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Japanese only paper sleeve SHM pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players. Warner. 2009.

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100 Miles From Memphis

For Sheryl Crow, the title of her seventh album isn't just a location; it's a state of mind. "I grew up in a small town 100 miles from Memphis, and that informed not only my musical taste, but how I look at life," she says. "The drive to Memphis is all farmland, and everyone is community-oriented, God-fearing people, connected to the earth. The music that came out of that part of the world is a part of who I am, and it's the biggest inspiration for what I do and why I do it." So for the Kennett, Missouri native, calling the disc 100 Miles From Memphis is a statement of purpose, both musical and emotional. It also marks a long-awaited return by the nine-time Grammy winner to the sounds that first drew her to making music. "This is something I've been thinking about for a long time," says Crow. "When (manager Scooter Weintraub) first started working with me twenty years ago, what he heard in me was that I had heavy influences from the South--Delaney and Bonnie, all the Stax records. So for years he's been asking me, `When are you going to make that record?'" The results evoke a time when soul and passion filled the radio waves, when the sweat and joy of a recording session could be captured forever on wax. Sometimes the musical references--Al Green, Sly and the Family Stone, Stevie Wonder--are made apparent, but the album's eleven songs are characterized more by capturing a classic spirit than by imitating any specific style. Crow explains that the way 100 Miles From Memphis was recorded is crucial to its slinky grooves and rolling rhythms. Produced by Doyle Bramhall II and Justin Stanley ("I knew they could get that old soul feeling with authenticity," she says), and cut mostly live with a regular crew of musicians, the album presented a new set of challenges for her as a singer and a songwriter. "This wasn't like any other record I've made," she says. "We cut two, three, sometimes four tracks a day, for ten or twelve days. We wrote a lot of music, and then I had to write lyrics later, to catch up. That was definitely a new experience, feeling like I had to do homework. It was super-daunting." With the musical direction already established, the album's messages crystallized in one night at Crow's farm, outside of Nashville. "Having a three year old, you don't get too much quiet time," she says, "but I sat up one night, and I worked all night long and came up with the better part of five lyrics." What emerged was a set of songs that are unusually open and direct for someone often celebrated for the care and craft of her writing. "This music called for emotion, a place of sensuality and sexuality, and that's a little challenging for me," she says. "Sometimes it's easier for me to hide behind more intellectual lyrics. So it was a great stretching experience to show more vulnerability in my writing." The songs on 100 Miles From Memphis display impressive range, in feeling and performance. First single "Summer Day" is a delightfully breezy slice of glory-days AM radio pop. "I wanted to experiment with writing something simple and positive," says Crow. "The feeling of a great, solid love--not just a new love, but something everlasting." The spare, dramatic ballad "Stop" (the one song on the album for which Crow has sole writing credit) is a powerful vocal showcase that struggles with some hard truths. "That one is really a plea to make everything quit going so fast," she says. "Life has reached this epic point of being out of control. There's so much chaos everywhere you look. And especially when you have a little kid, you just want to protect the people you love from all that pain." Though the album features a tighter focus on Crow's voice than ever before, a few high-profile guest stars did stop by the sessions. When she cut "Eye to Eye," with its loping reggae groove, there was only one guitarist she could imagine adding his signature slashing riffs to the mix--her old friend Keith Richards. "He has been such a champion for me, and the Stones gave me so many breaks along the way, from very early on," she says. (When Richards recorded his part at Electric Lady studios, the New York City facility built for Jimi Hendrix, he started reminiscing about the incomparable guitar wizard; "we were all like little kids at story hour," says Crow.) Citizen Cope appears on a hazy, impassioned duet of his "Sideways," a song Crow says she has long wanted to record and one of several string-heavy arrangements on 100 Miles From Memphis. Another guest confirms her appeal across generations. A Memphis native named Justin Timberlake dropped by one of Crow's sessions at Henson Studios in Los Angeles (the former A&M studio), and offered to contribute background vocals to a version of Terence Trent D'Arby's 1987 smash "Sign Your Name" that was being recast in the style of Al Green, right down to the distinctive thud of the Hi Records drums. "He's hysterical and super-smart, and he knows a lot about a lot of different kinds of music," Crow says. "I'm totally impressed in every way." The final surprise, for both the singer and the listener, came out of a run through of an obscure Marvin Gaye song called "It's a Desperate Situation." The melody reminded Crow of "I Want You Back," the Jackson 5's breakthrough 1970 hit, and she started singing those words. Her natural vocal range sounds uncannily like Michael Jackson's, and when Bramhall and Stanley heard it, they insisted on recording the song then and there. The album's "bonus track" was done in one take; they even had to add the song's introduction afterwards because they had gone straight into the lyric. Crow, of course, first reached the spotlight as a back-up singer with Michael Jackson, and adds that "I Want You Back" was the first single she ever bought. "It wasn't a conscious choice to do an homage, but it wound up being a very bittersweet thing," she says. "Michael's death brought a lot of stuff back for me, so it was nice that we could include this." For Sheryl Crow, 100 Miles From Memphis is the right album at the right moment. "My last record (2008's Detours) was pretty political, extremely personal, and more lyric-driven," she says, "so it seemed like a great time to do something soulful and sexy and more driven by the music." It took a lot of years, but with this set of songs, she finally made it back home.

