Your Innocence [Import]

Product Description
Her Fourth Single Release. This One's the Openiong Theme for the Japanese TV Drama 'beauty Seven'.

Your Innocence,Hiro,Toys Factory,World Music

Average customer rating: Now it's possible to get your Partch all in a row

The Harry Partch Collection, Volume 1 Manufacturer: New World Records ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Ballets & Dances | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical | Indie Music | Stores | Music Similar Items: The Harry Partch Collection, Volume 2 The Harry Partch Collection Volume 3 The Harry Partch Collection, Volume 4 Genesis of a Music: An Account of a Creative Work, Its Roots and Its Fulfillments (Da Capo Paperback) Harry Partch: Enclosure 7 ASIN: B0002WZTKC Release Date: 2004-09-28

Tracks:

1. Eleven Intrusions (1949-50)
2. Eleven Intrusions (1949-50)
3. Eleven Intrusions (1949-50)
4. Eleven Intrusions (1949-50)
5. Eleven Intrusions (1949-50)
6. Eleven Intrusions (1949-50)
7. Eleven Intrusions (1949-50)
8. Eleven Intrusions (1949-50)
9. Eleven Intrusions (1949-50)
10. Eleven Intrusions (1949-50)
11. Eleven Intrusions (1949-50)
12. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Castor & Pollux---A Dance for the Twin Rhythms of Gemini
13. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Castor & Pollux---A Dance for the Twin Rhythms of Gemini
14. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Ring Around the Moon---A Dance for Here and Now
15. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Ring Around the Moon---A Dance for Here and Now
16. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Ring Around the Moon---A Dance for Here and Now
17. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Ring Around the Moon---A Dance for Here and Now
18. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
19. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
20. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
21. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
22. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
23. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
24. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
25. Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
26. Ulysses at the Edge (1955)

Album Description

This newly remastered reissue marks a welcome return to the catalog of the first volume of the classic 4-CD collection that was formerly available on the CRI label. The works recorded on this disc span the first six years of what Harry Partch (1901-1974), slightly tongue-in-cheek, called the "third period" of his creative life. They show him moving away from the obsession with "the intrinsic music of spoken words" that had characterized his earlier output (the vocal works of 1930-33 and 1941-45) and towards an instrumental idiom, predominantly percussive in nature. This path was to take him through the "music-dance drama" King Oedipus (1951)—-the culmination of his "spoken word" manner—to the "dance satire" The Bewitched (1954-55), in which his new percussive idiom manifests itself. The three works on this disc show Partch before, during, and after this period of transition. In their quiet, forlorn way, the Eleven Intrusions are among the most compelling and beautiful of Partch's works. The individual pieces were composed at various times between August 1949 and December 1950, and only later gathered together as a cycle. Nonetheless they form a unified whole, with a nucleus of eight songs framed by two instrumental preludes and an essentially instrumental postlude. Although foreshadowed by the dance sequences of King Oedipus, the Plectra and Percussion Dances (1952) are the first of Partch's major works to be wholly instrumental in conception. They stand in relation to Oedipus as a satyr play in relation to a Greek tragedy—hence the work's subtitle, "Satyr-Play Music for Dance Theater." He felt that after the prolonged period of composition and production of Oedipus it was "almost a necessity to give vent to feelings and ideas, whims and caprices, even nonsense, that seem to have no place in tragedy." The final work on this disc is Ulysses at the Edge, written at Partch's studio at Gate 5 in July 1955. Ulysses, which Partch describes as a "minor adventure in rhythm," is unique among his mature compositions in that, in its original form, it did not call for any of his own instruments. The version recorded here, for alto and baritone saxophones, Diamond Marimba, Boo, Cloud-Chamber Bowls, and speaking voice, is considered the third version of the piece.

Customer Reviews:

Now it's possible to get your Partch all in a row.......2006-02-20

Harry Partch is the quintissential mad genius of music--his image of music that was non-Eurocentric led to him devising his own tonal scale based on ancient Greek and Asian methods and then creating his own instruments. This series release of Partch music lets one organize his Partch tastes and get a real sense of his progress through time. This disc is superb for the Intrusions, ghostly little pieces that were my first introduction to this fine composer. I would also highly recommend volume 3, which has Barstow, one of my favorite Partch pieces.

Be prepared. This is classical music you have not been prepared for. If you're already a fan of Partch, aren't you glad SOMEONE is getting all his amazing stuff together in one tightly knit package?

