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"The Ragpicker's Dream" (10/01/2002) Instrumental Knopfler, Mark, Warner Bros. Records (Record Label)Personnel includes: Mark Knopfler (vocals, guitar); Richard Bennett (guitar); Paul Franklin (pedal steel); Glen Duncan (violin); Mike Henderson (harmonica); Jim Cox (piano, Hammond organ); Guy Fletcher (keyboards, background vocals); Glenn Worf (bass); Chad Cromwell (drums); Jimmy Nail, Tim Nealy (background vocals). Personnel: Mark Knopfler (vocals, guitar); Richard Bennett (guitar); Glen Duncan (violin); Jim Cox (piano); Guy Fletcher (keyboards, background vocals); Chad Cromwell (drums); Tim Healy, Jimmy Nail (background vocals). Audio Mixer: Chuck Ainlay. Photographer: Ken Sharp . The low-key nature of Mark Knopfler's third solo album (discounting soundtracks) won't be a surprise to those who are familiar with its fine predecessor. The biggest change from SAILING TO PHILADELPHIA is the focus on traditional/roots styles. Throughout much of RAGPICKER's dream, Knopfler comes on like a one-man Harry Smith's Anthology, touching on folk, country, and blues. As often as not, however, he brings it closer to home with UK folk flavoring, as on the opening "Why Aye Man." He also displays more of a sense of humor here, on the old-timey "Quality Shoe" and the western swing number "Daddy's Gone to Knoxville." The title track sounds like it could have come off the first Tom Waits album, and several cuts here wouldn't sound out of place on any given Richard Thompson recording. Though one of Knopfler's consistent faults remains his tendency to drag things on for too long, his husky, intimate singing is effectively understated and he shows a healthy disdain for guitar showmanship that's remarkable considering his prodigious six-string abilities. Slightly more downshifted and rootsy than PHILADELPHIA, RAGPICKER'S DREAM nonetheless serves as its worthy companion piece.

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"An Evening with John Petrucci & Jordan Rudess" (05/18/2004) Instrumental Petrucci, John, Favored Nations Records (USA)Personnel: John Petrucci (guitar); Jordan Rudess (keyboards). Audio Mixer: Doug Oberkircher. Recording information: Helen Hayes Peforming Arts Center, Nyack, NY (06/10/2000). Evening with John Petrucci & Jordan Rudess is an unheralded recording by Dream Theater and Liquid Tension Experiment alumnus John Petrucci, and Jordan Rudess is a unique entry in the Dream Theater family discography. Recorded live in Nyack, New York, the duo performed a mixed set of acoustic and electric (guitar only) compositions. Both players are world-class musicians, but Rudess in particular demonstrates his well-rounded skills, proving why he is an in-demand session player for the likes of David Bowie and Paul Winter. Petrucci too is a fine musician, but lacks the harmonic and rhythmic sophistication to serve as a strong accompanist. This limitation does not prevent the session from being enjoyable, in fact, it is Petrucci's energetic soloing that provides the most excitement. It was obvious that both players had several ideas and styles they wanted to explore, which are done so with restraint and sensitivity. The opening "Furia Taurina" finds Petrucci displaying his DiMeola-like chops on acoustic guitar and ranks as one of his best recorded moments. The most interesting track proves to be "Fife & Drum," which is both technically challenging and musically stimulating. Dream Theater, the band, became successful for several reasons, but the primary ones being that of hard work and a constant desire to push themselves. It is obvious on this recording that these two fine players relish those same values, and while some cuts work better than others, the music here can truly be labeled "progressive." ~ Robert Taylor

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"Music for Speeding" (05/20/2003) Instrumental Friedman, Marty, Favored Nations Records (USA)Personnel: Marty Friedman (guitar, programming); Ben Woods (guitar); Brian Beevar (keyboards); James "Jake" Jacobson (synthesizer); Jimmy O'Shea, Barry Sparks (bass); Jeremy Colson (drums). Recorded at Studio 880, Oakland, California; Aldens Gate, Santa Rosa, California; Prairie Sun, Cotati, California; Quaa Sound, Scotsdale, Arizona. Personnel: Marty Friedman (guitar, shamisen, programming); Brian BecVar (keyboards); Jeremy Colson (drums). Audio Mixer: Dino Alden. Recording information: Aldens Gate, Santa Rosa, CA; Prairie Sun Recording, Cotati, CA; Quaa Sound, Scottsdale, AZ; Studio 890, Oakland, CA.

