Mojo

Some time in the last few years Tom Petty And The Heartbreakers took a left turn. Maybe it was when Petty woke up in the night with the idea of reuniting his first band, Mudcrutch, to cut the album they never got a chance to make back in the early 70's. Maybe it was when the Heartbreakers assembled the mammoth multi-disc 'The Live Anthology,' which detailed thirty years of concerts. Maybe it was when they gave all their home movies, outtakes and live footage to director Peter Bogdanovich to create the Grammy-winning four-hour career documentary 'Runnin Down A Dream.' There have been side projects and experiments since the band last went into the studio to cut a new Tom Petty And The Heartbreakers album.
With 'MOJO,' they have taken their recent freedom and experimentation to heart. They have gone off the reservation and all signs indicate they aren't coming back.

The first thing that hits you about 'MOJO' is that the spirit of the Mudcrutch sessions has carried on with the Heartbreakers. This is the sound of a band playing together in a room not a studio - facing each other, all singing and playing at the same time. The music is alive, with no overdubs or studio trickery. What you hear is what they created on the spot at that time.

Tom Petty says, 'With this album, I want to show other people what I hear with the band. 'MOJO' is where the band lives when it's playing for itself.'

As for the songs, 'MOJO' showcases a wide variety of American music from rock 'n' roll to country and both electric and acoustic blues. And then there are the images in Petty's lyrics which slip in on the melodies and set up a home in your head: The barefoot girl in the high grass chewing on a stick of sugar cane, the run-in with the law that begins when a carload of buddies decide to party with the motel maids, and the hilariously audacious idea of opening an album with an electric blues rocker about Thomas Jefferson's love affair with Sally Hemings. Petty would probably chuck a rock at anyone who called him a poet, but he sure is a southern writer of humor and sensitivity.

'MOJO' has juice and guts but it also has some sweet balladry for the slow dancers and even a wacked-out reggae number that is unlike anything that the Heartbreakers have done before. It's the kind of album nobody's supposed to be able to make anymore. It got here just in time. read more..

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Mojo Petty! by D. Hill
Wow, I am really enjoying listening to Mojo! I recently bought tix to see Tom Petty in Phoenix and as a bonus they gave me this album to download. 1st of all, I am a guitar player and am pleasantly surprised by the great guitar playing and the recording sound overall. From what I understand, this album was basically recorded live in the studio. I bet most bands today could not record an album like that. TP and the HB have no problem because they are a great live band. The interplay and dynamics of the recording is fantastic. You get 15 songs and most of them are great. Some of my favs are, Running Mans Bible- which has a great hook and cool guitar fills, Pirates Cove, No Reason to Cry- notice how the 1st chord sounds like the Free Fallin' Chord..., Takin' my Time - cool guitar tone, Let Yourself Go - a toe tapper that reminds me a little of Baby Please Don't Go, Don't Pull me Over - has a little Reggae fell to it, and Good Enough - which definitely is good enough! One of my pet peeves is fade outs at end of songs. Since this is recorded basically live in the studio, I would rather have no fade outs so you could hear the live ending, BUT, they do give plenty of time at the end of the song for leads etc. And not all songs fade out - Good enough is one... This is an album I have listened to over and over and can't say that for a lot of the music out today. Get this cd and you will enjoy it like I have. Keep on rockin' Tom Petty!!!

Michael Jackson: The Ultimate Collection (4 CD's + 1 DVD)

Michael Jackson: The Ultimate Collection is a limited edition box set consisting of four CDs and one DVD, Live in Bucharest: The Dangerous Tour.

Much of the music is drawn from the height of Jackson's career particularly from the albums Off the Wall, Thriller, Bad, Dangerous, HIStory, and Invincible. The set also features three tracks from The Jackson Five and six tracks from The Jacksons. Notable tracks on the compilation include the first release of the demos of "P.Y.T. (Pretty Young Thing)", "Shake a Body", "Cheater" and "We Are the World." The set also contains 8 unreleased songs, including "Beautiful Girl", "The Way You Love Me" and "We've Had Enough" and previously out of print songs such as the full version of "You Can't Win," "Someone in the Dark," the early versions of "Dangerous" and "Monkey Business," "Someone Put Your Hand Out" and "On the Line." read more..

Good Features

• 4 CD's & 1 DVD
• 60 Page Booklet

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The King of Pop Forever in Our Hearts by Rhythm N' Blue
I got this last summer right after the tragedy, and it's been in the car ever since.

An awesome collection, you can even say the definitive collection.

If you had a friend who someone have never heard MJ's music before, then this is the collection to show him/her.

Your all-time favorites are here, as well as a few hidden gems.

Plus the DVD with the video footage is awesome.

Do yourself a favor and get and enjoy this collection.