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Puccini: The Operas (17 CDs)

All of Puccini's popular operas are represented in this 17-CD boxed set, as well as the less frequently heard titles La Rondine, La Fanciulla del West, and Il Trittico. Also included are highlights from Le Villi, an early work by Puccini that is almost never performed. The recordings (all stereo) come from EMI's unrivalled operatic catalog and feature some of the greatest stars in the world of opera, including: Montserrat Caballé and Plácido Domingo in Manon Lescaut; Mirella Freni and Nicolai Gedda in La Bohème; Maria Callas, Carlo Bergonzi, and Tito Gobbi in Tosca; Victoria de los Ángeles and Jussi Björling in Madama Butterfly; Roberto Alagna and Angela Gheorghiu in La Rondine; Neil Shicoff and Maria Guleghina in Il Tabarro (from Il Trittico); Tito Gobbi and Victoria de los Ángeles in Gianni Schicchi (from Il Trittico); Birgit Nilsson in La Fanciulla del West; and more!

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Children's Favorites 1

Children's Favorites, Volume 1 features 30 CHILDREN'S CLASSICS every kid is sure to LOVE! Songs like Shoo Fly, Don't Bother Me, Row, Row, Row Your Boat, Old MacDonald Had a Farm, Twinkle Twinkle Little Star, Pop Goes The Weasel, She'll Be Comin' Round The Mountain, Three Blind Mice and much more!

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I'll Be Seeing You - 5 CD Set

How can you pay tribute to a generation of heroes? How do you honor their hopes and dreams, their pride and patriotism, their efforts and optimism? All the answers are here, compiled in a supersized treasury of fabulous '40s music and a handsome bonus book - Memories of World War II. Take a sentimental journey back to "all the old familiar places" with I'll Be Seeing You/Songs That Won The War - 101 all-time favorite hits that connected loved ones at home and abroad while our nation was at war. Enjoy hours of non-stop musical memories guaranteed to recapture the hope and heart that spurred us on to victory - and beyond. Including... All Or Nothing At All Harry James & His Orchestra; Frank Sinatra, Vocal I've Got My Love To Keep Me Warm Les Brown & His Orchestra I Don't Want To Set The World On Fire Ozzie Nelson & His Orchestra; Harriet Nelson, Vocal Sweet Georgia Brown Benny Goodman Quintet You'd Be So Nice To Come Home To Kate Smith That's My Desire Frankie Laine With Carl Fisher & His Orchestra What Is This Thing Called Love? Peggy Lee These Foolish Things Dick Haymes That Old Black Magic Ray Eberle The Flat Foot Floogee The Mills Brothers, Vocals With Louis Armstrong A Cottage For Sale Mel Tormé Oh! What A Beautiful Mornin' Peggy Lee I'm Making Believe Doris Day With Les Brown & His Orchestra Oh, Johnny Ella Fitzgerald All Of Me Mildred Baily Moonlight In Vermont Kate Smith It Could Happen To You Kitty Kallen With Harry James & His Orchestra How Deep Is The Ocean Martha Tilton All I Do Is Dream Of You Dinah Shore With Glenn Miller & His Army Air Force Band Jukebox Saturday Night Bobby Nichols & The Crew Chiefs With Glenn Miller & His Army Air Force Band More!

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Discovery (Japanese Blu-Spec CD)

2008 Japanese Blu-Spec CD pressing of this classic album. The Blue Spec format takes Blu-ray disc technology to create CD's which are compatible with normal CD players but provides ultra high quality sound. Sony.

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Wingspan (Hits & History)

While his fellow ex-bandmates busied themselves with various high-profile projects (John Lennon with Imagine and a series of high-profile media events; George Harrison with All Things Must Pass and The Concert for Bangla Desh), Paul McCartney climbed into a van with his wife and a few journeyman players and gigged at university student unions for what amounted to spare change. Of course, by 1976 they were one of the biggest draws in rock, having the last laugh--if not necessarily the final word. Gathering the cream of their recorded output on a generous double-disc sampler-cum-TV-special-soundtrack seemed a promising effort at historical revisionism, but Wingspan itself is a distinct misnomer: fully 17 of the 40 tracks here hail from various pre- and post-Wings McCartney solo albums. Completely overlooked are unheralded B-sides such as "Oh Woman, Oh Why," "Little Woman Love," "Country Dreamer," "The Mess," "Walking in the Park with Eloise," "Sally G," and "Girl's School"--some of McCartney the bandleader and solo artist's scrappiest and most interesting work. All the expected hits are here and more, ranging from spunky rockers and hook-rich bubblegum to syrup-drenched ballads. What's lacking is a fresh and less myopic perspective. --Jerry McCulley

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