Country Music Radio Stations Live
1991 Radio Station studio tour
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WILLIE NELSON + FAMILY LIVE 2 LP RADIO STATION PROMO OUTLAW COUNTRY WHITE LABEL $0.99 |
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JAMES OTTO “DAYS OF OUR LIVES” 2003 UNPLAYED RADIO STATION MUSIC LIBRARY COPY $0.99 |
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JAN HOWARD “Life’s That Way” PROMO 45 DECCA Record Country Radio Station Copy $0.99 |
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New Year’s Concert 2012 $12.51 New Year’s Concert 2012 by Mariss Jansons & Vienna PhilharmonicThis product is manufactured on demand using CD-R recordable media. Amazon.com’s standard return policy will apply…. |
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SIRIUS Sportster 4 Satellite Radio Receiver with Car Kit $119.98 Get in the game with the plug-and-play Sirius Sportster 4 satellite radio receiver, which sports a new slim profile while still maintaining the same great features for which the Sportster series is known. Just like other Sirius-compatible receivers, the Sportster 4 offers a large, easy-to-read display, a rotary tuning knob, and accessible buttons, but now moves seamlessly into your car, home, … |
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Sirius S50 Portable Satellite Radio Receiver with Car Pack $179.99 Amazon.com Product Description If you’re serious about keeping your music with you at all times, the Sirius S50 Satellite Radio Receiver and MP3/WMA Player System Pack may be just what you’re looking for. Small enough for your shirt pocket, and loaded with all the accessories you need to play it over your car stereo, the Sirius S50 offers an intoxicating blend of satellite radio and digital music … |
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Radio $36.95 As entertaining as it is educational, Radio: The Book is a must-have guide to success for anyone interested in a career in radio. Providing a wealth of information and relating his own personal experiences, veteran radio personality, Program Director and Programming Consultant Steve Warren shares trade secrets and industry know-how that would usually take years to accumulate through experience. An invaluable advantage over your competition, this “cheat-sheet” for the radio programmer includes practical advice regarding: Radio as a career–from tips on getting started to job negotiations Programming–talk radio and music, from format science to picking the hits Relationships with listeners–everything from staying in touch with your audience to public image Branding, marketing, and advertising the radio station Research–music tests, audience analysis, ratings, and more Practical information about management policies Radio realities–information on rules and regulations This latest edition has been updated to include: Important updates on an ever-evolving field Essential forms for radio station functions–production orders, personnel files, absentee reports, PSA schedules, format clocks, remote schedule, and moreto be accompanied by an on-line section of electronic forms for convenience Ideas for successfully programming in new radio formats like satellite, internet, and cable In such a competitive industry where formal training can be hard to come by, Radio: The Book, 4e, is a short-cut to the fast track for current and future programmers and program directors. With an active radio broadcast career that is still exploring new ideas following s more than forty years at some of America’s most prestigious radio stations (including WNBC, WHN, WNEW, and CBS radio), Steve Warren is more than qualified to mentor readers. Steve has competed successfully in all music formats from Easy Listening to Country to Top 40 to Oldies, always putting the listener first and now, putting you first. * Learn how to be a hit with listeners in any format * 4th edition to include essential forms and ideas for satellite and web radio programming–and accompanied by an on-line forms section for your convenience! * Learn all about radio as a career–from getting your first gig to job negotiations once you’ve gotten your foot in the door! * Published in association with the National Association of Broadcasters – the leading American broadcast organization |
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Radio City Music Hall Live! $20.95 Radio City Music Hall Live! |