Average customer rating:

Innocence Marcey Hamm Manufacturer: Music By Marcey ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | New Age | Styles | Music General | Alternative Rock | Indie Music | Stores | Music General | New Age | Indie Music | Stores | Music Similar Items: Maitreya Inward Harmony Dream Partner Anthem to Soul Z ASIN: B00005V13F Release Date: 1997-05-19

Tracks:

1. Introduction
2. A new Direction
3. Trust the Flow
4. Self-Discovery
5. Removing the Masks
6. Patience
7. Taking the Plunge

Album Description

INNOCENCE is all about trust. Trust is one of the keys that assist you in learning to build the bridge between your outer and inner life. INNOCENCE works by being very soothing and nurturing, yet stimulating to your inner worlds. The stronger this bridge, the more keen your intuition becomes. Thus your inner journey of self-discovery, aided by your intuition, becomes one of freedom. So it is very important to have trust in order to unlock the true riches of life. INNOCENCE is a very beautiful composition and one that you won't want to miss in your life's journey.

For example, there was a Neo-Natal nurse who played INNOCENCE for all the newborn babies in a hospital nursery. She had one case where a baby had a brain stem injury. The doctors were sure the baby would die. The nurse played INNOCENCE for this child continuously. The baby is now home and can recognize its parents and even smiles.

Average customer rating: THE SHAPE OF THINGS TO COME a voice teacher and early music fan

George Frideric Handel: Esther Manufacturer: CORO ProductGroup: Music Binding: Audio CD All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Sonatas | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Oboe | Reeds & Winds | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Classical | Indie Music | Stores | Music Similar Items: Handel: Jeptha Handel - Joshua / Kirkby, Bowman, Oliver, Ainsley, George, The King's Consort Handel: Alexander's Feast Handel: Joseph and his Brethren / Robert King Handel - Judas Maccabaeus / Kirkby · Denley · Bowman · MacDougall · The King's Consort · King ASIN: B0001B0A94 Release Date: 2004-06-01

Tracks:

1. Overture Andante - Larghetito - Allegro
2. Recitative Habdonah/Haman: " 'Tis greater far to spare"
3. Aria Haman: " Pluck root and branch from out the land"
4. Recitative Persian Officer: "Our souls with ardour glow"
5. Chorus: "Shall we the God of Israel fear?"
6. Recitative First Israelite: " Now persecution shall lay by her iron rod"
7. Aria: " Tune your harps to cheerfull strains"
8. Chorus: " Shall we of servitude complain"
9. Aria Israelite Woman: " Praise the Lord with cheerful noise"
10. Recitative Israelite Woman: " 0 God, who from the suckling's mouth"
11. Aria Second Israelite: " Sing songs of praise, bow down the knee"
12. Chorus: " Shall we of servitude complain"
13. Recitative Priest of the Israelites: " How have our sins provoked the Lord!"
14. Chorus: "Ye sons of Israel mourn"
15. Aria Priest ofc The Israelites: "0 Jordan, Jordan, sacred tide"
16. Chorus: "Ye sons of Israel mourn"
17. Andante
18. Allegro
19. Adagio
20. Allegro

Tracks:

1. Recitative Esther/Mordecai: " Why sits that sorrow on thy brow?"
2. Aria Mordecai: " Dread not, righteous Queen, the danger"
3. Recitative Esther: "I go before the King to stand"
4. Aria Esther: " Tears assist me, pity moving"
5. Chorus: " Save us, O Lord"
6. Recitative Ahasuerus/Esther: "Who dares intrude into our presence"
7. Duet Esther/Ahasuerus: " Who calls my parting soul from death?"
8. Aria Ahasuerus: "0 beauteous Queen, unclose those eyes!"
9. Recitative Esther: " If I find favour in thy sight"
10. Aria Ahasuerus: " How can I stay when love invites?"
11. Recitative Third Israelite/Fourth Israelite: " With inward joy his visage glows"
12. Chorus: " Virtue, truth and innocence"
13. Arioso Priest of the Israelites: " Jehovah, Crown'd with glory bright"
14. Chorus: " He comes, he comes to end our woes"
15. Recitative Ahasuerus/Esther: " Now, a Queen, thy suit declare"
16. Arioso Haman: " Turn not, a Queen, thy face away"
17. Aria Esther: " Flatt' ring tongue, no more I hear thee!"
18. Recitative Ahasuerus: "Guards, seize the traitor, bear him hence!"
19. Aria Haman: " How art thou fall'n from thy height!"
20. Chorus: "The Lord Our enemy has slain"

Album Description

Handel's oratorios vary greatly in their presentation. In many ways, Esther is a rarity;it is by far the most intimate, not surprisingly as it was composed for the Duke of Chandos. The Duke's Palladian palace near the village ofEdgware had not been completed in time for the first performance so this may have taken place (as did Acis and Galatea) in the intimate surroundings of a small church, St Lawrence, Whitchurch.