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"Angles Without Edges" (09/18/2001) Instrumental Yesterdays New Quintet, Stones ThrowYesterdays New Quintet: Madlib, Monk Hughes, Joe McDuffrey, Malik Flavos, Otis Jackson Jr. Recorded at The Dump and at The Bomb Shelter, Los Angeles, California 2001. Includes liner notes by Dave Tompkins. Recording information: The Bomb Shelter, Los Angeles, CA (2001); The Dump (2001). Photographer: B+. Unknown Contributor Role: Ahmad Miller. Arranger: Madlib. Using jazz experimentation, education, and the unequivocal brilliance of his hip-hop creativity as a primary instrument, Madlib leads this record of paramount importance in the modern jazz and hip-hop worlds alike. Favoring swatches of lounge-heavy atmosphere and Fender Rhodes rivers to forever soulful infinity, big beats, and abstract soloing on everything from vibraphone to the turntable itself, Angles Without Edges is where music hoped to go by 2001. This is a hip-hop record made with jazz principles of improvisation, spacy cut-and-paste passages of drifting solos, and periods of vamping grooves that are layered handsomely with uncut breaks that build on top of themselves, eventually creating what may be the Bitches Brew of the new millennium. Released on the progressive and reputable Stones Throw label, also home to their Uno Esta 12" and Bomb Shelter 7", Angles is 19 tracks deep and doesn't stray in quality as the beats drum on. Highlights include the math jazzy "Julani," the soul eclipse in "Papa," and the outer space dub/samba in "Paladium." ~ Nic Kincaid

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"Project Infinity" (07/21/1995) Instrumental Man or Astro-man?, Estrus

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"DNA on DNA" (05/11/2004) Instrumental DNA, No MoreDNA: Tim Wright (guitar, bass guitar); Ikue Mori, Arto Lindsay, Robin Crutchfield. Personnel: Arto Lindsay (vocals, guitar); Robin Crutchfield (vocals, keyboards); Ikue Mori (drums). Liner Note Authors: Glenn O'Brien; Jason Gross; Byron Coley. Recording information: Canada (07/23/1978-06/25/1982); Cbgb's (07/23/1978-06/25/1982); Columbia University (07/23/1978-06/25/1982).

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"6pm" (06/14/2005) Rock & Pop Manzanera, Phil, HannibalPersonnel: Phil Manzanera (vocals, guitar, acoustic guitar, piano, organ, keyboards, synthesizer, drum programming); Phil Manzanera (electric guitar); Robert Wyatt (vocals, electric guitar, trumpet, keyboards, drums); Brendon Jury (viola); Nigel Simpson (piano); Yaron Stavi (double bass); Claire Singers (vocals, background vocals); David Gilmour (guitar); Chrissie Hynde (harmonica, background vocals); Andy Mackay (oboe, saxophone); Paul Thompson (drums); Jamie Johnson, Brian Eno. Audio Mixer: Jamie Johnson. Photographer: Claire Singers.