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Stations of the Crass $15.98 “They said that we were trash/Well the name is Crass, not Clash.” So goes the opening of the coruscating “White Punks on Hope,” and with Stations Crass takes things to an even more vicious level than on Feeding. The opening yelps and screams from Ignorant on “Mother Earth” over a slow-building burn show that there was already much more to Crass than simple crash and bash punk, and with the rest of the album the collective moves between full-on assault and an ever increasing agit-snarl experimentation. Originally released as two vinyl discs, the conclusion of the second consists of a live show in Islington the summer of 1979, with the band tearing through new and old cuts with passion, including such fierce anthems as “Do They Owe Us a Living?” and “Shaved Women.” The studio tracks, including versions of some cuts from the live show, all come from a one-day session four days after the concert, and while some tracks are almost fragments, surprisingly things aren’t as constantly monochrome or as rushed as one might think. Whether stripping things down to dub-tinged bass, drums, and repetitive guitar snarls or blends of staccato rhythms and found-sound noise (or even, on “Walls,” trying a bit of disco), Crass creates a unique brand of fierce, inspirational music. Libertine and De Vivre make impressive cameos alongside Ignorant’s lead vocals, making the perfect argument through performance that passion trumps technical skill when the chips are down. The sheer amount of issue tackling and blunt speaking throughout ranges from political statements of purpose over every aspect of the status quo to relentless self-examination. One running attack against the band was always that their words were better read than listened to, but hearing the seething hatred projected by Ignorant on “Big Man, Big M.A.N.” is enough to convince one otherwise. One of the funniest tracks is the vivisection of music press figure Garry Bushell, “Hurry Up Garry,” which uncannily predicts his eventual descent into right-wing tabloid idiocy. ~ Ned Raggett, Rovi |
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The Encyclopedia of Country Music $26.95 To its millions of fans, country music is America's music, offering a window into the sweet dreams and cruel disappointments of ordinary American lives. Now the renowned Country Music Foundation, custodian of Nashville's legendary Country Music Hall of Fame and Museum, has compiled a fascinating and infinitely useful guide to this beloved musical genre–The Encyclopedia of Country Music. Nearly 1,300 alphabetical entries put eight decades of country music at readers' fingertips, from the earliest '20s recordings of the Carter Family and Jimmie Rodgers to the '90s chart-topping albums of LeAnn Rimes and Garth Brooks. A distinguished field of 137 contributors provides an eminently readable and reliable guide to the singers, songwriters, record companies, and industry movers and shakers who have made country music the increasingly popular–and profitable–juggernaut it is today. Hundreds of photographs, some never before published, accompany the text, including 75 color photographs from the CMF Library's record collection, surveying the history of the country music album cover. Twelve appendices provide lists of country's all-time best-selling albums, country music stations nationwide, all the country music awards won over the years, and much more. Authoritative, accessible, and unerringly accurate, The Encyclopedia of Country Music will delight fans. It is an essential reference for libraries, radio stations, and the entertainment industry. |
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Roots of Country Music $5.92 This two-disc set is probably misnamed since you won’t find any Carter Family or Jimmie Rodgers here, two acts that belong on any roots of country collection, but you will find instead 30 tracks of what is now called the golden age of country music, before Strats and Telecasters, tight jeans and sexy videos completely ruled the Nashville roost. While there are plenty of big country hits here, listeners should be aware that several of them, like Glen Campbell’s “Gentle on My Mind,” are actually live versions and not the original radio singles, which is mildly disconcerting. Among the less likely encountered gems here are Ferlin Husky’s “Phantom 309,” Tex Ritter’s “Boll Weevill,” and Waylon Jennings’ beautiful and atmospheric version of Roy Orbison’s “Dream Baby.” ~ Steve Leggett, Rovi |
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Stations $22.39 Description not provided. |
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Live from Radio City Music Hall $8.2 Live from Radio City Music Hall |
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Live from Radio City Music Hal $44.8 Live from Radio City Music Hal |
