Music » Other Music

Copyright 1942 In very good condition Back cover has a tear

Music touches our hearts and resonates within our bodies. The right music can truly renew us, helping us to feel relaxed and rejuvenated. Great musicians have always recognized this therapeutic power of music, and researchers are finally proving them right. THE SOUND MEDICINE SERIES features the works of inspired musical pioneers who are exploring music's healing power.

Natural Balance and Harmony Your body is a self-healing instrument. If you give it a chance it will always tend toward homeostasis or healthful balance. Sound healer Steven Halpern uses soothing and free-floating keyboard compositions to draw the body into this state of balance and harmony. Combining artistic inspiration, sensitivity, and sophisticated sound technology, his compositions synchronize the hemispheres of the brain and amplify the production of alpha waves. This natural response is associated with feelings of deep relaxation, contentment, and well-being.

Steven Halpern, Ph.D. stands at the leading edge of the growing public understanding of the relationship between music, body, mind and spirit. An internationally acclaimed composer and recording artist Halpern has produced over sixty recordings and authored several books. His music has been featured on 48 Hours, America's Talking, and in USA Today, The New York Times and Yoga Journal. Halpern's recordings are used in hospitals, healing clinics, and leading spas worldwide.

Music for Healing Mind, Body & Spirit was previously released under the title In the Key of Healing

Thirty years young, Bill Cosby's debut album makes its first appearance on compact disc. It contains the routine that put him on the map, his three-part telling of the story of Noah.
No Track Information Available
Media Type: CD
Artist: COSBY,BILL
Title: IS A VERY FUNNY FELLOW RIGHT?
Street Release Date: 01/24/1995
Domestic
Genre: COMEDY

In the wake of the '80s comedy boom that made casual obscenity and bodily functions safe for TV, a listen to these '50s classics from a piano-playing Harvard grad student with a thin singing voice sounds tame if not quaint. Yet Lehrer's first two self-produced albums, among the first generation of comedy LPs, remain beloved gems of musical parody, and noteworthy for their original success in an era when their topics were strictly taboo for broadcast media. He kids cold war paranoia ("We Will All Go Together When We Go"), sends up then-hip folk revivalists with a cheerful murder ballad ("The Irish Ballad"), and gets laughs out of incest ("Oedipus Rex"), drugs ("The Old Dope Peddler"), and racism ("I Wanna Go Back to Dixie"). Closer to Gilbert & Sullivan (whom he in fact raids for one melody) than Def Comedy Jams, Lehrer can still raise a modern frisson when he plays necrophilia as romance ("I hold your hand in mine dear, I press it to my lips/ I take a healthy bite from your dainty fingertips..."). --Sam Sutherland

In an age when the old-timey soundtrack to O Brother, Where Art Thou? sells 5 million copies, it's hard to imagine how revolutionary Will the Circle Be Unbroken seemed upon its release 30 years ago. The triple album (now rereleased as a two-CD set) paired many of Nashville's venerable country and bluegrass performers (Roy Acuff, Mother Maybelle Carter, Earl Scruggs, Doc Watson, Merle Travis, Jimmy Martin, Vassar Clements) with the Nitty Gritty Dirt Band, or as Acuff called them, "a bunch of long-haired West Coast boys." The idea seemed nearly as foreign as Martians setting down in Tennessee, but the Dirt Band were Colorado hippies steeped in the genre, so there was no disputing the authenticity of the music, or its earthy appeal. Aside from the sheer joy of the performances (listen to Jimmy Martin's "whoop" on "Sunny Side of the Mountain"), there's great fun in hearing Roy Acuff give the boys a lesson in doing a song right the first time (and using the word hell before launching into a religious number). And Mother Maybelle wafts through like a benevolent ghost, or at least a patron saint. One caveat: The boast of four previously unreleased tracks is balderdash, since three are really between-track conversations and rehearsals, and only "Foggy Mountain Breakdown" qualifies as a real song. But that's nitpicking. Buy it. Love it. Wallow in it. O brother, that's country music! --Alanna Nash

Always up for messing with the formal expectations of rock, Bowie teamed up with Brian Eno for three frustrating but compelling albums, starting with Low. Treated instruments are claustrophobically crowded together, and Bowie's voice leaps in and out of the mix seemingly at will. Where it seems like it might show up, it's replaced by wailing synths or nothing at all, and it vanishes altogether from most of the second half-- a series of long, menacing, barely mobile synth explorations. To prove that they could make pop out of these herky-jerky mix tricks, they pull off "Sound And Vision" in the middle of the disc, but the essence of Low is that the "star" is either absent or alarmingly in your face. --Douglas Wolk

Release Date: 1996-10-08, Audio CD, Utv Records

Trans-Siberian Orchestra's first two recordings, a pair of late-'90s Christmas albums, hinted that some day TSO might evolve into a latter-day ELO or even an ELP. Instead, this overwrought concept album shares more common ground with ALW (Andrew Lloyd Webber) or Meat Loaf. TSO, in fact, aims to retrace a path once traveled by producer Jim Steinman, the mastermind behind the theatrical, over-the-top rock opuses that briefly transformed Mr. Loaf and Bonnie Tyler ("Total Eclipse of the Heart") into mass-audience favorites. TSO ringmaster Paul O'Neill (once a guitarist in Broadway productions of Jesus Christ Superstar and Hair) here ditches the holiday themes and instead scores a simple-minded fairy tale (whose text spans a 32-page CD booklet) that involves Beethoven's soul, the devil, and an imaginary Symphony No. 10. Too often, the music is the servant of the project's thin plot, and the rock-classical instrumental bravura that initially attracted public attention to TSO (at times, the group sounds like a symphonic Boston) is obscured by overheated vocal rantings. Meanwhile, the guitar-driven rendering of Beethoven's Ninth Symphony ("Requiem") is mundane. Yet, one vocal track, "After the Fall" with singer Patti Russo, jumps off the record as a Tyler-esque knockout, raging with emotion and melodic luster. It doesn't save the album, but it helps. --Terry Wood

This best-selling recording was performed by the legendary John Wayne. It's finally available as Duke?s spoken-word CD of poetry, written by Big John Mitchum. It's a must-have for all patriotic Americans, film buffs, collectors and poetry fans.

Harvard-educated mathematician by trade and sociopolitical humorist and satirist by avocation, ivory tickler Tom Lehrer sang irreverent ditties that both outraged and delighted listeners during his on-again, off-again heyday of public performance in the late 1950s through the 1970s. Perhaps best known for his "Poisoning Pigeons in the Park," Lehrer combined razor-sharp wit with dry delivery inspired by everything from vaudeville and ragtime to whimsical show tunes and faux folk. Though a tad dated, Lehrer's wickedly pointed That Was the Year That Was is as good a representation of the mid-'60s American social and political climate as any. Recorded live in 1965 and composed largely of songs from the contemporaneous NBC series That Was the Week That Was, the album takes on boho Americana ("The Folk Song Army"), censorship ("Smut"), and the atomic bomb ("Who's Next"). Devilishly funny as well are the outstanding "Vatican Rag" and the puzzle that is "New Math." --Paige La Grone