own here, she fails to present any definitive or even challenging versions. Ultimately When I Fall In Love makes for disappointingly mediocre listening. --Danny McKenna
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Lesley Garrett When I Fall In Love
Alabama 3 Outlaw

Alabama 3 Outlaw

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The declared mission of Alabama 3's Outlaw is to find a way of romanticising Britain's mythic criminals in song in the same way that American country music celebrates its pantheon of gunslingers, gamblers and sundry ne'er-do-wells. In this respect, the two key songs on Outlaw are "Have You Seen Bruce Richard Reynolds?" - a cool, wordy, talking-blues summation of the career of the Great Train Robbery mastermind and serial jailbreaker - and the single, "Hello... I'm Johnny Cash". The latter, set to Cash's trademark boom-chicka-boom beat, acknowledges the late Man In Black as the principal inspiration of Outlaw, and is a fine and funny song in its own right. Musically, Outlaw signals an end to Alabama 3's recent stylistic wanderings, returning from the overt, and occasionally oppressive, techno of Power In The Blood and the acoustic starkness of Last Train To Mashville to the slightly dance-ified country which characterised their first two albums. This is all to the good, as those first two were Alabama 3's best, until now. --Andrew Mueller
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Alabama 3 Outlaw
Alison Moyet The Essential Alison Moyet

Alison Moyet The Essential Alison Moyet

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This Essential collection, strategically released to remind the world of the musical greatness of Moyet before the release of her fifth solo album in early 2002 (her first in nearly nine years) and also to coincide with her West End stage debut in "Chicago", once again highlights why Moyet is still one of Britain's best loved divas. The classic tracks are still on here but compared to her number one 1995 anthology Singles, there are some interesting additions and erasures. "Only You" and "Situation" two of her better known tracks with Vince Clarke (Yazoo), have been dropped in favour of the equally influential "Don't Go", but also the rather unfortunate choice of "Winter Kills". "Our Colander Eyes" is an upbeat taster of forthcoming new material, and "Blue" the bubbly Kirsty MacColl-style theme from BBC TV's "Playing the Field" is also featured. Moyet's passionate 1987 cover of "Ne Me Quitte Pas", and her live recording of "There Are Worse Things I Could Do" subtly conclude this "must-have" collection. -- John Galilee
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Alison Moyet The Essential Alison Moyet
DJ Shadow Pre-Emptive Strike [VINYL]

DJ Shadow Pre-Emptive Strike [VINYL]

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This set compiles much of DJ Shadow's pre-major label material in one convenient package in an attempt to foil bootleggers and bring new fans up-to-date in the curriculum. The results are naturally varied, but all point to a marvellous evolution of talent. The collection is kept together primarily by its propensity for jazzy beats and psychedelic loops. Shadow (né Josh Davis) moves through everything from old school funk ("In/Flux") to grungy 1960s-style guitar rave-ups ("High Noon"). The centrepiece of the set, however, is a four-part composition called "What Does Your Soul Look Like", which is likely to be the first ever entirely sample-driven rock opera. It's a brilliant piece of work, laced with intriguing sounds, sound bites, and a detectable set of motion. It is also quite possibly better than anything on the critically -acclaimed Entroducing. --Aidin Vaziri
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DJ Shadow Pre-Emptive Strike [VINYL]
Cheikh Lo Bambay Gueej

