Timo maas- Pictures

Although German trance_hero Timo Maas has released_numerous records, this is only his_second album of original compositions. Songs_here range from ominous_drones to upbeat dance_floor numbers to rock_tinged techno, vvith R&B singers Kelis &

01. Timo Maas - Slip In Electric Kid
02. Timo Maas - Pictures (feat. Brian Molko)
03. Timo Maas - First Day (feat. Brian Molko) - BEST!
04. Timo Maas - High Drama (feat. Neneh Cherry)
05. Timo Maas - Enter My World
06. Timo Maas - 4 Ur Ears (feat. Kelis)
07. Timo Maas - Release
08. Timo Maas - Big Chevy
09. Timo Maas - Devil Feel
10. Timo Maas - Burn Out
11. Timo Maas - Like Siamese (feat. Brian Molko)
12. Timo Maas - Haven't We Met Before

Tim Buckley - Return of the Starsailor

year 75 review: Recorded at the Knebworth Festival in 1974 (tracks 1-8), in Detroit in 1975 (tracks 9-12), and on the TV show The Monkees in 1967.

Tom Waits - Mule Variations

year 00 review: If you are a Tom Waits fan you simply must have this, his best album. If you have lived on this planet for the past 20 years or more and still have a sense of what real, passionate and moving music should be, you must have this album. You don't want to die without having listened to this album from start to finish, alone with a glass of wine on an old overstuffed couch. (Oh, you can skip the first cut but that is just a minor flaw)

Bob Seger - Back in '72

year 73 review: Returning to independent status, Bob Seger recorded Back in '72, not only the finest of his early-'70s albums but one of the great lost hard rock albums of its era. Seger didn't limit himself to self-penned songs on this excursion; borrowing an idea from Smokin' O.P.'s, he covers quite a few tunes, providing a balance to his own tunes. He makes "Midnight Rider" sound as if it were a Motor City raver instead of a sultry, late-afternoon Southern rocker, while casually tossing off "Rosalie," an irresistible ode to a local DJ that turned into a hard rock anthem when Thin Lizzy decided to record it later in the decade. That's the brilliance of Back in '72 -- there's no separation between the original and cover, it's all united in a celebration of rock & roll. That's why "Turn the Page," perhaps the weariest travelogue ever written, never feels self-pitying -- that's just the facts, according to a first-rate Midwestern band that never got a break. All the same, Back in '72 is a testament to great rock & roll, thanks to Seger's phenomenal songwriting and impassioned playing.

Kiss - Hot in the Shade


year 89 review: Realizing that their last albums weren't even close to being in league with their output from the '70s, Kiss made a conscious effort to get back on track with 1989's Hot in the Shade. The group began trying out new material, and was soon forced to issue a record in conjunction with an upcoming tour. Hence, Hot in the Shade is a slight improvement over its flat predecessors (Asylum, Crazy Nights), but not by much. The songwriting is still unfocused, but at least the keyboards that plagued Crazy Nights had thankfully been put away, and the production isn't as pop-oriented as most of their other '80s albums. The album did spawn Kiss' first Top Ten single in ten years with the syrupy ballad "Forever," but again, the group missed the mark by padding the album with lots of filler ("You Love Me to Hate You," "Love's a Slap in the Face," "Cadillac Dreams," etc.). Also included were a couple of obvious attempts at hit singles ("Rise to It" and the dreadful "Hide Your Heart"), and a track that sounds like a total ripoff of Def Leppard's "Pour Some Sugar on Me," titled "Read My Body." Drummer Eric Carr's only lead vocal on a Kiss record, "Little Caesar," is one of the album's few bright spots, but Hot in the Shade unfortunately proved to be Carr's last album with Kiss; he died from cancer in 1991.

Eragon - Soundtrack

year 2006 review: The album takes a few cues to close. The aftermath of the battle, "Together", features Lisa Gerrard-like vocals and then turns heroic again for "Saphira Returns" and "Legend of Eragon" with full blown statements of the theme. Doyle wrote his epic fantasy theme here and I think made up for not using one in Harry Potter as it seems to be always playing either heroically in the foreground or behind other music in the strings or oboe. In fact, by the end of the album, when the theme returns in full, I'm almost tired of it. That is not to say that the theme isn't good - I am impressed with both the melody of the theme and Doyle's ability to meld it into a number of styles and musical settings. Unfortunately, the studio decided to tack on two forgettable pop songs to the soundtrack. But fans of Doyle's score to Harry Potter and the Goblet of Fire should check out this score as it is a good addition to the epic fantasy score genre.