My 2 cents (my top 5 MJ songs):



5. Earth Song

4. Black or White

3. Billy Jean

2. Smooth Criminal

1. Beat It

Live At The Troubadour [CD / DVD Combo]

In November of 1970 James Taylor and Carole King first performed together at the Troubadour on Santa Monica Boulevard in West Hollywood, California. Taylor had just released his debut album for the Beatles' newly formed Apple Records and King was finding her way as a first time solo performer even though by then she was a famous songwriter with a string of hits for other artists. When they returned to the club for a two-week co-headlining run in 1971 their lives were somewhat different. That summer Taylor's "Fire and Rain" was topping the charts and King's landmark Tapestry was on its way to making her a music superstar. Thirty-six years later, in November 2007, James Taylor, Carole King and members of their renowned original band "The Section" (featuring guitarist Danny Kortchmar, bassist Leland Sklar and drummer Russell Kunkel) returned to the Troubadour for a three-night, six-show run to celebrate the venue's 50th anniversary. Those historic shows are documented in Live at the Troubadour, a special 2-disc CD/DVD. This remarkable recording, culled from these unforgettable shows, features 15 songs and 75 minutes of pristine video and audio including stunning performances of the pair's most beloved hits such as Carole King's "So Far Away," "It's Too Late," and "Will You Love Me Tomorrow?" as well as James Taylor's "Carolina in My Mind," "Sweet Baby James," and "Fire and Rain," to name just a few.

The return to the intimate Troubadour--the fertile ground that served as the unofficial home to a some of the era's defining musicians such as the Eagles, Elton John, Jackson Browne, Linda Ronstadt and Joni Mitchell--rekindled King's and Taylor's love for making music together. Variety enthused at the time, "Taylor and King reminded us about the intensity of the song, that the artistically-rich and commercially-viable are not mutually exclusive and how one tiny club continues to be a birthing room for some of this city's most memorable music." The experience was deeply felt by everyone, the musicians on stage, and the fans in attendance as well as the project's technical crew: audio producer Peter Asher (an instrumental figure throughout Taylor's career) and Emmy-winning video director, Martyn Atkins. Live at the Troubadour is captured in sterling 5.1 stereo and state-of-the-art high definition video.

In the album's liner notes, Taylor states: "The Troubadour in 1971 wasn't the beginning, but it was a big step into the light for both of us. When we reunited for the Troubadour's 50th Anniversary celebration in 2007, it felt like yesterday. It was, and still is, all about the music and the celebration of performing together." King adds, "What's even more remarkable is that James's and my musical connection and friendship continue to transcend time and place. Whenever we're together, there we are. I feel a tremendous gratitude to be able to share this experience with James, with this fine band, and most of all, with the fans." read more..

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Great Show, CD & DVD by J. Lenahan
We saw Carol King and James Taylor at the Hollywood Bowl and they were fantastic. The CD and DVD are the next best thing to being at the Bowl. The sound and picture quality are the best.

Mojo

Some time in the last few years Tom Petty And The Heartbreakers took a left turn. Maybe it was when Petty woke up in the night with the idea of reuniting his first band, Mudcrutch, to cut the album they never got a chance to make back in the early 70's. Maybe it was when the Heartbreakers assembled the mammoth multi-disc 'The Live Anthology,' which detailed thirty years of concerts. Maybe it was when they gave all their home movies, outtakes and live footage to director Peter Bogdanovich to create the Grammy-winning four-hour career documentary 'Runnin Down A Dream.' There have been side projects and experiments since the band last went into the studio to cut a new Tom Petty And The Heartbreakers album.
With 'MOJO,' they have taken their recent freedom and experimentation to heart. They have gone off the reservation and all signs indicate they aren't coming back.

The first thing that hits you about 'MOJO' is that the spirit of the Mudcrutch sessions has carried on with the Heartbreakers. This is the sound of a band playing together in a room not a studio - facing each other, all singing and playing at the same time. The music is alive, with no overdubs or studio trickery. What you hear is what they created on the spot at that time.

Tom Petty says, 'With this album, I want to show other people what I hear with the band. 'MOJO' is where the band lives when it's playing for itself.'

As for the songs, 'MOJO' showcases a wide variety of American music from rock 'n' roll to country and both electric and acoustic blues. And then there are the images in Petty's lyrics which slip in on the melodies and set up a home in your head: The barefoot girl in the high grass chewing on a stick of sugar cane, the run-in with the law that begins when a carload of buddies decide to party with the motel maids, and the hilariously audacious idea of opening an album with an electric blues rocker about Thomas Jefferson's love affair with Sally Hemings. Petty would probably chuck a rock at anyone who called him a poet, but he sure is a southern writer of humor and sensitivity.

'MOJO' has juice and guts but it also has some sweet balladry for the slow dancers and even a wacked-out reggae number that is unlike anything that the Heartbreakers have done before. It's the kind of album nobody's supposed to be able to make anymore. It got here just in time. read more..

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One fine MOJO by Z. Lalani
I really like this album, but it took several days of listening repeatedly before I felt this way. Some songs got me the first time, others took a while. On the other hand, I loved the entire Mudcrutch and Wildflowers albums on the first listen. Still, I like that Tom is willing to take chances on new material that may not be what the Damn the Torpedoes fans want. I look at every album as unique and that allows me to enjoy it without trying to compare it with others. The bottom line is I enjoy listening to it and that's what really count. Well done Tom!

Mojo

Some time in the last few years Tom Petty And The Heartbreakers took a left turn. Maybe it was when Petty woke up in the night with the idea of reuniting his first band, Mudcrutch, to cut the album they never got a chance to make back in the early 70's. Maybe it was when the Heartbreakers assembled the mammoth multi-disc 'The Live Anthology,' which detailed thirty years of concerts. Maybe it was when they gave all their home movies, outtakes and live footage to director Peter Bogdanovich to create the Grammy-winning four-hour career documentary 'Runnin Down A Dream.' There have been side projects and experiments since the band last went into the studio to cut a new Tom Petty And The Heartbreakers album.
With 'MOJO,' they have taken their recent freedom and experimentation to heart. They have gone off the reservation and all signs indicate they aren't coming back.