We decided, therefore, that we should attempt to convey that intimacy of performance on disc; so we performed in the round with microphones in the middle, the orchestra in front of me, the choir behind and the soloists alongside. The result is everything that chamber music should be where players and singers can enjoy every aspect of Handel's masterpiece.

"The 'sound' of Esther, superbly communicated in the recorded performance here, is pure enchantment... The choral singing has an exceptional grandure, and the instrumental playing a shimmering beauty. Among the soloists, none of whom is less than accomplished, Nancy Argenta and Michael Chance dominate... Both singers affirm a new golden age of Handel interpretation".

Customer Reviews:

THE SHAPE OF THINGS TO COME.......2007-01-26

Esther is the first of Handel's oratorios by a good many years, written when he was 33 and enjoying the patronage of the Duke of Chandos. When he later became his own impresario and was running into trouble as a composer and producer of Italian operas he turned to oratorio as a strategic alternative, but at this early date his concern was to deliver staged entertainments for the Duke, and Esther, contemporary with the work that later gained the title Acis and Galatea, seems to have been just an unusually serious specimen of its type.

As often with Handel, there is no fully official version of the score, and this particular score may not even be fully complete from any point of view. The libretto seems to have been the work of someone in the frivolously named association of big literary figures called the Scriblerus Club, perhaps Dr John Arbuthnot, dedicatee of Pope's great poetic Epistle, but Pope himself may have had a hand in it too. As we have it here, the work breaks into two very asymmetrical parts. Scenes 1 and 2 start with a recitative lasting only seconds from Habdonah followed by a longer one in which Haman announces his onslaught on the Israelites, and from there on feature only anonymous participants. Esther herself and the other named characters make their appearance first in scene 4, but the change of tone occurs in scene 3. At this point the music gains gravity first in the chorus Ye sons of Israel with its extraordinary modulations and then in the striking aria O Jordan, Jordan. I myself feel that this weightier tone is maintained to the end, whether or not the writer of the liner note is correct in saying that the long final chorus with solos is out of proportion to its context.

Throughout - in the first part as well as in scenes 3-6 - the instrumental writing is vivid and varied, with an extraordinary pizzicato accompaniment to Tune your harps and then an even more extraordinary obbligato from the harp itself at Praise the Lord. The harpist is no less than Jan Walters, but sometime I would like to see the score and check out what seem some odd rhythmic interactions here between her and the soloist Nancy Argenta. There are no fewer than ten vocal soloists in a work lasting a little over an hour and a quarter, and a very distinguished bunch they are. I was particularly pleased to find Michael Chance in the countertenor role of the Priest of the Israelites as I admire the strength of his tone, but there is no real weakness among them, unless Lynda Russell as Esther has a couple of very slightly awkward high notes in Flatt'ring tongue, which must be a little nerve-wracking to sing as she has to find her note for herself unaccompanied at the start and later at the reprise. You will see some big names among the instrumentalists too, with Crispian Steele-Perkins on the trumpet making a predictably fine contribution towards the end, and of course with Jan Walters in that marvellous harp part early on. The chorus gets some wonderful work to do, and rises to it fully. I really am unable to worry about the proportionateness of the final chorus when I hear that incomparable Handelian build of tone, sung by 18 singers and sounding as if there were 100.

There is a good liner note by Graydon Beeks Jr, not perhaps the last word in lucidity (neither is the plot of the libretto come to that) but worth re-reading. Harry Christophers himself contributes a short foreword largely concerned with the recording process and highlighting the contributions of Mark Brown and Mike Hatch, his long-time technical collaborators. I was interested to see also the name of Geoff Miles in a role described as `editor'. What responsibilities this involved is not stated and perhaps I ought to know without being told, but I know the work of Geoff Miles as recording engineer from elsewhere and it gave me confidence just to see that he is involved in the proceedings, and the technical work is predictably excellent.

