The Donnas : Releases >>
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Crayons >>
The Queen is Back! Legendary singer songwriter Donna Summer is back with her first studio album in 17 years. In the thirty plus years that Donna Summer has been making music she has never confined her artistry to just one genre. Although Donna is, and will always be, "The Queen Of Disco" to many fans, her hits have spanned multiple musical genres from Rock to R&B to Inspirational and of course, Dance.
Summer helped to define the 70's pop music generation and Crayons has all the characteristics that made Donna an icon. Containing a potent mix of the up-tempo tunes and ballads, the new album showcases incredible new material that is written by Donna (who wrote or co-wrote the majority of her hits of the 70's and 80's). Working with Donna were renowned writers and producers including: Greg Kurstin (Lilly Allen, Pink), Danielle Brisebois (Natasha Bedingfield, New Radicals), JR Rotem (Sean Kingston, Rihanna), Evan Bogart (co-writer of Rihanna's smash "SOS" and the son of legendary record executive, Casablanca Records founder and Donna's mentor, Neil Bogart), and Lester Mendez (Shakira, Santana).
The Journey: The Very Best of Donna Summer >>
Import limited edition pressing of 2003 compilation has a different track listing than the domestic & includes a bonus disc with eight tracks, 'Love To Love You Baby' (Original 12 Inch), 'I Feel Love' (Patrick Cowley Mega Mix), 'Hot Stuff' (12 Inch Version), 'No More Tears (Enough Is Enough)' (12 Inch Version), 'On The Radio (Long Version)', 'Melody Of Love (Wanna Be Loved)' (Classic Club Mix), 'That's The Way' (Album Version), & 'Dream-A-Lot's Theme (I Will Live For Love)' (Album Version). Universal. 2004.
Anastasia: Music From The Motion Picture (1997 Version) >>
One of the more successful attempts by another studio (here Fox) to make a quality animated film on par with Disney was Anastasia. The music by David Newman and songs by Lynn Ahrens and Stephen Flaherty (the Broadway team that won a Tony for Ragtime) give the movie a sturdy backbone. From the Zhivago-gone-Broadway opening number "A Rumor in St. Petersburg" to the Oscar-nominated get-up-and-sing "Journey to the Past," the CD is filled with bright numbers, including low-key pop versions of several of the songs. The vocal talent is exceptional, especially Liz Callaway (Grizabella in Broadway's Cats) as Anastasia (Meg Ryan supplied the speaking voice). Bernadette Peters and Jim Cummings (doing a mean Christopher Lloyd impersonation as the speaking voice of the movie's heavy, Rasputin) offer solid support, with kudos to Kelsey Grammer as Vlad, the portly sidekick. The album's (and film's) star is "Once Upon a December," simply one of the most beautiful songs ever from an animated film. Using a waltz motif that is heard throughout the film, the song--with sparse lyrics--builds into a sweeping and memorable number. It will have your dancing princesses asking for repeats. The CD's liner notes include complete lyrics. --Doug Thomas
Flashdance: Original Soundtrack from the Motion Picture >>
Beethoven's Wig, Vol. 2: More Sing-Along Symphonies >>
From a pure-pleasure standpoint, the first Beethoven's Wig was nothing to flip over, and the second disc in the series follows suit. However, that is not to say that this is not a valuable and possibly ingenious record. Those unfamiliar with the premise will quickly get the picture: Producer/writer/lead singer/chief clever guy Richard Perlmutter gathers a bundle of important classical works (Paganini's "Violin Concerto #2," Strauss' "Blue Danube Waltz") and makes up silly, catchy lyrics to lay over them, informing the listener about the piece or its composer. Standing out for their offbeat brilliance this time are "Dvorak the Czechoslovak" ("Humoresque #7," Dvorak) and "Wow What a Wedding Cake" (Wedding March from A Midsummer Night's Dream, Mendelssohn). Few stabs at mixing education with entertainment succeed so well. As a bonus, the second half of the CD repeats the symphonies straight up, presenting a neat opportunity to quiz kids 5-12 on what and who they've just heard. --Tammy La Gorce
Stamp Your Feet >>
Bitchin' >>
Gone from the ranks of the major label (Atlantic) that signed them, the Donnas return on Bitchin' to the ranks of indie rock while still reaching ambitiously for stadium-proportion rawk. From the leather trousers and dope-smoking feather on the cover to the album-opening chowder of slow kick drum thumps and chunky feedback-glinting guitar riffs, the Donnas are after the arena-rock vibe. And this is the stuff that made arenas churn in the 1970s, retro, yes, but potent. They go for AC/DC's simple one-two rhythms, the brawny choruses that became FM radio's signature, and lyrics like this: "The first time I saw your face/I got wasted on your love." Yes, it's reductionist as indie rock goes, but Bitchin' is also exhilarating--the chant-like vocal choruses, the guitar effects, the more-cowbell enthusiasm, the hands-in-the-air pacing. The Donnas are clearly looking to keep rock & roll a collective experience, the stuff, again, that made arena crowds pump their fists through blue smoke all those years ago. --Andrew Bartlett
Gold >>
Velvet Goldmine: A film by Todd Haynes: Music From The Original Motion Picture >>
Director Todd Haynes's celebration of the sex, drugs, and rock & roll of the British glam era of the early '70s, Velvet Goldmine, would be nothing without the music that inspired it. A few unusual absentees (no Bowie, Iggy Pop, or New York Dolls?), but folks such as Brian Eno, Roxy Music, Lou Reed, and T-Rex are represented. Several covers from the glam era are performed without much deviation by two supergroups: the Venus in Furs, featuring members of England's elite--Bernard Butler, and Thom Yorke of Radiohead; and Wylde Ratz, featuring Mark Arm of Mudhoney, Ron Asheton of the original Stooges, and Thurston Moore and Steve Shelley of Sonic Youth. Strongest are the originals submitted to the film: Shudder to Think tame their own experimental excesses to put forth two glam-worthy originals with "Hot One" and "Ballad of Maxwell Demon." Pulp deliver "We Are the Boys," which runs amuck with the dramatic stagepower of the finest glam. --Rob O'Connor
Requiem & Magnificat/Rutter, Cambridge Singers >>
Two of John Rutter's most popular large-scale choral works are paired in this bargain-priced CD. Requiem, his first composition written without being commissioned, is a convincing affirmation of Christian doctrine on death and eternal life. It is also a substantial and sincere work that strives to be widely appealing while preserving a spiritual context centered on themes of light and consolation. Highlights include "Out of the Deep," its modal tune and harmonies giving it the flavor of a spiritual, and the wonderfully gentle and restful 23rd Psalm. Rutter personalizes his Requiem by adding movements not traditionally part of the Requiem Mass--passages from the 1662 Book of Common Prayer, for instance--and this proves to be an effective strategy. Rutter's own, first-class Cambridge Singers are superb, as usual, and soloist Caroline Ashton steals the show with her heavenly Pie Jesu. The Magnificat shows Rutter at his most engaging, thoughtful, and adept. His usual canny sense of tunefulness and rhythmic rightness, flavored with splashes of pop harmony, accomplish his purpose in the Magnificat: to depict Mary's prayer as a celebratory occasion rather than a somber one. --David Vernier