The first thing that hits you about 'MOJO' is that the spirit of the Mudcrutch sessions has carried on with the Heartbreakers. This is the sound of a band playing together in a room not a studio - facing each other, all singing and playing at the same time. The music is alive, with no overdubs or studio trickery. What you hear is what they created on the spot at that time.

Tom Petty says, 'With this album, I want to show other people what I hear with the band. 'MOJO' is where the band lives when it's playing for itself.'

As for the songs, 'MOJO' showcases a wide variety of American music from rock 'n' roll to country and both electric and acoustic blues. And then there are the images in Petty's lyrics which slip in on the melodies and set up a home in your head: The barefoot girl in the high grass chewing on a stick of sugar cane, the run-in with the law that begins when a carload of buddies decide to party with the motel maids, and the hilariously audacious idea of opening an album with an electric blues rocker about Thomas Jefferson's love affair with Sally Hemings. Petty would probably chuck a rock at anyone who called him a poet, but he sure is a southern writer of humor and sensitivity.

'MOJO' has juice and guts but it also has some sweet balladry for the slow dancers and even a wacked-out reggae number that is unlike anything that the Heartbreakers have done before. It's the kind of album nobody's supposed to be able to make anymore. It got here just in time. read more..

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Won't back down. by Howard Beale
I've been a Petty fan since day one. Most of the reviews I've read about this latest collection seem to be lukewarm. Not sure what folks were expecting but I have to say...this recording will go down as one of the best Tom and the band have ever made. It may have been easier to crank out a more contemporary sound but this is real, honest music played with the maturity and experience the guys have gained over the years. The album truly exceeded my expectations and know that it will be in my rotation of most played.

Exile on Main Street

Regarded as one of the greatest albums in rock 'n' roll history and one of the most defining of the Stones' catalogue. Upon its release more than three decades ago, 'Exile on Main Street' innovatively wove varying musical genres, instruments and even artists into a compelling rhythmic masterpiece. The original 18-track double-album was recorded in various stages at multiple locations, including Olympic Studios in London, Keith Richard's mansion Nellcote in France, and in Los Angeles where the literal "Main Street" influenced the album title. These atypical circumstances surrounding the recording process greatly affected the album's outcome which was highly reflective and influenced by the sociopolitical turbulence that marked the late `60s and early `70s. The Stones nixed the influences of a flower-child era and directed their creative process with the edgier, excessive, "more is more" approach of the `70s. Exile reveals a sprawling mix of genres with undertones of blues, country, R&B and gospel mixed with lyrics that fervently demand for release and liberation. The 2-CD version is a 3-panel digi-pak, 2xCDs with a 12 page booklet. The Digipak is printed in reverse board double white to keep an 'uncoated' feel like the original LP release. The 2nd disc features 10 tracks originally recorded during the Exile era including 'Plundered My Soul', 'Dancing in the Light', 'Following the River' and 'Pass The Wine' plus alternate versions of 'Soul Survivor' and 'Loving Cup'. read more..

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the rolling stones exile on main street by Timothy J. Mcphillips
What can I say about the greatest rock and roll album ever ? buy it.

if you like rock and roll or the stones this album rocks. every time I go for a drive I play this cd.



if you were lucky enough to watch jimmmy fallon on late nite tv during rolling stones week you would have seen the video stones in exile. the music is outstanding.



I rate this cd as top notch, with the re-release of exile on main street it alot of people will be looking for one, why pay top buck when amazon has them at less than half price, and cheaper than ebay too.

Glee: The Music - Journey to Regionals

Glee: The Music, Journey to Regionals, is the highly anticipated soundtrack from the June 8 Season One Finale of FOX's hit TV show. Featuring all six songs from the episode - "Faithfully"; "Anyway You Want It"/"Lovin', Touchin', Squeezin'"; "Don’t Stop Believin'" (Regionals version); "Bohemian Rhapsody"; "To Sir, With Love"; & "Over The Rainbow" - Glee: The Music, Journey To Regionals is a must have for all Gleeks. Order your copy today! read more..

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Some of the best music from Season 1 by Thomas A. Zulli
The season finale had to be the best episode of the first season because of the music. I really enjoyed "Bohemian Rhapsody" song by the opposing glee club, every song was done perfect, so I knew I had to get the cd. This is a great cd if you are a fan of the show or just a fan of music

The Twilight Saga: Eclipse Soundtrack

Original soundtrack to the 2010 motion picture, the third film in the successful Twilight Saga franchise. Features 15 tracks including cuts from Muse, Metric, The Bravery, The Dead Weather, Vampire Weekend, Florence & The Machine, The Black Keys and many others. read more..

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Very Good by D. M. (Lover of good books/movies, and all things Heart)
I really liked Twilight (...Edward, need I say more?). I did not like NM (Taylor and Kristen can not carry a satisfactory movie). I still maintain that the casting of Bella was poor, they should have gotten a better- much more expressive- actress; And of course a much better script writer. I don't know if Eclipse will be a good movie or not (the previews have not captured my interest). But regardless of the movie, the Eclipse soundtrack is REALLY good and it`s also a stand alone. After sampling the songs, I knew I wanted to add it to my keeper shelf!