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Live Radio $9.58 After unhappy stints at several record labels, the Los Angeles singer/songwriter duo Lowen & Navarro have subsided to their own imprint for this, their sixth overall album, Live Radio. The disc is culled from Eric Lowen and Dan Navarro’s four appearances on Roz and Howard Larman’s L.A. public radio show FolkScene in 1994, 1996, 1998, and 1999, and it allows them to return to the two-acoustic-guitars, two-part-harmonies style that they honed in gigs around L.A. in the 1980s; it’s their “unplugged” album. For old-time fans, that should be welcome. On Lowen & Navarro’s last couple of studio albums, Pendulum (1995) and Scratch at the Door (1998), they turned to more of a rocking style, while this stripped-down approach puts their songs front and center. It also allows them to reclaim for their own material featured on those albums and on the earlier Broken Moon (1993), making it something of a successor to Live Wire (1997), the archival album drawn from one of their 1989 club dates. There are no interview segments here, no spoken words except a count-in, so the effect is of a continuous musical performance in which the two often alternate lead vocals by song and sometimes by verse, then sing the choruses together, Lowen’s tenor soaring over Navarro’s deeper, gruffer voice. There are articulate love songs and poetic reflections on life’s travails, all with delicate, detailed guitar playing and catchy choruses. The two may not have given up the search for a rock & roll hit — they make a point of taking issue with the idea that their music is “folk” in the strict sense in the brief liner notes — but this album suggests that they may have found their level and, perhaps, may earn a loyal audience by presenting their music in an unadorned way. ~ William Ruhlmann, Rovi Performers: Dan Navarro – Vocals, Guitar; Eric Lowen – Guitar, Vocals |
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Radio City Music Hall-Live $13.08 Blu-Ray pressing. Radio City Music Hall Live! was filmed at the iconic New York venue on March 30, 2007. It was the first U.S. concert by the Dio/Iommi/Butler/Appice line-up for over 15 years and formed part of Heaven & Hell’s 2007 world tour. It was the |
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Live $17.58 The best way to experience Delbert McClinton’s rowdy roadhouse combination of blues, roots rock, R&B, country, and Tex-Mex is on-stage with a couple of hundred other fans on a Saturday night. In that spirit, McClinton’s second live album, and first since 1989′s Live from Austin, documents a single 2003 performance at Norway’s Bergen Blues Festival. Originally intended only as a radio broadcast, this is an unpolished example of a typical show. Although it shares five songs with its single-disc predecessor, Live features McClinton weaving newer material in with hits he’s been playing for decades, such as “B-Movie Boxcar Blues,” “Giving It Up for Your Love,” and “Going Back to Louisiana.” McClinton’s in terrific voice and spirits throughout, and his seven-piece band (including two horns) is tight but loose and ragged enough to grind through rockers with garage band enthusiasm. “Rebecca, Rebecca,” the album’s slow blues showcase, proves how comfortable McClinton is with his band and being on-stage. This is clearly his forte, and even though he’s released some terrific, if not quite classic, studio albums, this is the best way to get an overall dose of his talents. The career-spanning set list isn’t a greatest-hits collection, but that just makes it more enjoyable as the singer throws in a few curve balls. His much-lauded harmonica skills are also on display during a knockout version of “I Want to Thank You Baby,” but it’s on the following eight-minute version of “I Want to Love You” where he and the band stretch out. The only disappointment is the relatively short playing time; a double CD should have been twice as long, and if just one tune were left off, this could have been released as a single disc. Otherwise, this is a nearly perfect document of Delbert McClinton, captured in his natural habitat with all the sweat, intensity, and frisky fun intact. ~ Hal Horowitz, Rovi Performers: Delbert McClinton – Harmonica, Vocals; Don Wise – Saxophone; George Hawkins – Bass; Kevin McKendree – Keyboards; Lynn Williams – Drums; Rob McNelley – Guitar; Terry Townson – Trumpet |
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Live on the Radio $10.38 Description not provided. |