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"Listening to Richard Brautigan [Expanded Edition]" (07/12/2005) Instrumental Richard Brautigan, Collectors' Choice MusicLiner Note Author: Richie Unterberger. Recording information: Golden State Recorders, San Francisco, CA. Readers: Margot Patterson Doss; Imogen Cunningham; Alan Stone; Valerie Estes; Price Dunn; David Schaff; Cynthia Harwood; Ianthe Brautigan; Peter Berg; Don Allen; Herb Caen; Betty Kirkendall; Bob Prescott; Bruce Conner; Richard Brautigan; Michael McClure. Author, humorist and recording artist, Richard Brautigan's long-player, Listening to Richard Brautigan (1970), provides insight into his everyday life, world and written works. The San Francisco-based poet had already established himself as a hip, underground Bay Area fixture -- even occasionally supporting burgeoning rockers Mad River, turning up on their Paradise Bar & Grill (1969) album reciting "Love's Not the Way to Treat a Friend." He'd also gained notoriety from his most renown prose and much of this disc is devoted to excerpts from Trout Fishing in America ("The Hunchback Trout"), A Confederate General From Big Sur ("The Rivets of Ecclesiastes"), In Watermelon Sugar ("The Watermelon Sun"), Revenge of the Lawn ("Revenge of the Lawn") that includes "Short Stories About California" with "A Short Story About Contemporary Life in California," "The Memory of a Girl," "The View From the Dog Tower" and "Pale Marble Movie" all taken from that collection. Similarly, The Pill Versus the Springhill Mine Disaster is the source for "Boo, Forever," "The Pill Versus the Springhill Mine Disaster" -- gathering "All Watched Over by Machines of Loving Grace," "December 30," "A Boat," "Haiku Ambulance," "Death Is a Beautiful Car Parked Only," "Karma Repair Kit: Items 1-4," "Crab Cigar," "Widow's Lament," "The Pumpkin Tide," "Man," "Adrenalin Mother," "San Francisco," "1942," "At the California Institute of Technology," "Xerox Candy Bar," and "Alas, Measured Perfectly" -- as well as "The Telephone Door That Leads Eventually to Some Love Poems" sporting: "The Shenevertakesherwatchoff Poem," "The Double-Bed Dream Gallows," "November 3," "Flowers for Those You Love," "I Lie Here in a Strange Girl's Apartment," "The Pill Versus the Springhill Mine Disaster," "Lovers," "Gee, You're So Beautiful That It's Starting to Rain," "I Cannot Answer You Tonight in Small Portions," "The Way She Looks at It," "A Good-Talking Candle" and "I Live in the Twentieth Century." Interspersed throughout are fly-on-the-wall sonic v?rit? excursions such as "The Telephone Door to Richard Brautigan," self-explanatory "Here Are the Sounds of My Life in San Francisco," "Here Are Some More Sounds of My Life" and the aforementioned "The Telephone Door That Leads Eventually to Some Love Poems" as it also contains dialogue about Brautigan's manipulation of the telephone -- or is it vice versa -- before commencing with pieces from The Pill Versus the Springhill Mine Disaster anthology. Arguably the most interesting concept from the listener's point-of-reference is "Love Poem" -- a single-sentence composition as interpreted by Brautigan himself in addition to Bob Prescott, Valerie Estes, Michael McClure, Margot Patterson Doss, Bruce Conner, Michaela Blake-Grand, Donald M. Allen/David Schaff, Ianthe Brautigan, Imogen Cunningham, Herb Caen, Betty Kirkendall, Peter Berg, legendary DJ Alan Stone -- who reads his live on-the-air via KSAN-FM, Antonio, Donald M. Allen, Cynthia Harwood, and Price Dunn. Studious collectors should be on the lookout for a rare promotion-only cassette version of Listening to Richard Brautigan that was circulated by Beatles' label Apple Records. There are a few discrepancies between the two, primarily the absence of "Boo, Forever" and minor liner revisions. ~ Lindsay Planer Author, humorist, and recording artist, Richard Brautigan's long-player, Listening to Richard Brautigan (1970), provides insight into his everyday life, world, and written works. The San Francisco-based poet had already established himself as a hip, underground Bay Area fixture -- even occasionally supporting burgeoning rockers Mad River, turning up on their Paradise Bar & Grill (1969) album reciting "Love's Not the Way to Treat