There are songs on this cd that are just great. However since I am rating this whole cd, there are some songs on it that did not capture me, and that's why it all rounds up to 4 stars. My rating for the songs are as follows:



1. Eclipse (all yours) 5/5 stars

2. Nuetron Star collision (Love is Forever) 5/5 stars (great mixture of classical and rock)

3. Ours 3/5 stars

4. Heavy in your arms 5/5 stars (and more! this is possibly the best song on this cd)

5. My Love 5/5 stars (beautiful, melodic song, filled with longing)

6. Atlas 3.5/5 stars

7. Chop and Change 4.5/5 stars

8. Rolling in on a burning tire 4/5 stars

9. Let's Get Lost 5/5 stars

10. Jonathan Low 4.5/5 stars

11. With You in my head 4/5 stars

12. A Million Miles an hour 4/5 stars

13. Life on Earth 3/5 stars

14. What Part of Forever 3.5/5 stars

15. Jacob's theme 4/5 stars (I like melodic instrumental music. But instead of Jacob's theme, there should have been Edward's theme)



In the end, this cd provides a very enjoyable listening experience! I like it!

Glee: The Music, Volume 3 Showstoppers (Deluxe)

Glee: The Music, Volume 3 Showstoppers features 20 brand new songs from the hit TV show. The deluxe version features fan favorites like "Gives You Hell," "Beautiful," "Total Eclipse of the Heart," and "Bad Romance," plus 6 exclusive deluxe edition tracks like "House is Not a Home," "Home," "Rose's Turn," "Beth," "Loser," and "Poker Face." read more..

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Great performances by Larry Fryer
I continue to be amazed at the vocal and dancing talent exhibited by so many of this show's characters. This CD is a KEEPER.

Exile on Main Street

Regarded as one of the greatest albums in rock 'n' roll history and one of the most defining of the Stones' catalogue. Upon its release more than three decades ago, 'Exile on Main Street' innovatively wove varying musical genres, instruments and even artists into a compelling rhythmic masterpiece. The original 18-track double-album was recorded in various stages at multiple locations, including Olympic Studios in London, Keith Richard's mansion Nellcote in France, and in Los Angeles where the literal "Main Street" influenced the album title. These atypical circumstances surrounding the recording process greatly affected the album's outcome which was highly reflective and influenced by the sociopolitical turbulence that marked the late `60s and early `70s. The Stones nixed the influences of a flower-child era and directed their creative process with the edgier, excessive, "more is more" approach of the `70s. Exile reveals a sprawling mix of genres with undertones of blues, country, R&B and gospel mixed with lyrics that fervently demand for release and liberation. The 2-CD version is a 3-panel digi-pak, 2xCDs with a 12 page booklet. The Digipak is printed in reverse board double white to keep an 'uncoated' feel like the original LP release. The 2nd disc features 10 tracks originally recorded during the Exile era including 'Plundered My Soul', 'Dancing in the Light', 'Following the River' and 'Pass The Wine' plus alternate versions of 'Soul Survivor' and 'Loving Cup'. read more..

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Exile is Great! by King Bee
Exile on Main St. is a GREAT album. I also like most of the bonus tracks too, though Jagger's vocals sound too forced, especially on Plundered My Soul and Following the River. (Just sing, Mick. Don't try to cram everything you've learned about being a vocalist for the past forty five years into a four minute song). Keith does a nice job on the alternate take of Soul Survivor, sounding elegantly wasted. Also, Good Time Women, the forerunner of Tumbling Dice is a real highlight. If there has ever been an album from a British band that captures the underbelly of America, particulary the South, it is Exile, both lyrically and musically. You feel and smell the sweltering heat of Black churches at one hundred plus degrees(Just Wanna See His Face, Let it Loose). Boogying at dance halls (Rip This Joint, Shake Your Hips). Country/Blues on a hot, Southern night (Sweet Virginia, Torn and Frayed). Smokey, booze drenched saloons with loose women ( Ventilator Blues, Stop Breaking Down). The entire album is an experience. Is it the Stones best? I guess it depends on the mood I'm in at the time. Sometime I think Beggars Banquet is their best. Other times, Sticky Fingers. But Exile ranks near the top. Mick Taylor really shines. A great lead and slide player. Though I am a bit befuddled when some people say he is a superior player than Keith. On lead, yes he is. Mick T. is a classic, fluid, virtuoso. But Keith has never tried to go that route . His great rhythm and riffs have driven the Stones for years. His intro's on Rocks Off and All Down the Line are pure Keith. Could Mick T. have handled those chords? Sure. Would he have thought of them in the first place? Probably not. Keith is great at being Keith, and that is all that matters. And what would the Stones be without Charlie Watts on drums? Charlie has always said that he plays the song. And that is true more than ever on Exile. Now, I'd like to comment on a more trivial matters, but ones that bug me nonethless. And that is the packaging of the deluxe CD, especially the credits on disc one. On the original album released in 1972, several musicians other than Bill Wyman were given bass credits on more than half the album. In interviews over the years, Bill W. has stated that mistakes were made on at least two tracks, All Down the Line and Shine a Light, in which Bill Plummer and Mick T. were given credit, respectfully, when it was actually Bill, and he is superb on both of them. Still, there were several other tracks that had Ketth and the others, including Happy, Tumbling Dice, Rip this Joint, etc. Nothing against Bill W. I've always liked him, felt he was underrated, and at times, underappreciated, and felt it was a shame that his bass playing was at times hijacked by Keith R., Mick T., Ron W.,and others. But on disc one of the reissue, every track has a bass credit for Bill W. Some tracks have as many as three bass credits. (Just Wanna See His Face) Also, some tracks have horn credits, when no horns were played, such as Shine a Light, and Black Angel, to name two. I also never understood why there were so many photos of Mick J. on the front and inside of the album, and so few of the others. I realize Mick has always been the front man, but come on! There were four other members at the time. Just had to get those few things off my chest. Exile on Main St. is and always will be about the music. How does it make you feel? I just listened to it for the umpteenth time as I'm writing this, and I feel great.

