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Expanded and remastered reissue of the 1962 classic album and its successful follow-up. Packaged together for the very first time, volume 2 has never-before been available on CD! For Ray Charles, this music represented the culmination of a lifelong love affair he shared for Country & Western music. It vastly expanded his pop demographic and made countless new country converts by giving these 24 songs a soul-steeped urban dimension.
Modern Sounds in Country and Western Music, Vol. 1 & 2

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Numbered among the musical elect of her generation, the multi-award-winning Xiayin
Wang presents a recital of piano music that virtually spans Scriabin’s career. The
mysterious impressionism of Vers la flamme (Towards the Flame) builds to an
exhilarating intensity that is matched by the two contrasting Poems. From his early
Waltzes and Polonaise, with their echoes of Chopin, via the rhapsodic abandon of the
Fantaisie, to the Two Dances, composed shortly before his death, these works chart an
almost mystical trajectory through the composer’s life.
Scriabin: Piano Music – Poems, Waltzes, Dances

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Wonder Boys – Music From The Motion Picture – Various

This product is manufactured on demand using CD-R recordable media. Amazon.com’s standard return policy will apply.

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Director Curtis Hanson chooses a lineup of vintage rock and R&B for the musical side of his screen adaptation of Michael Chabon’s brilliant Wonder Boys. Foremost is Bob Dylan, who contributes a new rocker, “Things Have Changed,” as well as cuts from Blood on the Tracks, Oh Mercy, and Time Out of Mind. These 13 cuts do a fine job of limning Michael Douglas’s lead character’s confusion, regret, and weary-to-the-bone ambivalence. Smartly sequenced–soul giants Little Willie John and Clarence Carter fit perfectly alongside the likes of Dylan, Lennon, Van Morrison, and Neil Young–Wonder Boys the album is a stellar example of hand-in-glove movie-music supervision. –Rickey Wright
Wonder Boys: Music from the Motion Picture

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Michael Nyman came of age as a classical composer in the radical London of the late ’60s. His work embraces multiple vernaculars (jazz, avant garde, conceptual art) and helped cement the foundation of what came to be known as minimalism. Decades into his career, Nyman’s score to Jane Campion’s film The Piano made him a star. The movie’s themes of colonialism and silence (its protagonist, portrayed by Holly Hunter, cannot speak) were perfectly aligned with his longtime interests in world and ambient music. Horn players assist members of the Munich Philharmonic Orchestra in fleshing out Nyman’s stately, hymn-like motifs. On the more heavily orchestrated cues, sentimentality wins out over minimalist restraint; the best tracks feature Nyman on solo piano, playing the rudimentary, faux period repertoire of Hunter’s character. –Marc Weidenbaum
The Piano: Original Music From The Film By Jane Campion

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The Mozart Effect – Music For Babies – Playtime To Sleepytime Cd
The Mozart Effect – Music for Babies – Playtime to Sleepytime

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Includes A Bonus Track.Amazon.com
Linda Ronstadt was America’s sweetheart of the ’70s, because she was able to combine a pretty face, a pretty voice and a safe personality. Her songs might be full of big notes and high emotions, but they satisfied every predictable expectation of a love ballad or good-time rocker. Mariah Carey is America’s sweetheart of the ’90s for the exact same reasons. Music Box topped the Billboard album charts, yielding number-one singles like “Dreamlover” and “Hero.” The titles, one a hollow Minnie Riperton knock-off and the other a stiff Barbra Streisand imitation, are tip-offs to Carey’s reliance on untethered fantasy (she’s the fantasizer in the lyrics and the fantasy object in the videos). These songs, coªwritten and co-produced like most of the album by Walter Anasieff and Carey herself, are constructed to show off her dizzying soprano, not to provide an original approach to a well-worn subject. Even when she gets a strong ballad to sing, like her current singles–Babyface’s “Never Forget You” or Badfinger/Nilsson’s “Without You”–she overdoes the self-pity bit so much that the song loses its dramatic tension. –Geoffrey Himes
Music Box