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"Perspective" (05/22/2001) Instrumental Becker, Jason, Warner Bros. Records (Record Label)Personnel includes: Jason Becker (guitar, keyboards); Steve Perry, Brett Tuggle (vocals, percussion); Cathy Ellis, Mihoko Ito, Anisha Thomas, Caren Anderson, Natasha Hoehn, Michelle Clair, Jennie Bermsderfer, Irma De Los Santos, Joey Blake, Melanie Rath (vocals); Ron Becker (acoustic guitar); Michael Lee Firkins, Steve Hunter (guitar); Mike Bemesderfer (flute, keyboards); Gary Schwantes (bamboo flute); Laurie San Martin (bass clarinet); David Stuligross (trombone); Danny Alvarez (piano, keyboards, synthesizer); Matt Bissonette (fretless bass); Gregg Bissonette (drums); Steve Rosenthal, Ricky Walker, Darren Driver (percussion); Raz Kennedy (background vocals). Producers: Jason Becker, Danny Alvarez, Mike Bemesderfer. Engineers include: Chris Minto, John Lowery, Tony Mills. Personnel: Jason Becker (guitar, electric guitar, keyboards); Steve Perry (vocals, percussion); Melanie Rath, Joey Blake, Raz Kennedy, Brett Tuggle (vocals); Cathy Ellis, Caren Anderson, Anisha Thomas (soprano); Steve Hunter (guitar, rainsticks); Michael Lee Firkins (guitar); Gary Becker (classical guitar); Mike Bemesderfer (flute); Gary Schwantes (bamboo flute); David Stuligross (trombone); Danny Alvarez (piano, organ, keyboards, Synclavier, percussion); Gregg Bissonette (fretless bass, drums); Matt Bissonette (fretless bass); Steve Rosenthal (snare drum, cymbals); Rick Walker (percussion). Audio Mixers: Danny Alvarez; Mike Bemesderfer; Jason Becker. Recording information: Becker Home; Digital Audio Solutions; Dorado Recording; John Lowry Studios; Sound City Studios; Spark Productions; Spark Studios. Editors: Danny Alvarez; Mike Bemesderfer. Illustrator: Gary Becker. Introduction by: Gary Becker. Photographers: Ross Pelton; Gary Becker. Unknown Contributor Role: Steve Hunter. Arranger: Jason Becker. Between the release of his first solo album, Perpetual Burn, in 1988 and the making of this, his second, speed metal guitarist Jason Becker suffered one of the most devastating blows a human being can: he was diagnosed with ALS (Lou Gehrig's Disease), the incurable ailment that gradually renders its victims paralyzed. Perspective was recorded during the period when Becker was losing his ability to move, much less play the guitar, and thus marks a transition from his days of frantic fretboard work to less speedy playing and to writing music that is played by other musicians and by computer; much of the album was written on a Mackintosh and then executed by guest performers. The result is that Becker, being unable to produce his usual heavy metal performances, has turned to a more varied musical palette, allowing in a wide range of musical influences. "Primal," the lead-off track, for example, has a Middle Eastern feel, while "Empire" is distinctly Oriental. The lengthy "End of the Beginning" displays classical influences, as does the Bach-like "Serrana." Becker's musical imagination is unfettered even if his body is disabled; he stuffs his tunes with different musical ideas, often taking them in surprising directions. In this sense, the most notable track is also the last written for the record, "Life and Death" ("The title speaks for what was on my mind at the time," he notes), which sounds like a group of musical cues for the soundtrack of an adventure film. Jason Becker is enduring a catastrophic fate physically, but he is using it to explore musical passages he might not have otherwise. Originally released on his own label in 1996, Perspective was reissued by Warner Bros. in 2001. A part of the proceeds goes to the ALS Therapy Development Foundation (www.als-tdf.org). ~ William Ruhlmann