Exile on Main Street

Regarded as one of the greatest albums in rock 'n' roll history and one of the most defining of the Stones' catalogue. Upon its release more than three decades ago, 'Exile on Main Street' innovatively wove varying musical genres, instruments and even artists into a compelling rhythmic masterpiece. The original 18-track double-album was recorded in various stages at multiple locations, including Olympic Studios in London, Keith Richard's mansion Nellcote in France, and in Los Angeles where the literal "Main Street" influenced the album title. These atypical circumstances surrounding the recording process greatly affected the album's outcome which was highly reflective and influenced by the sociopolitical turbulence that marked the late `60s and early `70s. The Stones nixed the influences of a flower-child era and directed their creative process with the edgier, excessive, "more is more" approach of the `70s. Exile reveals a sprawling mix of genres with undertones of blues, country, R&B and gospel mixed with lyrics that fervently demand for release and liberation. The 2-CD version is a 3-panel digi-pak, 2xCDs with a 12 page booklet. The Digipak is printed in reverse board double white to keep an 'uncoated' feel like the original LP release. The 2nd disc features 10 tracks originally recorded during the Exile era including 'Plundered My Soul', 'Dancing in the Light', 'Following the River' and 'Pass The Wine' plus alternate versions of 'Soul Survivor' and 'Loving Cup'. read more..

Discount Price : Click to see Discount Price


Exile is Great! by King Bee
Exile on Main St. is a GREAT album. I also like most of the bonus tracks too, though Jagger's vocals sound too forced, especially on Plundered My Soul and Following the River. (Just sing, Mick. Don't try to cram everything you've learned about being a vocalist for the past forty five years into a four minute song). Keith does a nice job on the alternate take of Soul Survivor, sounding elegantly wasted. Also, Good Time Women, the forerunner of Tumbling Dice is a real highlight. If there has ever been an album from a British band that captures the underbelly of America, particulary the South, it is Exile, both lyrically and musically. You feel and smell the sweltering heat of Black churches at one hundred plus degrees(Just Wanna See His Face, Let it Loose). Boogying at dance halls (Rip This Joint, Shake Your Hips). Country/Blues on a hot, Southern night (Sweet Virginia, Torn and Frayed). Smokey, booze drenched saloons with loose women ( Ventilator Blues, Stop Breaking Down). The entire album is an experience. Is it the Stones best? I guess it depends on the mood I'm in at the time. Sometime I think Beggars Banquet is their best. Other times, Sticky Fingers. But Exile ranks near the top. Mick Taylor really shines. A great lead and slide player. Though I am a bit befuddled when some people say he is a superior player than Keith. On lead, yes he is. Mick T. is a classic, fluid, virtuoso. But Keith has never tried to go that route . His great rhythm and riffs have driven the Stones for years. His intro's on Rocks Off and All Down the Line are pure Keith. Could Mick T. have handled those chords? Sure. Would he have thought of them in the first place? Probably not. Keith is great at being Keith, and that is all that matters. And what would the Stones be without Charlie Watts on drums? Charlie has always said that he plays the song. And that is true more than ever on Exile. Now, I'd like to comment on a more trivial matters, but ones that bug me nonethless. And that is the packaging of the deluxe CD, especially the credits on disc one. On the original album released in 1972, several musicians other than Bill Wyman were given bass credits on more than half the album. In interviews over the years, Bill W. has stated that mistakes were made on at least two tracks, All Down the Line and Shine a Light, in which Bill Plummer and Mick T. were given credit, respectfully, when it was actually Bill, and he is superb on both of them. Still, there were several other tracks that had Ketth and the others, including Happy, Tumbling Dice, Rip this Joint, etc. Nothing against Bill W. I've always liked him, felt he was underrated, and at times, underappreciated, and felt it was a shame that his bass playing was at times hijacked by Keith R., Mick T., Ron W.,and others. But on disc one of the reissue, every track has a bass credit for Bill W. Some tracks have as many as three bass credits. (Just Wanna See His Face) Also, some tracks have horn credits, when no horns were played, such as Shine a Light, and Black Angel, to name two. I also never understood why there were so many photos of Mick J. on the front and inside of the album, and so few of the others. I realize Mick has always been the front man, but come on! There were four other members at the time. Just had to get those few things off my chest. Exile on Main St. is and always will be about the music. How does it make you feel? I just listened to it for the umpteenth time as I'm writing this, and I feel great.

