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A New World Record

Electric Light Orchestra

Rock - Released September 1, 1976 | Epic - Legacy

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Real Live Roadrunning

Mark Knopfler

Rock - Released November 14, 2006 | EMI

Recorded at the Gibson Amphitheatre in California on June 28, 2006, Real Live Roadrunning features live renditions of all of the cuts from Mark Knopfler and Emmylou Harris' collaboration of the same name, as well as solo cuts from each and Dire Straits classics like "So Far Away" and "Romeo & Juliet." The musicianship is as flawless as expected, but there's not a whole lot to separate the tunes here from their studio sisters. The accompanying DVD is a much better example of the pair's quiet dynamic, allowing both the duo and its talented band a broader spectrum on which to emit their wry tales of love, loss, and life.© James Christopher Monger /TiVo
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The End Of The Innocence

Don Henley

Rock - Released June 27, 1989 | Geffen

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Don Henley took some time before completing his highly anticipated third album, The End of the Innocence. Although he manages to duplicate much of the magic of his previous album, Henley has backed off of the synthesizers and expanded his musical palette. He uses background vocals to great effect, whether it's the tragic ballad "New York Minute" (with vocal group Take 6) or the angry rocker "I Will Not Go Quietly" (with Axl Rose of Guns N' Roses). His collaboration with Bruce Hornsby on the opening title track show a mature Henley singing about disillusionment over a beautiful piano riff that gives the song a timeless air of nostalgia. While he still tackles political issues and writes about small-town life in America, Henley also mixes in romantic ballads, including the closer "Heart of the Matter." In this epic song, Henley explores the emotional complexity of relationships and coming to terms with oneself during the aftermath. Throughout the album, he manages to balance being cynical yet hopeful, and his great melodies allow his poignant lyrics to penetrate. This album is highly recommended for those who like their pop music with a message.© Vik Iyengar /TiVo
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Shangri-La

Mark Knopfler

Rock - Released September 28, 2004 | EMI

Shangri-La, Mark Knopfler's fourth solo release and his first since breaking his collarbone, shoulder, and seven ribs in a motorcycle crash in March 2003, finds the eternally laid-back Dire Straits frontman in familiar territory. Instead of constructing a song cycle about his brush with mortality -- the wry "Don't Crash the Ambulance" aside -- he uses his warm baritone and effortless guitar work to ruminate on everything from the plight of the modern fisherman -- the beautiful and rustic "Trawlerman's Song" -- to the entrepreneurial skills of McDonald's founder Ray Kroc ("Boom, Like That"). Knopfler has more or less abandoned the British folk and Celtic-influenced pop that began to surface on his previous two recordings, opting instead for a full-blown yet quiet and considerate collection of country-folk ballads and bluesy, midtempo dirges that revel in their uncharacteristic sparseness -- one of the better examples of the latter is the gutsy, backwoods boxing tale "Song for Sonny Liston." Knopfler spent seven months away from the guitar in physiotherapy, but his melancholic slow-burn tone is as peat-smoked as ever, and his penchant for wrapping Americana-gothic folk around subjects that are uniquely English -- colliers, cockneys, the one-armed bandit man who meets his maker in the atmospheric opener, "5:15 A.M." -- is evident throughout. Dynamically, Shangri-La loses steam about three-quarters of the way through -- the cringe-inducing "Whoop De Doo" and the sweet but dull "All That Matters" bring things to a sleepy halt -- but Knopfler fans and lovers of Chet Atkins, Gordon Lightfoot, and J.J. Cale, as well as late-night poker players and early risers with an acerbic streak, will find much to love here. [A version of Shangri-La containing a bonus DVD/DVA is also available.]© James Christopher Monger /TiVo
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Chávez Ravine

Ry Cooder

Rock - Released September 6, 2019 | Nonesuch

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Arthur or the Decline and Fall of the British Empire