Cheikh Lo Bambay Gueej

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This second offering from Senegal's majestic, Cheikh Lo was produced by Youssou N'Dour and Nick Gold at Studio Xippi in Dakar and sees Lo extend the vibe of his debut, "Ne la Thiass". The airy, uplifting, acoustic sound is propelled along by rippling sabar and tama drums and on Bambay Gueej he boosts his horn section to feature the tenor sax and arrangements of former James Brown side-man Pee Wee Ellis. As a Baye Fall, Cheikh is a conscious, religious man and his lyrics reflect his concerns. While "M'Beddemi" deals with homelessness, "N'Dox" and "N'Jarinu Garab" focus on Man's relationship to nature. There's a chemistry at work on this album that ensures the open spirit of collaboration never detracts from the overall feel. Bambay Gueej, tips a respectful nod to Fela's afro beat while Orquesta Aragon's mercurial flautist Richard Egues and the Afro Cuban All Stars stamp the sound of Cuba on "M'Beddemi" and "N'Jarinu Garab". Malian label mate, Oumou Sangare sings a beautiful duet on haunting "Bobo-Dioulasso" and as this album draws to a close you just want to press Play again. -- Paul Bradshaw
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Cheikh Lo Bambay Gueej
Kitty Wells Country Music Non-Ret [Us Import]

Kitty Wells Country Music Non-Ret [Us Import]

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Miss Kitty Wells, dressed demurely in gingham and uttering ne'er a cussword, was the role model for women in country music until Patsy Cline came along. "It Wasn't God Who Made Honky-Tonk Angels" is one of country music's defining moments. In it--as in most of her hits--Kitty was wronged and betrayed by a feckless man. Titles like "Will Your Lawyer Talk to God," "A Woman Half My Age," "Icicles Hanging From Your Heart," and "I'd Rather Stay Home," pretty much fill out the story. Kitty sings with patent honesty, only rarely venturing off the three-chord highway, and never to dance on the tabletops. --Colin Escott
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Kitty Wells Country Music Non-Ret [Us Import]
Belinda Carlisle Voila

Belinda Carlisle Voila

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Taking a page from the Marianne Faithfull playbook, Belinda Carlisle exchanges exuberance for sophistication on Voilà. Sung entirely in French, Carlisle's first CD in a decade celebrates the sturdy song form known as chanson. From the legendary Edith Piaf ("La Vie En Rose") to '60s songbird François Hardy ("Ma Jeunesse Fout Le Camp") to playful provocateur Serge Gainsbourg ("Contact"), Carlisle tackles 11 favorites. If Faithfull's Strange Weather, a torched-up collection of covers, makes perfect sense in retrospect, Voilà also seems like a natural progression for Carlisle, though some Go-Go's devotees may be startled by the departure. More surprising than her accent, which is actually quite good, are the arrangements, like Gainsbourg's "Bonnie et Clyde" reinvented as echoey electronica or Hardy's "Pourtant Tu M'aimes" as hard-driving pop. Carlisle's versatile collaborators include Brian Eno (keyboards), Natacha Atlas (vocals), and Fianchna O'Braonain (guitar, vocals) from the Hothouse Flowers. Traditionalists may balk at the Irish and Middle Eastern touches, but Carlisle's genuine affection for the material should win over most skeptics. Her distinctive vibrato, particularly on Jacques Brel's heartbreaking "Ne Me Quitte Pas" ("If You Go Away") and Charles Aznavour's flamenco-flavored "Jezebel," has never sounded quite so full and throaty. --Kathleen C. Fennessy
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Belinda Carlisle Voila
Musiq Soulchild Luvanmusiq

Musiq Soulchild Luvanmusiq

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As the title of this CD demonstrates, Musiq Soulchild is no fan of wasted space: Luvanmusiq is a brief disc, but its breezy neo-soul grooves and elegant slow jams stack up so tightly it's a wonder you don't hear squeaks as the disc moves from song to song. First track "B.U.D.D.Y.," which borrows from Ini Kamoze's "Here Comes the Hot Stepper" (which borrowed from Taana Gardner's "Heartbeat" before it), thumps along with the kind of out-there spirit that'll make you wish for a return to Maxwell's urban hang suite, circa 1996; "Ms. Philadelphia," co-written by Ne-Yo, sets the mood for cocktail-sipping urban sophisticates; and "Betterman" starts with a Justin Timberlake-reminiscent beat but settles into its own warm bath of sincerity. Soulchild's songs play like personal letters--you want to open them alone, then share the best ones with best friends. Notably, that's the way you feel after hearing any of Soulchild's discs-- Luvanmusiq is only the latest evidence that the man is comfortable in his R&B- and soul-saturated skin. --Tammy La Gorce
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Musiq Soulchild Luvanmusiq
Southern Culture On The Skids Countrypolitan Favorites