Mojo

Some time in the last few years Tom Petty And The Heartbreakers took a left turn. Maybe it was when Petty woke up in the night with the idea of reuniting his first band, Mudcrutch, to cut the album they never got a chance to make back in the early 70's. Maybe it was when the Heartbreakers assembled the mammoth multi-disc 'The Live Anthology,' which detailed thirty years of concerts. Maybe it was when they gave all their home movies, outtakes and live footage to director Peter Bogdanovich to create the Grammy-winning four-hour career documentary 'Runnin Down A Dream.' There have been side projects and experiments since the band last went into the studio to cut a new Tom Petty And The Heartbreakers album.
With 'MOJO,' they have taken their recent freedom and experimentation to heart. They have gone off the reservation and all signs indicate they aren't coming back.

The first thing that hits you about 'MOJO' is that the spirit of the Mudcrutch sessions has carried on with the Heartbreakers. This is the sound of a band playing together in a room not a studio - facing each other, all singing and playing at the same time. The music is alive, with no overdubs or studio trickery. What you hear is what they created on the spot at that time.

Tom Petty says, 'With this album, I want to show other people what I hear with the band. 'MOJO' is where the band lives when it's playing for itself.'

As for the songs, 'MOJO' showcases a wide variety of American music from rock 'n' roll to country and both electric and acoustic blues. And then there are the images in Petty's lyrics which slip in on the melodies and set up a home in your head: The barefoot girl in the high grass chewing on a stick of sugar cane, the run-in with the law that begins when a carload of buddies decide to party with the motel maids, and the hilariously audacious idea of opening an album with an electric blues rocker about Thomas Jefferson's love affair with Sally Hemings. Petty would probably chuck a rock at anyone who called him a poet, but he sure is a southern writer of humor and sensitivity.

'MOJO' has juice and guts but it also has some sweet balladry for the slow dancers and even a wacked-out reggae number that is unlike anything that the Heartbreakers have done before. It's the kind of album nobody's supposed to be able to make anymore. It got here just in time. read more..

Sale Price : Click to see Sale Price

The Twilight Saga: Eclipse Soundtrack

Original soundtrack to the 2010 motion picture, the third film in the successful Twilight Saga franchise. Features 15 tracks including cuts from Muse, Metric, The Bravery, The Dead Weather, Vampire Weekend, Florence & The Machine, The Black Keys and many others. read more..

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Mojo

Some time in the last few years Tom Petty And The Heartbreakers took a left turn. Maybe it was when Petty woke up in the night with the idea of reuniting his first band, Mudcrutch, to cut the album they never got a chance to make back in the early 70's. Maybe it was when the Heartbreakers assembled the mammoth multi-disc 'The Live Anthology,' which detailed thirty years of concerts. Maybe it was when they gave all their home movies, outtakes and live footage to director Peter Bogdanovich to create the Grammy-winning four-hour career documentary 'Runnin Down A Dream.' There have been side projects and experiments since the band last went into the studio to cut a new Tom Petty And The Heartbreakers album.
With 'MOJO,' they have taken their recent freedom and experimentation to heart. They have gone off the reservation and all signs indicate they aren't coming back.

The first thing that hits you about 'MOJO' is that the spirit of the Mudcrutch sessions has carried on with the Heartbreakers. This is the sound of a band playing together in a room not a studio - facing each other, all singing and playing at the same time. The music is alive, with no overdubs or studio trickery. What you hear is what they created on the spot at that time.

Tom Petty says, 'With this album, I want to show other people what I hear with the band. 'MOJO' is where the band lives when it's playing for itself.'

As for the songs, 'MOJO' showcases a wide variety of American music from rock 'n' roll to country and both electric and acoustic blues. And then there are the images in Petty's lyrics which slip in on the melodies and set up a home in your head: The barefoot girl in the high grass chewing on a stick of sugar cane, the run-in with the law that begins when a carload of buddies decide to party with the motel maids, and the hilariously audacious idea of opening an album with an electric blues rocker about Thomas Jefferson's love affair with Sally Hemings. Petty would probably chuck a rock at anyone who called him a poet, but he sure is a southern writer of humor and sensitivity.

'MOJO' has juice and guts but it also has some sweet balladry for the slow dancers and even a wacked-out reggae number that is unlike anything that the Heartbreakers have done before. It's the kind of album nobody's supposed to be able to make anymore. It got here just in time. read more..

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Interpretations: The British Rock Songbook

Bettye LaVette brings the British Invasion home to its American R&B roots on Interpretations: The British Rock Songbook. Produced by Bettye, Rob Mathes and Michael Stevens, the album is a 13 song journey through compositions by the Beatles, Rolling Stones, Led Zeppelin and Pink Floyd among others, concluding right where the very idea for Interpretations started: Bettye s visceral rendition of The Who s Love Reign O er Me from the 2008 Kennedy Center Honors, which appears here as a bonus track. That performance which first brought Bettye together with Stevens (the event s producer) and Mathes (its musical director) showcased for a national television audience what her devoted fanbase already knew: Bettye LaVette is without parallel as an interpreter of popular song. The success of this performance lead to another astonishing moment on the national stage, her duet of Sam Cooke s Change Is Gonna Come with Jon Bon Jovi at the Obama Inaugural Concert.