My collection of Handel oratorios is now almost complete, and what a wonderful musical experience they are. Each is unique in its own way, but Esther is unique in some very special ways, and I suggest that you do not wait until you are my age to get to know it.

a voice teacher and early music fan.......2006-04-04

Handel began composing the oratorio 'Esther' in 1718. There is some confusion as to who actually worte the libretto for it, but the story follows very closely the biblical story of Esther in the Book of Esther in the old testament. The story tells of a plot of Haman, the Agagite (Michael George-bass) jealous and powerful vizier of King Xerses (Ahasuerus-Tom Randle-tenor) of Persia(485-464), to destroy in a single day all the Jews living in the Roman Empire. He is moved to this out of hatred for the Jewish servant Mordecai (Mark Padmore-tenor),who for religious motives refuses to render him homage. The day of the proposed massacre is determined by lot. Meanwhile, Esther,niece and adopted daughter of Mordecai, is chosen Queen by King Xerses. She averts the pogrom planned against her people and has the royal decree of extermination reversed against Haman and the enemies of the Jews. Mordecai replaces Haman, and together with Esther, works for the welfare of their people. As you can see this makes for an interesting Oratorio, which it truly is!
This is a "small" contribution compared to many of Handel's other works. However, it is not "small" in a musical sense. There is much creativity on the part of Handel as to orchestral scoring; he exploits his small orchestra and chorus in surprising ways, introducing new vocal and instrumental colours throughout the score, adding and subtracting instruments and voices in many and varied ways. This is a listening surprise as it moves along. And what a great performance on the part of the Christophers as well as some outstanding vocal soloists. Mark Padmore's (Mordecai) aria "Tune Your Harps to Cheerful Strains" was superb as was the Duet between Lynda Russell (Esther) and Tom Randle (Ahasuerus).But the aria that really drew me into the entire drama was sung by Michael Chance (Priest) "O Jordan, Jordan, sacred Tide." It was perfection itself!!!!The Chorus was extremely good and dictionally perfect. It is a great listening experience.

Average customer rating: Jed's Delivers Once Again! THIS CD ROCKS!! Buy Your Own Copy!

Kachina Theater Manufacturer: Jed's a Millionaire ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Pop Rock | Pop | Styles | Music General | Alternative Rock | Indie Music | Stores | Music Rock | Alternative Rock | Indie Music | Stores | Music ASIN: B00006RVH9 Release Date: 2002-08-20

Tracks:

1. Poisoned Progress
2. Got To Believe
3. One Heart Town
4. She Says
5. Shady Side Of Town
6. Bullet Brought Revenge
7. To The River
8. Shine Like The Sun
9. Fools
10. Prodigal

Album Description

Kachina Theater is the second full length release from Jed's A Millionaire. Kachina Theater, produced my Michael Blue at Revolver Recordings, displays a more mature and defined brand of Jed's A Millionaire music. Named after a Historical Landmark movie house in Scottsdale, since demolished for a new shopping mall. Kachina Theater represents the notion that although progress is important, each of us must decide at what costs.

Customer Reviews:

Jed's Delivers Once Again!.......2002-11-17

After the release of their first album, I felt that the sophmore release would never be able to measure up. I am happy to say that Jed's (as usual) proved me wrong.
Kachina Theater is the inevitable evolution of a band which continues to write and record songs that stir the strongest and most vivid visual imagery of any band. As with their first album, this cd rocks. The catchy and compelling guitar rifts, drums, and bass keep you returning to the cd, while the vocals and lyrics draw you into a place you are happy to visit and proud to be a part of. Shawn Harrington writes an amazing song. It won't be long before you turn on your radio (in any area of the country) and will hear this group. Beat the crowds... Buy the cd... you won't be sorry.You Gotta Believe!

THIS CD ROCKS!!.......2002-10-19

I heard of this band from a friend that moved here from the U.S.. They are truly gifted artists and the lead singer has the most amazing voice. I love the CD so much it has not left my CD player since it arrived.

Buy Your Own Copy!.......2002-10-17

A friend of mine from AZ told me that I needed to buy this Cd, so I did. One of the best Cd purchases I have ever made. I have let a lot of my friends and family listen to or borrow my copy and everybody has their own favorite. I have had a hard time getting it back from some people so I've been telling them to buy their own copy! It's very versatile, there's something for everybody. I just hope that the band is able to come to Chicago soon, so I can see them live.