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The Encyclopedia of Country Music by Kingsbury, Paul; Country Music Hall of Fame and Museum Edition ILL, 0 $26.49 To its millions of fans, country music is America’s music, offering a window into the sweet dreams and cruel disappointments of ordinary American lives. Now the renowned Country Music Foundation, custodian of Nashville’s legendary Country Music Hall of Fame and Museum, has compiled a fascinating and infinitely useful guide to this beloved musical genre–The Encyclopedia of Country Music. Nearly 1,300 alphabetical entries put eight decades of country music at readers’ fingertips, from the earliest ’20s recordings of the Carter Family and Jimmie Rodgers to the ’90s chart-topping albums of LeAnn Rimes and Garth Brooks. A distinguished field of 137 contributors provides an eminently readable and reliable guide to the singers, songwriters, record companies, and industry movers and shakers who have made country music the increasingly popular–and profitable–juggernaut it is today. Hundreds of photographs, some never before published, accompany the text, including 75 color photographs from the CMF Library’s record collection, surveying the history of the country music album cover. Twelve appendices provide lists of country’s all-time best-selling albums, country music stations nationwide, all the country music awards won over the years, and much more. Authoritative, accessible, and unerringly accurate, The Encyclopedia of Country Music will delight fans. It is an essential reference for libraries, radio stations, and the entertainment industry. |
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Live at Radio City Music Hall $15.98 In some ways, two and a half hours of acoustic Dave Matthews with Tim Reynolds seems like it would be a snore — especially since a boatload of these 27 songs range between five and nine minutes! The Dave Matthews Band can get away with such excesses as a group, but in this intimate setting on such a large stage? It’s either truly wonderful or something of an exercise in intense ego run riot, right? To be fair, this is not a snore. Reynolds is a hell of a guitarist. He is not one given to random excess and never pretends to be a guitar hero — though he is. The program is simply that this pair brings out Matthews’ tunes from both the DMB and his solo recording and plays them for an audience full of adoration and gratitude. And, for the most part, it works. The opening blues moans that introduce “Bartender” let the listener know that this is no ordinary acoustic show. Renditions of “Crush,” “Gravedigger,” “Some Devil,” and “Crash into Me” are gorgeously done here. There is a conviction in Matthews’ voice that is missing on a lot of the band’s live records. Likewise, “Grace Is Gone” and the cover versions like Neil Young’s “Down by the River,” Daniel Lanois’ “The Maker,” and Woody Guthrie’s “This Land Is Your Land” are also wonderfully done. There is also a new song called “Sister” that Matthews overly explains, but the song’s terrific. There are a few dull moments, but over the entire course of this set they are actually few and far between — unless Matthews’ voice gets to you after a while, and then perhaps you’re in trouble. When Matthews is lazy (and he often is), the results can be samey sounding — but he’s not here. He understands implicitly that his singing is more important than it is with the DMB, and it needs to carry the weight. Reynolds adds so much in terms of color and texture — whether he’s playing straight, using effects, playing slide, or inventing some new scale to play a solo in, he transforms what might be merely intimate and engaging into something (mostly) compelling. Even the nine-plus-minute “Dancing Nancies” works like a charm because Reynolds is able to create an alternate voice with his lead guitar playing. His solo on Young’s “Down by the River” actually mimics (on acoustic guitar) the songwriter’s, by going into a somewhat extended single-note hammer until it becomes trancelike — he could just as easily have shown off. For Matthews fans, this is essential. For those on the fence about Matthews, this is document enough to win you over to his talent as a songwriter — without spending the fruitless time that DMB recordings take up. For those who liked Some Devil, his solo effort, this document will provide further enjoyment. It’s as solid as an extended presentation can be and is, for the most part, thoroughly enjoyable. The great contribution it does provide is to demonstrate what a guitar-picking wonder Reynolds is, even more so than on earlier collaborations between these two. Somebody should sign this guy up, and |
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WYCD 99.5: Country Radio $11.18 WYCD 99.5: Country Radio collects 13 Christmas songs from such artists as Kenny Chesney (“Jingle Bells”), SHeDAISY (“Deck the Halls”), and Alabama (“Silent Night”). Also included are holiday favorites sung by Rascal Flatts, Clay Walker, LeAnn Rimes, Vince Gill, and Clint Black. ~ Al Campbell, Rovi |