Southern Culture On The Skids Countrypolitan Favorites

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What a blast! Applying garage-band urgency to a selection of material that extends well beyond countrypolitan favorites, the freewheeling SCOTS demonstrate surprising range and ferocious chops. At the heart of this labor of love, as the album's title suggests, are crossover country favorites from an era when the music was a staple on Top 40 AM radio (where many fans first heard "Oh, Lonesome Me," "Wolverton Mountain," and "Rose Garden"). Yet the release shows an equal affinity for the rock of that era, as the band gives the Kinks' "Muswell Hillbillies" an arrangement that recalls the Sir Douglas Quintet, injects a guitar surge from "Gloria" into the (pre-Creedence) Golliwogs' "Fight Fire," savors the fuzztone dreaminess of T. Rex's "Life's a Gas," and transforms the Who's "Happy Jack" into a banjo-driven hoedown. In other highlights, the band puts pedal-to-the-metal overdrive into the psychedelic shimmer of the Byrds' "Have You Seen Her Face" and adds some pop bounce to the swamp blues of Slim Harpo's "Te Ni Ne Ni Nu." The result is an irresistible party platter. --Don McLeese
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Southern Culture On The Skids Countrypolitan Favorites
Southern Culture On The Skids Countrypolitan Favorites [VINYL]

Southern Culture On The Skids Countrypolitan Favorites [VINYL]

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What a blast! Applying garage-band urgency to a selection of material that extends well beyond countrypolitan favorites, the freewheeling SCOTS demonstrate surprising range and ferocious chops. At the heart of this labor of love, as the album's title suggests, are crossover country favorites from an era when the music was a staple on Top 40 AM radio (where many fans first heard "Oh, Lonesome Me," "Wolverton Mountain," and "Rose Garden"). Yet the release shows an equal affinity for the rock of that era, as the band gives the Kinks' "Muswell Hillbillies" an arrangement that recalls the Sir Douglas Quintet, injects a guitar surge from "Gloria" into the (pre-Creedence) Golliwogs' "Fight Fire," savors the fuzztone dreaminess of T. Rex's "Life's a Gas," and transforms the Who's "Happy Jack" into a banjo-driven hoedown. In other highlights, the band puts pedal-to-the-metal overdrive into the psychedelic shimmer of the Byrds' "Have You Seen Her Face" and adds some pop bounce to the swamp blues of Slim Harpo's "Te Ni Ne Ni Nu." The result is an irresistible party platter. --Don McLeese
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Pris 112.42,-

Southern Culture On The Skids Countrypolitan Favorites [VINYL]
Jackson 5 Looking Through the Windows / Goin' Back To Indiana

Jackson 5 Looking Through the Windows / Goin' Back To Indiana

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The soundtrack album from the Jackson 5's 1971 TV special Goin' Back to Indiana is largely for completists. Strong new studio versions of "I Want You Back" and "Maybe Tomorrow" share space with murkily recorded but enjoyable live funk-rock and too much sketch material that doesn't work on record. Its follow-up, Lookin' Through the Windows, stands as one of the outfit's most consistent Motown long-players. It documents the Jacksons' continuing move toward softer soul music on the excellent title track, a Philly-style cover of "Ain't Nothing Like the Real Thing", "Don't Want to See Tomorrow", and even a version of Jackson Browne's "Doctor My Eyes". "Don't Let Your Baby Catch You" is an edgier cut in the Funkadelic vein, while "E-Ne-Me-Ne-Mi-Ne-Moe (The Choice is Yours to Pull)" makes a final trip to the kid-stuff style of "ABC" and "The Love You Save". An Indiana concert outtake of "Who's Lovin' You" and the "Windows" B-side "Love Song" expand this CD to nearly 80 minutes. -- Rickey Wright
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Jackson 5 Looking Through the Windows / Goin' Back To Indiana


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