The Kinks

Rock - Released October 25, 2019 | Sanctuary Records

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When The Kinks Are The Village Green Preservation Society was released in November 1968, the Davies brothers unveiled an album that was out of time. It was a pop masterpiece that was steeped in nostalgia for an Olde England and some thought it was almost backward-looking, though today it is considered one of the most influential records of its time. What’s more, it proved that there’s more to life than just Lennon/McCartney and Jagger/Richards! Following that spectacular record, their fans were wondering what could possibly come next. The idea didn’t come from either of the brother’s creative brains but in fact from the producers of Granada Television who commissioned them for… a rock opera! The plot takes place in post-war England and revolves around Arthur, a carpet-layer who emigrates with his family to Australia as he struggles to find his place in the world. The story was inspired by the Davies brothers’ older sister Rose who moved down under in 1964 with her husband Arthur. Her move left a mark on Ray, who later composed Rosie Won’t You Please Come Home in 1966 for the album Face to Face. In any case, it provided more than enough material for the English songwriter to produce these deliciously crazy and ironic songs. In the end, the film was never shot and so Arthur was released in October 1969 with no visual aid.Almost as brilliant and nostalgic as , the record’s instrumental richness, skillful songwriting and intelligent compositions went to prove once again that The Kinks were just as creative as The Beatles and The Rolling Stones. On Shangri-La, one of their most impressive compositions, the Davies brothers mix pop, rock and blues. Dave’s guitar playing is particularly impressive, revealing both thick riffs (Brainwashed) and intricate ballads (Young and Innocent Days). Unfortunately, the public didn’t exactly lap up the unusual, daring songs of this baroque farandole, instead opting for The Who’s Tommy. Though fortunately, time has been kind to Arthur and today the record is considered a genuine masterpiece. © Marc Zisman/Qobuz
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Morgenstund

Schiller

Electronic - Released March 22, 2019 | NITRON concepts

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Arthur or the Decline and Fall of the British Empire

The Kinks

Rock - Released March 30, 2018 | Sanctuary Records

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When The Kinks Are The Village Green Preservation Society was released in November 1968, the Davies brothers unveiled an album that was out of time. It was a pop masterpiece that was steeped in nostalgia for an Olde England and some thought it was almost backward-looking, though today it is considered one of the most influential records of its time. What’s more, it proved that there’s more to life than just Lennon/McCartney and Jagger/Richards! Following that spectacular record, their fans were wondering what could possibly come next. The idea didn’t come from either of the brother’s creative brains but in fact from the producers of Granada Television who commissioned them for… a rock opera! The plot takes place in post-war England and revolves around Arthur, a carpet-layer who emigrates with his family to Australia as he struggles to find his place in the world. The story was inspired by the Davies brothers’ older sister Rose who moved down under in 1964 with her husband Arthur. Her move left a mark on Ray, who later composed Rosie Won’t You Please Come Home in 1966 for the album Face to Face. In any case, it provided more than enough material for the English songwriter to produce these deliciously crazy and ironic songs. In the end, the film was never shot and so Arthur was released in October 1969 with no visual aid.Almost as brilliant and nostalgic as , the record’s instrumental richness, skillful songwriting and intelligent compositions went to prove once again that The Kinks were just as creative as The Beatles and The Rolling Stones. On Shangri-La, one of their most impressive compositions, the Davies brothers mix pop, rock and blues. Dave’s guitar playing is particularly impressive, revealing both thick riffs (Brainwashed) and intricate ballads (Young and Innocent Days). Unfortunately, the public didn’t exactly lap up the unusual, daring songs of this baroque farandole, instead opting for The Who’s Tommy. Though fortunately, time has been kind to Arthur and today the record is considered a genuine masterpiece. © Marc Zisman/Qobuz
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Arthur

The Kinks

Rock - Released October 10, 1969 | Castle Communications

When The Kinks Are The Village Green Preservation Society was released in November 1968, the Davies brothers unveiled an album that was out of time. It was a pop masterpiece that was steeped in nostalgia for an Olde England and some thought it was almost backward-looking, though today it is considered one of the most influential records of its time. What’s more, it proved that there’s more to life than just Lennon/McCartney and Jagger/Richards! Following that spectacular record, their fans were wondering what could possibly come next. The idea didn’t come from either of the brother’s creative brains but in fact from the producers of Granada Television who commissioned them for… a rock opera! The plot takes place in post-war England and revolves around Arthur, a carpet-layer who emigrates with his family to Australia as he struggles to find his place in the world. The story was inspired by the Davies brothers’ older sister Rose who moved down under in 1964 with her husband Arthur. Her move left a mark on Ray, who later composed Rosie Won’t You Please Come Home in 1966 for the album Face to Face. In any case, it provided more than enough material for the English songwriter to produce these deliciously crazy and ironic songs. In the end, the film was never shot and so Arthur was released in October 1969 with no visual aid.Almost as brilliant and nostalgic as , the record’s instrumental richness, skillful songwriting and intelligent compositions went to prove once again that The Kinks were just as creative as The Beatles and The Rolling Stones. On Shangri-La, one of their most impressive compositions, the Davies brothers mix pop, rock and blues. Dave’s guitar playing is particularly impressive, revealing both thick riffs (Brainwashed) and intricate ballads (Young and Innocent Days). Unfortunately, the public didn’t exactly lap up the unusual, daring songs of this baroque farandole, instead opting for The Who’s Tommy. Though fortunately, time has been kind to Arthur and today the record is considered a genuine masterpiece. © Marc Zisman/Qobuz
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Shangri-La

Edenbridge

Rock - Released September 16, 2022 | AFM Records

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Burnin'

Esther Phillips

Soul - Released December 6, 2011 | Rhino Atlantic

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Shangri-LA DEE DA

Stone Temple Pilots

Alternative & Indie - Released June 19, 2001 | Atlantic Records

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Mirage

Digitalism

Electronic - Released May 13, 2016 | Magnetism Recordings Co.