Now comes Bettye LaVette s first release since those extraordinary performances. Finding new excited fans at her shows, Bettye decided to explore more of the repertoire that had brought her all this attention. From the wistful naiveté of The Moody Blues Nights in White Satin, which Bettye matures into a deep and unshakeable lament, to the funky workout of Ringo Starr s It Don t Come Easy, Bettye inhabits these songs, revitalizes them and exposes the humanity that makes these 13 tracks not just pop songs, but enduring works of art. read more..

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Maybe I'm amazed by Exguyparis
If American Idol wants someone who can demonstrate the art of "making a song your own," they need to reach out to Bettye LaVette. On this album, LaVette takes classic British rock songs and offers radical renovations that play to her powerful soul and funk artistry. There is a lot of poetic justice here, as 60's British rockers borrowed heavily from the Motown/soul catalogue during the 1960s.



LaVette is one of those soul artists that "almost made it" in the 1960s, faded from sight, and resurfaced decades later, with blazing talent (check out Howard Tate and Solomon burke for other superb examples). Her voice packs a powerful emotional punch; you believe her when she sings "It Don't Come Easy," and you hear the pain when she sings ""Don't Let Me Be Misunderstood."



Each of the songs here is a work of art; there is no "filler." Standouts for me:



1. The driving, funky delivery of the Beatles "The Word": beautiful brass, outstanding back-up singing, and Bettye's silky/sandpapery vocals.

2. "Isn't It a Pity": George Harrison's words take on additional poignancy thanks to the sparse, slower arrangement and Bettye's incredible vocals.

3. "It Don't Come Easy": Ringo Starr's pop song is transformed into a classic, classy Blues number. Bettye speaks with authority about "paying some dues."

4. "Maybe I'm Amazed": McCartney's beautiful song is a perfect vehicle for the raw power of LaVette's voice.

5. "Salt of the Earth": I'm a sucker for masterful back-up singing, and this twist on the Stone's song delivers a small sample of perfection (LaVette arranged the background vocals on all the songs on the album).



The CD contains a bonus track: LaVette's performance of "Love Reigns Over Me," that blew Pete Townsend's mind at the Kennedy Center Honors" concert in 2008.



If you can get your hands on it, be sure to check out "Child of the Seventies," the album LaVette recorded decades ago that remained unreleased until a few years ago, and her last two albums, Scene of the Crime and "I've Got My Own Hell to Raise."

Recovery

The much-anticipated new album - EMINEM RECOVERY

On Recovery, his seventh major label studio album, EMINEM has reached out to an exciting list of first-time collaborators, including DJ Khalil, Just Blaze, Jim Jonsin and Boi-1da, among others.

EMINEM releases Recovery just over a year after his last album, 2009's Relapse. Relapse put the cap on an impressive ten years of recorded output, and contributed to EMINEM being the biggest selling artist of 2000-2009. In recognition of this, Neilsen SoundScan named him their Artist of the Decade. Relapse entered the charts at #1 and, at nearly double platinum, was the best selling rap album of last year. It also earned EMINEM his 11th Grammy award, winning in the Best Rap Album category. Relapse's first single, "Crack A Bottle" from EMINEM, Dr. Dre and 50 Cent, soared to #1 on the Billboard Hot 100 (Eminem's second #1 after 2002's "Lose Yourself") and set a SoundScan record at the time of its release for opening week download sales (418,000). The album also spun off two other hits; the Top 10 "We Made You" and Top 20 "Beautiful."

"I had originally planned for Relapse 2 to come out last year," remarked EMINEM. "But as I kept recording and working with new producers, the idea of a sequel to Relapse started to make less and less sense to me, and I wanted to make a completely new album. The music on Recovery came out very different from Relapse, and I think it deserves its own title."

EMINEM has sold more than 78,000,000 albums worldwide. After 1999's quadruple platinum The Slim Shady LP, The Marshall Mathers LP (2000) and The Eminem Show (2002) became two of the Top 5 best selling albums of the 2000s, with approximately 10,000,000 copies of each sold in the U.S. alone. 2004's Grammy-nominated Encore reached #1 and was certified quadruple platinum. The #1, double platinum, 2005 greatest hits collection Curtain Call: The Hits and #2, platinum, 2006 various artists compilation Eminem Presents: The Re-Up followed. read more..

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Glee: The Music, Volume 3 Showstoppers (Deluxe)

Glee: The Music, Volume 3 Showstoppers features 20 brand new songs from the hit TV show. The deluxe version features fan favorites like "Gives You Hell," "Beautiful," "Total Eclipse of the Heart," and "Bad Romance," plus 6 exclusive deluxe edition tracks like "House is Not a Home," "Home," "Rose's Turn," "Beth," "Loser," and "Poker Face." read more..

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Keeping it FRESH! by E Fontaine
I loved the Glee renditions of old favorites like Total Eclipse of the Heart and Physical. The CD also served as an introduction to songs I haven't heard, like A House is not a Home and a few others. I keep missing the episodes on TV (busy work life and no DVR) so in the meantime, I can at least enjoy the music! I can't wait for Season 2 to come out on DVD....

