Jackson) * Desperado (Eagles) *...  (less)

You); The Eyes of a New York Woman; Hooked on a Feeling; I Just Can’t Help Believing; Rock & Roll Lullaby; (Hey Won’t You Play) Another Somebody Done Somebody Wrong Song; Light My Fire; Four Walls; In the Misty Moonlight; Little Green Apples; (They Long to Be) Close to You•, and more.  (less)

worth of pop-rock nuggets dealing with the tenuous state of romantic relationships. Forgoing the darker, lengthier ruminations of their prior album TWISTED, Del Amitri keeps most of their songs close to the three-minute mark while tossing together an intriguing mix of trashy guitar, gorgeous strings and country twang. The title track is a perfect juxtaposition of dirty-sounding fretwork and sweeping strings that perfectly offsets the chiming, Byrds-like guitar pop of ""Not Where It's At."" The Nashville influence appears on ""Life Is Full,"" a stomper with tinkling piano, and the country-soul of ""Won't Make It Better,"" where Justin Currie comes off sounding like a modern-day Pete Ham. Despite all this strum-and-twang, rock 'n' roll is their true calling, and these Scots show it with the in-your-face guitar work of the sassy, Oasis-meets-Suede ""High Times"" and the reverb-soaked raucousness of ""Medicine.""Entertainment Weekly (7/18/97, p.85) - ""...Scotsmen Justin Currie and Iain Harvie have turned out a kind of engaging, tuneful rock that hasn't been heard on these shores since, perhaps, the Bodeans' GO SLOW DOWN. Ironic but never cynical, PARADE works as both art and artifact."" - Rating: B+ Musician (8/97, p.89) - ""...[they] have an odd knack for making the ordinary special--for inserting precisely the right wrong turn in both lyrics and melodies....clever pop songs that are unique because, in their own way, each is always somehow off..."""  (less)

Miss Hmm Hmm Hmm Hmm Hmm?"" Or, would you sing the lyrics? You don't have to sing to win. But if you do, bonus points for you and your team! Choose from pop mix, 70s, 80s, 90s, 2000s, Classic Rock, Hip-Hop/R&B, Country, and Oldies categories. A built-in timer and score keeper means all you have to do is keep passing the game! Pass it fast and don't be last or you'll get b-b-b-buzzed and your opponents get the chance to steal and score! The grab-it, guess-it, pass-it party game where you guess the song titles in nine different music categories and sing for bonus points! Features a built-in timer and scorekeeper, and a display screen with backlight! Requires 3 ""AA"" batteries (not included). For 4 or more players. Ages: Adult. LIMITED QUANTITIES - WHILE SUPPLIES LAST!"  (less)

recording artist in history, it is safe to say George isn t satisfied yet. George Strait s new album It Just Comes Natural is packed with all new Strait-worthy songs including the title track It Just Comes Natural and the soaring first single Give It Away.  (less)

the Railroad"--along with 4 original songs in the style of today's country music stars, will soothe and pacify even the fussiest baby! Intended for children ages 4 months and up. Title: Country Baby Category: Childrens UPC: 63499116252 Released: 12 02 2003 Original Release: 2003 Studio: Ventura Distribution Catalog #: 16252-7 Language: EnglishOriginal Rating: Not Rated Format: DVD Color Runtime: 1800 Region: 1  (less)

but it was his second single, a revival of Roy Hall's 'Whole Lotta Shakin' Goin' On' in 1957 that propelled him to international fame. The record, which was initially banned as obscene, narrowly missed the top of the US chart. He stole the show from many other stars in the film Jamboree in which he sang the classic 'Great Balls Of Fire'. He kept up the barrage of rowdy and unadulterated rock with 'Breathless', which, like its predecessor, had been written by Otis Blackwell. He arrived in Britain for a tour in 1958, accompanied by his third wife, Myra, who was also his 13-year-old second cousin. The tour had to be cancelled after only three concerts. The furor followed Lewis home and support for him in his homeland also waned. His last big hit of the 50s was the title song from his film High School Confidential. After a decade playing rock 'n' roll, Lewis decided to concentrate on country material in 1968. He also kept the rock 'n' roll flag flying by playing revival shows around the world. Lewis was one of the first people inducted into the Rock And Roll Hall Of Fame in 1986. Tragedy, scandal and, above all, rock 'n' roll have seldom played such an intrinsic role in one musician's life.  (less)

of tunes by Shel Silverstein (of ""A Boy Named Sue"" fame) gave him an extra dimension of humor, looseness, and rowdy, left-of-center ""outlaw"" cred. Living up to the album's title, Silverstein's songs are often wild, absurd, larger-than-life accounts of unusual places and people, and Bare's warm, amiable, charismatic vocal presence is the perfect vehicle to bring them to life. As estimable as the catalogs of Bare and Silverstein are, this album is probably the peak for both.No Depression (p.84) - ""[Bare] gathered fourteen Silverstein story-songs and sang them with a deep, knowing voice that held every bit of plot and humor and wisdom up for display."""  (less)

