12 best rubie s fake diamonds

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CD, PLAYS FINE

The double-disc soundtrack to the blockbuster Saturday Night Fever (available on a single CD) marks both the zenith and the nadir of disco. It was such a popular sensation that it catapulted the music to stratospheric levels of mainstream popularity, and the album was the bestselling movie soundtrack of all time (until The Bodyguard, and then Titanic). But "Disco Fever" became so hot, it could only flame out just as quickly (along with the careers of the Bee Gees). With this record, disco became a phenomenon and a fad. The Bee Gees' contributions are the strongest, especially the once-ubiquitous "Stayin' Alive" and "Night Fever," and they still hold up. Then there's Walter Murphy's "A Fifth of Beethoven," a trivial piece of pop ephemera that may have set new standards for ephemeral triviality. How often will you listen to this record--and how much will you play when you do? There's no telling--but it remains a classic piece of pop history, and when you're in the mood it's a good thing to have around. --Jim Emerson

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It's been more than three years since Iron & Wine's last studio effort, The Shepherd's Dog, which was widely praised by fans and critics alike. While Beam's early albums were sparse, intimate solo affairs, Shepherd's introduced layered textures and poly-rhythmic sounds that allowed his lyrics to spring to life. It's only natural then, that Beam took this sonic collage and built upon it for his new album, Kiss Each Other Clean. The result is a brighter, more focused record that retains the idiosyncratic elements that make Iron & Wine such an engaging band.



Beam continued to mine folk, African, rock, country, and Jamaican musical traditions, but switched the focus of his studio lens to 60s and 70s pop influences for the Kiss Each Other Clean sessions. Mingling memories of his parents' record collection and hits heard between the static of scanning the car radio on family drives for inspiration, Iron & Wine is once again pushed into new territory. Multi-part vocal arrangements reminiscent of Buckingham / Nicks era Fleetwood Mac albums and classic Motown singles permeate "Half Moon" and "Godless Brother." Electronic synthesizer sounds percolate through "Monkeys Uptown" and "Glad Man Singing" recalling the adventures of Elton John and Stevie Wonder. The horn sections on "Big Burned Hand" and "Lazarus" match the confidence of Beam's vocal delivery and bring an entirely new dimension to Iron & Wine. Kiss Each Other Clean's dynamics and surprises are the latest chapter in Beam's studio collaborations.



Producer Brian Deck returned for the Kiss Each Other Clean sessions, continuing the creative partnership that he and Beam have developed over the course of three albums. The comfort level and respect found between Deck and Beam allows for a unique working relationship where they push each other to experiment, while still letting the songs naturally evolve in the studio. The Shepherd's touring rhythm section Matt Lux, Ben Massarella (Califone), and Chad Taylor (Chicago Underground Duo) arrived early for live recording of basic tracks at Chicago's Engine Studios and overdubs continued for about a year. Joe Adamik (Califone), Jim Becker (Califone), Thomas Bartlett (Doveman), Stuart Bogie (Antibalas), Rob Burger and Sarah Simpson round out the other musicians brought into the sessions to complement and fully realize the songs on Kiss Each Other Clean.



Kiss Each Other Clean's profound artistic statement continues to move the listener's expectation forward with regard to what one can expect from Iron & Wine. Beam's masterful storytelling and musical experimentation relies on the conflict from combining the happy and the sad, the heavy and the light, and creating an ongoing narrative between the artist and the listener. It's the blending of all of these elements that allows Kiss Each Other Clean the versatility to paint a true portrait of life.

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Lostprophets ~ Fake Sound Of Progress

The Lostprophets CD booklet proclaims: "6 bored kids = melody-aggression-emotion-energy-intelligence." What it doesn't say, but should: "If you like Incubus, you'll like Lostprophets." The British outfit mines much of the same territory as their more thoughtful nu metal, new millennium brethren, mixing an earnest Incubus hippie vibe with Creed-like sincerity and dash a of Faith No More oddity and syncopation for a commercial, if not groundbreaking, sound. Vocalist Ian Watkins has personality and passion and the band's playing is crisp and dynamic. Turntables, loops, and keyboards lend depth and hip-hop flavor to the melodic, tightly wound rock. The 11 songs here are all uniformly strong and intense, if not always deep and unique. --Katherine Turman

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From the golden age of radio and the birth of the studios come these historic instrumental recordings. Many of these classic recordings have become all-time standards. An amazing collection with a whopping 75 songs on 3 CDs. Contains original versions of smooth instrumentals by Glenn Miller, Les Baxter, Artie Shaw, Mantovani, Les Paul, Jackie Gleason, Guy Lombardo, Percy Faith, and Benny Goodman.

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CrazySexyCool CD LaFace Arista, 73008 26009 2, 1994, 16 Track

On their second album, the multiplatinum trio TLC have given up most of their debut's tomfoolery and have matured into a very modern deep Southern soul, watered and nurtured in hip-hop culture. The album's centerpiece is the magnificent "Waterfalls," a revival meeting of new jack swing, gospel, and Prince (whose "If I Was Your Girlfriend" they turn inside out). Their spare, surprising arrangements rely on the kind of live instrumentation they single-handedly brought back in style. Lyrically, CrazySexyCool concentrates on love at the point when it's grown deeper but also more frustrating--for every great love song there's a great cheating song--and the group's singing and rapping balances sassiness with depth and nuance. --Douglas Wolk

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2009 sophomore album from the Jacksonville, FL, rockers produced by Howard Benson (Daughtry, Seether, All-American Rejects). Red Jumpsuit Apparatus' breakthrough hit 'Face Down' earned the band platinum status and has been streamed over 16.6 million times on MySpace. Since the release of their debut album Don't You Fake It, RJA has also been an active force for a wide array of charitable organizations and social causes, including teen suicide prevention (co-headlining the US Take Action Tour with My Chemical Romance and Rise Against), mental health parity and a strong commitment to the National Coalition Against Domestic Violence, teaming up with their label Virgin Records, to raise funds.