Average customer rating:

Purcell: Theatre Music Manufacturer: Capitol ProductGroup: Music Binding: Audio CD Purcell, Henry | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Purcell, Henry | Composers | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music CDs $7 - $10 | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music All Bargain Titles | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music ASIN: B000002S60 Release Date: 1995-02-14

Tracks:

1. The Fairy Queen; 'A Mid Summers Night Dream': Entry of Phoebus (Act 4)
2. The Fairy Queen; 'A Mid Summers Night Dream': Sym (Act 4)
3. The Fairy Queen; 'A Mid Summers Night Dream': Dance for the Haymakers (Act 3)
4. The Fairy Queen; 'A Mid Summers Night Dream': First Music
5. The Fairy Queen; 'A Mid Summers Night Dream': Dance for the Fairies (Act 3)
6. The Fairy Queen; 'A Mid Summers Night Dream': Sym (Act 5)
7. The Fairy Queen; 'A Mid Summers Night Dream': Song of the Night (act 2)
8. The Fairy Queen; 'A Mid Summers Night Dream': Prld (Act 2)
9. The Fairy Queen; 'A Mid Summers Night Dream': Second Music: Rondeau
10. The Fairy Queen; 'A Mid Summers Night Dream': First Act Tune
11. The Indian Queen: Trumpet Tune (Act 2)
12. The Indian Queen: Faurth Act Tune
13. The Indian Queen: Song: 'I attempt from love's sickness to fly in vain'
14. The Indian Queen: Sym (Act 2)
15. The Indian Queen: First Music
16. The Indian Queen: Sym (Act 3)
17. The Indian Queen: Air (Act 5)
18. King Aurthur: Trumpet Tune (Act 5)
19. King Aurthur: Second Music: Air
20. King Aurthur: Sym
21. King Aurthur: Passacaglia
22. King Aurthur: Aria of Venus: 'Fairest Isle, all isles excelling'
23. King Aurthur: Second Act Tune: Hornpipe
24. Bonduca: Ov
25. The Old Bachelor: Bourree
26. Abdelazar: Rondeau
27. Bonduca: Air
28. Pausanias: Air of Pandora: 'Sweeter than roses or cool evening breeze'
29. The Married Beau: Jig
30. Distressed Innocence: Air
31. Amphitryon: Sarabande
32. The Double Dealer: Air
33. Dido and Aeneas: Overture (Act I) - English CO/barbirolli
34. Dido and Aeneas: Shake the Cloud - Heather Harper/Ambrosian Singers/Sir John Barbirolli
35. Dido and Aeneas: Ah! Ah! Belinda - Victoria de los Angeles/Ambrosian Singers/Sir John Barbirolli
36. Dido and Aeneas: When monarchs unite - Victoria de los Angeles/Heather Harper
37. Dido and Aeneas: But ere we this perform - Victoria de los Angeles/Heather Harper/Elizabeth Robson/Sibyl Michelow/Colin Tinley/Derek Simpson
38. Dido and Aeneas: But death, alas! Icannot shun...When I am laid in earth - Victoria De Los Angeles
39. Dido and Aeneas: With drooping wings - Ambrosian Singers/Sir John Barbirolli

Average customer rating:

A Glimpse of Innocence Gates Called Beautiful Manufacturer: Chaos Records ProductGroup: Music Binding: Audio CD Pop Rock | Pop | Styles | Music ASIN: B000CAKLO8 Release Date: 2005-10-18

Average customer rating:

Unity Manufacturer: Celeste Lauren ProductGroup: Music Binding: Audio CD General | New Age | Styles | Music ASIN: B000CA727W Release Date: 2004-11-30

Average customer rating:

This Time Manufacturer: Sol Disk ProductGroup: Music Binding: Audio CD General | Blues | Styles | Music ASIN: B000CAETRS Release Date: 2002-10-01

Average customer rating:

Your Innocence Hiro Manufacturer: Toys Factory ProductGroup: Music Binding: Audio CD Japan | Far East & Asia | International | Styles | Music General | International | Styles | Music International | Imports | Stores | Music ASIN: B00005MG0V

Tracks:

1. Your Innocence
2. Everytime Everywhere
3. Days Itsukano Fukei

Album Details

Her Fourth Single Release. This One's the Openiong Theme for the Japanese TV Drama 'beauty Seven'.

International Music:

1. 6.0 [Import]
2. African Tribal Drums
3. Alhambra October 29,1958 [Import]
4. All This Sounds Gas [Import]
5. Arabia Chilled [Import]
6. Arabian Classics for Belly Dance
7. Arriba Saia, Vol. 6: O Gato [Import]
8. At the End of the Day/Faith & Inspiration [Import]
9. Bambas & Biritas, Vol. 1 [Import]
10. Buona Fortuna [Import] [Original recording remastered]

International Music

International Music