Jim Grosjean, Monisa Angell (viola); Bob Mason, Anthony Lamarchina (cello); Harvey Thompson (tenor saxophone); Jim Horn (baritone saxophone); Steve Patrick (trumpet); Charles Rose (trombone); John Jarvis, Jimmy Nichols (keyboards); Michael Rhodes (bass); Greg Morrow (drums); Tom Roady, Eric Darken (percussion); Blair Masters (programming); Cindy Richardson-Walker, Liana Manis (background vocals). Producers: Don Cook, Blake Chancey, David Malloy. Engineers: Mike Bradley, Billy Sherrill, Tony Castle. Recorded at The Soundshop & Westwood Sound Studios, Nashville, Tennessee. ""One Voice"" was nominated for the 2001 Grammy Award for Best Male Country Vocal Performance and for Best Country Song. With LeeAnn Rimes aging gracefully, pre-teen Billy Gilman is the latest entry in the Young Superstar Sweepstakes, country division. He sings in a spunky, slightly nasal, breathy fashion that resembles pop-country diva Brenda Lee and, occasionally, a pre-THRILLER Michael Jackson or a '70s Donnie Osmond. Gilman injects a little country-swing into the R&B vocal-group standard ""Little Bitty Pretty One"" (coincidentally formerly covered by The Jacksons, among others). There are plenty of innocent, animated, pop-charged country songs about holding hands (""I Wanna Get to Ya"" is as catchy as anything by Abba), sung with enough adolescent insouciance to add a little edge. Gilman sings with a genuine wail of longing for a long-lost father on ""Oklahoma,"" interesting because the story's told from the child's point of view, and wrings the Tammy Wynette classic ""Till I Can Make It on My Own"" for all the emotion it's got. The music is alternately lush and snappy, full of mildly twanging guitars, pedal steel, strings, and buoyant background choruses. With this debut, Billy Gilman proves himself worthy of the mantle of (Talented) Teen Heartthrob.Q (1/01, p.108) - 3 out of 5 stars - ""...A pint-sized Billy Ray Cyrus....The title track - a sub-Lonestar, heartstring-tugging ballad - is the kid's calling card..."""  (less)

rulebook, so it's not entirely surprising that the trio crafted a punk-rock opera that takes the Bush administration and its policies to task. It doesn't get any more pointed than a couplet from the frenetic title cut that states, ""I'm not a part of a redneck agenda/Now everybody do the propaganda!"" Under the guidance of any other group of agitated punks, the results of such an undertaking could easily become didactic. But with creative spearhead Billie Joe Armstrong at the helm, AMERICAN IDIOT is melodically driven, with the kind of intellectual bent that allows for a pair of mini-operas, ""Jesus of Suburbia"" and ""Homecoming."" Trimmed with a light sprinkling of piano and a big guitar sound occasionally reminiscent of Mott the Hoople, the former skewers the hypocrisy that can pervade small-town life. The latter is equally effective, as clever time changes and sonic flourishes (glockenspiel, doo-wop harmonies, honking saxophone) serve as an intriguing counterpoint to the band's hook-laced riffs.Rolling Stone (p.186) - 3 1/2 stars out of 5 - ""On AMERICAN IDIOT, the thirteen tracks segue together, expanding into piano balladry and acoustic country shuffle....Green Day have found a way to hit their thirties without either betraying their original spirit or falling on their faces."" Uncut (p.119) - 3 stars out of 5 - ""The Berkeley trio's upbeat poppy punk - equally indebted to The Kinks as The Ramones - shows no signs of fatigue, but has now been put to blatantly political use."" Mojo (Publisher) (p.106) - 4 stars out of 5 - ""[I]n AMERICAN IDIOT, they've recorded what could be their masterpiece, a 13-song, hour-long set that's both ambitious and expertly original."""  (less)

Walsh, Don Felder (guitar); Ben Keith (pedal steel guitar); Leland Sklar (bass); Glenn Frey, J.D. Souther, Don Henley (background vocals). Recorded at The Sound Factory, Los Angeles, California. Originally released on Asylum Records (509). BAD LUCK STREAK IN DANCING SCHOOL finds Warren Zevon knee deep in his own literary yet sardonic and grotesque music. From the opening riff of the title track, Zevon pounds and rocks against the tide of typical singer-songwriter blather. Zevon swings his mighty piano through an array of countrified boogie, bare-knuckle rockers, absurd pop, and swooning ballads. He hits the mark with the doomed love of ""Jeannie Needs a Shooter"" (title supplied by Springsteen), which became a minor hit upon its release. There are a few missteps, mainly the forced funk and overwrought machismo ""Jungle Work."" He turns his sights on country life on ""Play it all Night Long,"" invoking incest, cancer and Lynyrd Skynyrd in one fell swoop. It also bears the distinction of being the only pop song in history that contains the word ""Brucellosis."" On ""Gorilla, You're a Desperado"" he once again strikes at his own California homeland, reveling in the shallow glitz of Los Angeles.Q (3/95, p.124) - 3 Stars - Good - ""...rank[s] alongside Zevon's best work."" Mojo (Publisher) (7/01, p.147) - ""...He had already built a reputation to rival Randy Newman as a writer of graphic, sardonic adventure, and this album underscored his genius....featuring in-your-face arrangements and top-notch playing by some of LA's finest..."""  (less)