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"Platinum & Gold Collection" (09/23/2003) Instrumental Hedges, Michael, Windham HillSolo performer: Michael Hedges (vocals, acoustic guitar, flute). Producers: William Ackerman, Michael Hedges, Steven Miller, Elliot Mazer. Compilation producer: Gretchen Brennison. Recorded between 1981 & 1997. Includes liner notes by John Diliberto. This is part of BMG Heritage's "Platinum & Gold Collection" series. Liner Note Author: John Dillberto. Arranger: Michael Hedges. PLATINUM & GOLD COLLECTION is an excellent introduction to New Age acoustic guitar hero Michael Hedges. He was one of the first artists featured on the Windham Hill roster and remains a huge influence on young guitarists even after his tragic death in 1997. This stellar compilation pulls tracks from the seven albums produced during his lifetime, including three selections from his live concert recording LIVE ON THE DOUBLE PLANET. Acclaimed as an acoustic guitar innovator, Hedges developed a tapping technique that allowed him to be his own rhythm section and create a veritable symphony from his hand-made acoustic guitar. This technique is showcased particularly well on "Oracle," an ornate track accented by the flourishes of Hedges's own expert flute work. Also included is his cover of Neil Young's "After the Gold Rush" which retains its original melancholic tone while tapping into its urgency.

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"The Royal Dan: A Tribute" (05/09/2006) Jazz Instrument Various Artists, Tone CenterTributee: Steely Dan. Personnel: Elliott Randall, Frank Gambale, Jeff Richman, Jimmy Herring, Al di Meola, Mike Stern, Robben Ford, Steve Lukather, Steve Morse (guitar); Ernie Watts (saxophone); Peter Wolf (horns, keyboards); Vinnie Colaiuta (drums). Liner Note Author: Jeff Richman. Photographers: Kerstin Olofsson; Richard Aaron; Jeff Richman. Arranger: Jeff Richman. Guitarist Jeff Richman came up with this idea: get a house band together made up of A-list session guys (bassist Jimmy Haslip, saxophonist Ernie Watts, etc.) and then invite an all-star cast of guitar gods to come in and take turns interpreting the songs of Steely Dan as jazz-rock fusion. It works either as well or as dreadfully as you'd expect, depending on your perspective. What you need to understand going in is that Royal Dan: A Tribute is largely about tone: this is a guitar record for guitarists, and will appeal greatly to the kinds of guys who can sit around for hours discussing the relative merits of vintage and modern distortion pedals. But it's not all guitar-geek wankery. On "Hey Nineteen," Elliott Randall uses sneaky phrasing and delicate volume variations to turn his bluesy solos into something really special (though Peter Wolf's keyboards are a bit intrusive), and Frank Gambale eschews grandstanding technical fireworks in favor of tasteful harmonic experimentation on "FM." Al di Meola goes insane on his classical guitar on "Aja," and Robben Ford blows the doors off with a thrilling rendition of "Peg," but Mike Stern's take on "Dirty Work" isn't as exciting as it should have been, and Steve Lukather's version of "Pretzel Logic" has just a little bit too much Foreigner to it. Again: keep in mind that this is a guitarist's album -- guitar geeks will find something to argue about on every track, and that's really what it's all about. ~ Rick Anderson

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"Ha!" (04/26/2005) Jazz General Noy, Oz, Magnatude RecordsThis is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Oz Noy (guitar, loops); Will Lee (vocals, bass instrument); Mike Stern (guitar); George Whitty (Fender Rhodes piano, organ); Shai Bahar (synthesizer); James Genus (double bass); Anton Fig, Keith Carlock (drums). Oz Noy is a rock guitarist who has a strong sense of humor and the creativity to come up with a wide variety of tonal distortions. His original struts throughout Ha! are consistently colorful and often witty. Of particular notice is "Hey You," which purposely sounds like a broken record and his interpretation of a pair of blues: "Blue Monk" and "Hit Me." Oz Noy can also play quite mellow, as he shows on "I Can't Make You Love Me," but he has the most fun on the more outlandish rock and fusion grooves. Fellow guitarist Mike Stern has a guest appearance on "Downside Up" and sometimes the rhythm section utilizes both Anton Fig and Keith Carlock on drums, but Oz Noy is the main star throughout this enjoyable and eccentric outing. ~ Scott Yanow