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The Encyclopedia of Country Music by Kingsbury, Paul The Country Music Foundation Edition ILL, 0 $19.49 To its millions of fans, country music is America’s music, offering a window on the sweet dreams and cruel disappointments of ordinary American lives. Now the renowned Country Music Foundation, custodian of Nashville’s legendary Country Music Hall of Fame and Museum, has compiled a fascinating and infinitely useful guide to this beloved musical genre–The Encyclopedia of Country Music. Nearly 1,300 complete and up-to-the-minute alphabetical entries put eight decades of country music at readers’ fingertips, from the earliest ’20s recordings of the Carter Family and Jimmie Rodgers to the ’90s chart-topping albums of LeAnn Rimes and Garth Brooks. A distinguished field of 137 contributors provides an eminently readable and reliable guide to the singers, songwriters, record companies, and industry movers and shakers who have made country music the increasingly popular–and profitable–juggernaut it is today. There are entries for influential radio and television programs, and for key country landmarks from Nashville’s Music Row to Bakersfield’s Blackboard nightclub. Ten longer essays probe the historical, cultural, religious, artistic, and financial forces shaping country music. Hundreds of photographs, some never before published, accompany the text, including 75 color photographs from the CMF Library’s record collection, surveying the history of the country music album cover. Twelve appendices provide lists of country’s all-time best-selling albums, country music stations nationwide, all the country music awards won over the years, and much more. Authoritative, accessible, and unerringly accurate, The Encyclopedia of Country Music will delight fans. It is an essential reference for libraries, radio stations, and the entertainment industry. |
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Songs4Worship: Country LIVE $17.99 “>Hungry for good music? This extraordinary live recording will take you straight to the polished wooden pews of Nashville’s Ryman Auditorium – the Mother Church of Country music – for an intimate worship experience with country flair.>” |
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Pirate Radio $59.98 To say that Warner/Rhino/Sire’s 2006 four-CD, one-DVD box set Pirate Radio is for the die-hard Pretenders fan may be stating the obvious — after all, career-spanning multi-disc sets heavy on rarities are by definition for diehards. But die-hard Pretenders fans are different than other die-hard fans, since they can be easily split into two separate camps: those who followed Chrissie Hynde throughout her career, and those who lost interest somewhere after 1983′s Learning to Crawl, the triumphant third album that proved Hynde was above all a survivor. After that, Pretenders records were notoriously hit-or-miss affairs, sometimes holding together a little better than others, but patchy enough to whittle down their audience to just the dedicated, while still indicating that a killer comp could be pieced together from these records.Is Pirate Radio that comp? No, not really. It has almost all of their charting singles and many of their best album tracks, but it’s not a lean collection of nothing but the best from the Pretenders; it has too many rarities and treats each portion of their career too evenhandedly to be that. By the end of the first disc, Pirate Radio has already dipped into Learning to Crawl, and well over half the collection is devoted to music released from 1990 on — an era that had two solid albums (1994′s Last of the Independents and 2002′s Loose Screw) and one strong one (1999′s Viva el Amor), plus a popular if subdued live album (1995′s Isle of View). This era was certainly good, but in no way matched the intensity of their first five years as a band, particularly in its first incarnation when Hynde was in a gang with guitarist James Honeyman-Scott, bassist Pete Farndon, and drummer Martin Chambers. The first disc bears this out through its rarities, where the original 1978 demo of “Precious” is nearly as tough as the one on the group’s peerless debut, while the Nick Lowe-produced single version of “The Wait” has a reckless energy. Even songs that seemed like throwaways at the time have aged into mini-masterpieces: there are the two songs that had been stranded on the 1981 Extended Play EP — the tense, dramatic “Porcelain” and the infectious “Cuban Slide” — plus a dynamic take on the Small Faces’ “What You Gonna Do About It.” All three enhance the reputation of the original Pretenders while filling out corners in their history, something that can’t quite be said about the deluge of rarities that follows over the next three discs. Not that the 13 previously unreleased cuts and six stray songs (mostly from B-sides and tribute singles) are bad by any means — there are quite a few gems in this batch, particularly the terrific country tune “Tequila” (dating from the first days of the band, but cut during Learning to Crawl), the searching outtake “When I Change My Life,” and a bunch of covers, including takes on the Beatles’ “Not a Second Time,” Warren Zevon’s “Reconsider Me,” Radiohead’s “Creep,” and Merrilee Rush’s “Angel of the Morn |
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