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Finally the king of rock 'n' roll available in the critically acclaimed Essential series! The Essential series has sold 18 million units worldwide. Definitive, career-spanning and comprehensive including 17 number one hits. This is a CD must have for die-hard fans and casual music buyers commemorating the 30th anniversary of Elvis's death on 2007. Mastered using DSD technology for optimum sound quality.

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Finding Beauty In Negative Spaces is Seether's 3rd major studio album and the bands newest album in 15 months. The first single 'Fake It' is already released to radio. "We've been working very hard on this album, and it's been quite some time since we've had a single at radio, so we're extremely excited to be back in the saddle, so to speak. We've adopted an ''anything goes'' attitude for this album. We didn't restrict ourselves to straight rock songs, and we were completely open to new ideas," says singer/guitarist Shaun Morgan. "This is not by any stretch of the imagination a concept album, nor is it a 'woe is me, I'm sober' album. We explored our melodic side a little bit more, and as a result, I believe this is our best collective effort to date. It may come as a surprise to some, but we feel like we've grown and are starting to find our place with regards to the sound of the band."

Seether returns with another workaday outing that rocks like late 2001. Finding Beauty in Negative Spaces is virtually interchangeable with any previous Seether disc, as well as pretty much anything by the likes of Nickelback, Shinedown, and other "post-grunge" rock bands. True, "Fake It" has zeal, and "Rise Above This" may very well provide the soundtrack to late-night, soul-searching sessions for teenagers from Cape Cod to Cape Town. Shaun Morgan’s often unnecessarily profane lyrics are another problem. Witness the gauche "FMLYHM," which borrows from lyrical ideas that sounded novel when Trent Reznor sang them in "Closer" more than a decade ago but now just sound juvenile and unnecessarily angry. Same goes for the numbing epic "No Jesus Christ" and the closer, "Waste." Throughout, the band shows a lack of imagination that may ultimately prove fatal. In all, this is cookie-cutter rock that really doesn’t. --Jedd Beaudoin

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This extraordinary double-CD release from Billy Joel was recorded live at Madison Square Garden during his recent record-breaking TWELVE sold-out shows in New York City and features amazing live versions of greatest hits and fan favorites!

12 Gardens Live is worth the cost just for Billy Joel's still-robust renditions of "My Life," "Only the Good Die Young," "Movin' Out (Anthony's Song)," and "Big Shot"--time off has not taken a toll on the piano man's pipes, and his playing remains on the right side of rock critics' expectations--but the big surprise here are the sleeper hits; by rights, they should sink like stones amid a sea of universally loved signatures. Instead they shimmer brightly, landing on ears like undervalued gems. "Goodnight Saigon," "Zanzibar," "Laura," and "Miami 2017" are recognizable titles only to the type of wild-eyed Billy Joel fan liable to throw her bra onstage, but they linger, pleasingly, past such late-career chart-climbers as "The River of Dreams" and "We Didn't Start the Fire." Woven around "New York State of Mind" and "Allentown," they serve to remind any student of pop why Joel is a worthy statesman. For those who needed no reminding, pleasant surprises of a different sort await: the double disc is home to two hidden tracks. On disc one, a rocked-up version of "A Room of Our Own" returns the entertainer to the Madison Square Garden stage, where he is duly howled over. And on disc two, after delivering a goosebump-raising rendition of "And So it Goes" that surely would have sufficed as a memorable closer to a monumental gig, he busts back out with "It's Still Rock & Roll to Me." Those who thought he forgot to include it on the set list should revisit "Keeping the Faith." --Tammy La Gorce

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2CD set. Official 1973 original soundtrack with 41 killer tracks from the 50s & early 60s featuring Buddy Holly, Chuck Berry, Del Shannon, Platters, Flamingos, Bill Haley, Diamonds, Beach Boys & more!

For those of us who grew up in the '70s, this drive-in compilation of '50s and '60s rock and doo-wop, complete with Wolfman Jack introductions, was our introduction to this music. There are 41 jukebox hits here, and every one of them is a classic of its time (although two tracks--"At the Hop" and "She's so Fine" are covers by the revival band Flash Cadillac & the Continental Kids). In his 1973 movie, director George Lucas used the music (and the presence of mysterious deejay Wolfman) as the AM-radio soundtrack to one night in suburban California, 1962. The idea was to capture and sustain an end-of-summer, end-of-innocence mood that's in the air throughout the picture-- not as a shortcut to establishing a period (as in Robert Zemeckis'Forrest Gump). There's an awful lot of spontaneous energy in these tunes--from Chuck Berry and Buddy Holly, to the Platters and the Clovers and the Del-Vikings, to the Crests and the Beach Boys--and also just a hint of melancholy that goes down very nicely with a burger, shake, and fries. --Jim Emerson

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2015 release from the critically-adored outfit. Every Open Eye follows Chvrches debut album, The Bones of What We Believe (over 185K units sold). Sonically the album is their signature style, uniquely merging the organic with the electronic, an electronic-pop record with a heart. They spent the first half of 2015 recording the album. Chvrches are a Scottish electronic band, formed in 2011. The group consists of Lauren Mayberry (lead vocals, additional synthesizers, samplers), Iain Cook (synthesizers, guitar, bass, vocals), and Martin Doherty (synthesizers, samplers, vocals). They came fifth on the BBC's Sound of 2013 list of the most promising new music talent.

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CD