Interpretations: The British Rock Songbook

Bettye LaVette brings the British Invasion home to its American R&B roots on Interpretations: The British Rock Songbook. Produced by Bettye, Rob Mathes and Michael Stevens, the album is a 13 song journey through compositions by the Beatles, Rolling Stones, Led Zeppelin and Pink Floyd among others, concluding right where the very idea for Interpretations started: Bettye s visceral rendition of The Who s Love Reign O er Me from the 2008 Kennedy Center Honors, which appears here as a bonus track. That performance which first brought Bettye together with Stevens (the event s producer) and Mathes (its musical director) showcased for a national television audience what her devoted fanbase already knew: Bettye LaVette is without parallel as an interpreter of popular song. The success of this performance lead to another astonishing moment on the national stage, her duet of Sam Cooke s Change Is Gonna Come with Jon Bon Jovi at the Obama Inaugural Concert.

Now comes Bettye LaVette s first release since those extraordinary performances. Finding new excited fans at her shows, Bettye decided to explore more of the repertoire that had brought her all this attention. From the wistful naiveté of The Moody Blues Nights in White Satin, which Bettye matures into a deep and unshakeable lament, to the funky workout of Ringo Starr s It Don t Come Easy, Bettye inhabits these songs, revitalizes them and exposes the humanity that makes these 13 tracks not just pop songs, but enduring works of art. read more..

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Amazon's samples don't do this justice. by Audio Junky
This is a very solid R&B collection with some real gems. When listening to Amazon's samples, I almost didn't buy this. I'm very glad that I decided to. Mz. LaVette did justice to every song in this collection (well, maybe not so much on "Nights in White Satin") and really added her dimension.

Jasmine

Jasmine marks Keith Jarrett's first recorded collaboration in decades other than with his standards trio, and reunites him with the great bassist Charlie Haden, a close partner until the mid-seventies. Intimate, spontaneous and warm, this album of love songs recorded at Jarrett's home, has affinities, in its unaffected directness, with his solo collection The Melody At Night With You. These deeply felt performances should inspire any listener "to call your wife or husband or lover in late at night," as Jarrett says in his liner notes, "These are great love songs played by players who are trying, mostly, to keep the message intact." The program on Jasmine includes such classic songs as "Body and Soul", "For All We Know" , "Where Can I Go Without You", "Don't Ever Leave Me" as well as a rare Jarrett cover of a contemporary pop song, "One Day I'll Fly Away". Jarrett and Haden play the music and nothing but the music - as only they can. As Keith Jarrett says in his liner notes: "This is spontaneous music made on the spot without any preparation save our dedication throughout our lives that we won't accept a substitute... These are great love songs played by players who are trying, mostly, to keep the message intact." read more..

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"...beautiful, tender, deep, trusting, true, sad..." by Steve Wyzard
I am not particularly a fan of Charlie Haden - he's played on a few classic albums, but for the most part, I do not consider him to be one of the double-bass greats. Keith Jarrett, on the other hand, is a true living legend. Jasmine is their first collaboration in over 30 years, and was recorded in 2007 at Jarrett's small home studio. They spent much time listening to and discussing the recorded results, and have just now released it to their devoted followings. Some will immediately be reminded of the albums Bill Evans recorded late in his life with Eddie Gomez, but Jasmine is something entirely different (and is not to compare the radically different styles of two jazz piano giants).



"Art is dying in this world, and so is listening, as the world becomes more full of toys and special effects," writes Jarrett in the liner notes. "With this death will come the undoing of many possible feelings: beautiful, tender, deep, trusting, true, sad, full of internal meaning and color." This proclamation is the best possible description of this album, and the music contained within throws down the gauntlet against the rising tide of shallowness and superficiality. Similar to 1999's The Melody at Night, with You (a solo set of standards Jarrett recorded when he was recovering from chronic fatigue syndrome), there is a big-sky spaciousness married to a simple spontaneity in these recordings that is completely unlike anything else being produced today.



In the interest of full disclosure, it should be stated that Jarrett's infamous vocalizations do make occasional appearances on this album, but do not distract from the overall impressions generated. The opener, "For all we know" features an emphatic solo by Haden and the classic gospel piano tones/transcendent codas that have become Jarrett's trademark. The bluesy "Where can I go without you" moves leisurely, and the uptempo "No Moon at all" demonstrates that this album will not become a soundtrack to a flickering candle in the darkness. "One day I'll fly away" is played straightforwardly, with an ethereal close. The two longest tracks, "I'm gonna laugh you right out of my life" and "Body and Soul" provide the nearest reminiscences of Jarrett's fiery soloing. The former includes a composed intro and ascending piano chords over a Gary Peacock-ish solo, while the latter moves at walking tempo before Haden plays his most masterly break yet. On the poignant "Goodbye", darker timbres come into play, and "Don't ever leave me" becomes the perfect summation of all that's come before.



Jasmine is a much more joyful, forward-looking album than The Melody at Night, with You. There are no ecstaticly hip solos or unevenly played tunes, and the time-honored ECM sound (and typefaces) are ever-present. While thought-provoking throughout, at 62:56, it never once allows the listener's attention to wander. As Jarrett approaches 50 years of professional recording, it must be confessed that we do not know who will be listening to jazz 50 years from now. Jasmine, however, will stand the test of time and will be enjoyed and appreciated for many years to come. Instant classic!