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"The Infinite Steve Vai: An Anthology" (11/18/2003) Instrumental Vai, Steve, Legacy RecordingsPersonnel includes: Steve Vai (acoustic & electric guitars, guitar, keyboards, bass, programming); T. M. Stevens (vocals, bass); Devin Townsend, David Coverdale (vocals); Mike Keneally (guitar, keyboards); David Weiner (guitar); Stuart Hamm, Philip Bynoe, Bryan Beller, John Sergio (bass); Terry Bozio (drums, percussion); Chris Frazier, Mike Mangini (drums). Producers: Steve Vai. Compilation producer: Jeff Magid. Includes liner notes by Jon Wiederhorn. Personnel: Steve Vai (guitar, acoustic guitar, sitar, keyboards, synthesizer, drum machine, drum programming); David Coverdale, Devin Townsend, Glenn Hughes, T.M. Stevens, Tommy Funderburk (vocals); Dave Weiner (guitar, sitar); Mike Keneally (guitar, keyboards); Larry Crane (lyre); Greg Degler (flute, clarinet); Tommy Mars (organ); Claude Gaudette, Eric Goldberg, David Rosenthal, Don Airey, Bob Harris (keyboards); Peggy Foster (fretless bass); Terry Bozzio (drums, percussion); Deen Castronovo, Gregg Bissonette, Mike Mangini , Tommy Aldridge, Tris Imboden, Chris Frazier (drums); Pete Zeldman (percussion); Kimberly Evans, Miroslava Mendoza Escriba, Tracey Lewis, C.C. White (background vocals). Audio Mixers: Eddie Kramer; Steve Vai. Liner Note Author: Jon Wiederhorn. Recording information: Cherokee Studios, Hollywood, CA (1984-2002); Fix Club, Thessaloniki, Greece (1984-2002); Grand Rex, Buenos Aires, Argentina (1984-2002); La Riviera, Madrid, Spain (1984-2002); Los Angeles, CA (1984-2002); Skyline Studios, Topanga, CA (1984-2002); Stucco Blue Studios (1984-2002); The Mothership, Los Angeles, CA (1984-2002); The Record Plant, Los Angeles, CA (1984-2002); Westwind Media, Burbank, CA (1984-2002). Photographers: Rocky Schenck; Neil Zlozower. This 2003 two-disc set offers up a generous sampling of Steve Vai tracks, focusing most sharply on the revered hard-rock guitarist's mid-to-late-1990s material. Highlights of the collection include "The Animal," a stomping metal number, and the emotive "For the Love of God," as well as the dynamic "Fire Garden Suite." While diehard Vai fans will likely own most songs on this compilation, ANTHOLOGY serves as a commendable, if slightly daunting, introduction to the amiable and inventive six-string hero.

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"Destroy All Astromen!!" (06/06/1994) Instrumental Man or Astro-man?, EstrusMan Or Astro-Man? includes: Dr. Deleto, Star Crunch, Coco The Electronic Monkey Wizard. Only Man or Astro-man? could incorporate NASA samples into their music and make them sound exciting, with their hypnotic surf rock and infatuation with cheesy, low-grade sci-fi flicks. With Destroy All Astromen!!, their plans of eventually conquering Earth are carried through with this live recording that not only pays tribute to the aforementioned influences, but also to their musical inspirations. Covers of Dick Dale, the Rezillos, and even the Mystery Science 3000 theme song can be found on this full-length. Not as experimental or "out there" in comparison to their material on Touch and Go Records, but it still holds true to the Man or Astro-man? ethics of being ahead of their time in the surf genre. ~ Mike DaRonco

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Instrumental Music calling your name? Find all of the top Music gear that you want at ShopRoid. Compare prices from top brands like as well as . Browse ratings from merchants that sell Instrumental Music and other Music. Narrow your choices down by price range, brand, merchant, and more. Find the product that's right for you: The Ragpicker's Dream by Mark Knopfler (CD - 10/01/2002) - An Evening with John Petrucci & Jordan Rudess by John Petrucci (CD - 05/18/2004).