If Mirage looks like an Alan Parsons or Pink Floyd album from the '70s mixed with a bit of Underworld's usual minimalism, there's good reason. This elaborate and excellent album borrows elements from all those acts and both of those eras, but more than anything, it's big, bordering on epic, pumping and playing out like Underworld's Beaucoup Fish taking listeners on a journey like Floyd's Dark Side of the Moon but coming on with indie spirit, and with every element in place for a John Tejada remix. Aptly titled numbers abound as "Dynamo" chugs and sputters like Kraftwerk just got turned onto breaks and trap, while the indie dance anthem "Battlecry" could be successfully covered by Kasabian, the Klaxons, or the Shamen reunited. "Mirage, Pt. 1" and "Mirage, Pt. 2" add up to 12 minutes of blissful layered synth, temporarily allowing the listener to drift. Still, most of Mirage, the album, bursts out of the speakers with purpose and drive, especially "The Ism," which sounds as if an early-'90s hip-hop CD has gone hilariously haywire. The LP even kicks the listener outside with the life-affirming, beach ball-kicking closer called "Blink." While that 12-minute break in the middle suggests that an ambient album from the German duo would be quite desirable, Mirage is about impetus, hooks that won't quit, and slick synth constructions. Justice, Kavinsky, Moroder, and even John Carpenter fans should give it a go.© David Jeffries /TiVo
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Let Them Drag My Soul Away: Singles, Demos, Sessions And Live Recordings (1979-1982)

Dead Or Alive

Alternative & Indie - Released July 21, 2023 | Cherry Red Records

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Dancemenco

Paco Versailles

Pop - Released March 26, 2021 | Paco Versailles

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Ticket To Shangri-La

Young Gun Silver Fox

Alternative & Indie - Released December 1, 2023 | Mixto Records

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In the Mod

Glenn Miller & His Orchestra

Pop - Released July 24, 1967 | RCA - Legacy

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Earth

EOB

Alternative & Indie - Released April 17, 2020 | Capitol Records

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Recruited by Radiohead because of his likeness to Morrissey, guitarist Ed O’Brien is embarking on a career as a frontman almost thirty years after the Oxford band’s debut, and thirty years of humming backing vocals in the studio. His vocation to write music started to develop during his trip to Brazil where he had taken a break for several months with his family. At first, he was looking for someone else to sing but soon changed his mind after listening to recordings of his own voice.The album is inspired by Primal Scream’s Screamadelica, which O’Brien admits was his main influence. He is joined by many familiar faces such as Radiohead’s bassist Colin Greenwood, Portishead’s guitarist Adrian Utley, Wilco’s drummer Glenn Kotche and, most importantly, by childhood friend and producer Flood, who just so happens to have worked for Depeche Mode, U2 and The Smashing Pumpkins and helped O’Brien to produce the album. Earth has a tendency to go from lighter acoustic parts to darker, more turbulent parts, like on Banksters, which starts off with a bossa nova feel before moving on to a chorus that sounds like a mix between The White Stripes, Led Zep and Latin music, or as O’Brien calls it, EOB. The same can be said for the samba riff and kick rock on Brasil and the acoustic bass overlaid by the electric guitar on Mass, which is one of the highlights of this debut album that has unveiled some great potential. © Smaël Bouaici/Qobuz
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Montbray

Sylvie Kreusch

Pop - Released November 5, 2021 | Sony Music Entertainment

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Trouble in Shangri-La

Stevie Nicks

Pop - Released May 1, 2001 | Warner Records

2001's Trouble in Shangri-La was recorded over a six-year period and it absolutely sounds like it. Belabored over by seven different producers in a dozen different studios with more than 40 guest musicians, Shangri-La is definitely not Nicks' worst album (that would be Street Angel), but it's definitely her least cohesive. Flirting with country, pop, and even a bit of alternative rock, the album managed to be quite a commercial success, but even its biggest hits—"Planets of the Universe" (a Nicks song demoed and rejected for Rumours, reworked here into a slick bit of melodrama that incredibly managed to top the dance charts) and the blandly anonymous "Every Day"—seem to have left little lasting impact. © Jason Ferguson/Qobuz