Halloween Theme Song Album Deals: Price List & Price Comparison

Halloween (Original 2018 Motion Picture
Halloween (Original 2018 Motion Picture Soundtrack)
Halloween Motion Picture
Halloween Motion Picture Soundtrack
Main Theme from
Main Theme from "Halloween" By John Carpenter
Halloween
Halloween Theme
Halloween: Very Scary Music & Horror Theme
Halloween: Very Scary Music & Horror Theme Songs
Doom (Original Game
Doom (Original Game Soundtrack)
Halloween Scream Themes / Horror Movie Music With
Halloween Scream Themes / Horror Movie Music With Blood Curdling Sound FX
Horror Music: Halloween Horror Movie
Horror Music: Halloween Horror Movie Themes
HalloweeN Returns (Music Inspired by the
HalloweeN Returns (Music Inspired by the Film)
Halloween Scary Theme
Halloween Scary Theme Music
<
My Third Album / Songs About Ladies & Love
<
Popular Beatles Songs: Caribbean Steelgrums - The Ultimate Chill-Out Album (CD)
<
Willie Nelson has a reputation as an outlaw, and his fabled brushes with law and order are a part of the public record, so from its title, one might suspect that 1976's THE TROUBLEMAKER is chock-full of songs about getting into trouble. But one would be wrong. There is no "Whiskey River" here. In fact, the record's lone rebel song is the haunting, spare title track, whose central character is "nothin' but the troublemakin' kind," and ends up nailed to a cross at Calvary.This is a sincerely religious record. Typical song titles are: "When the Roll Is Called Up Yonder" and "Where the Soul Never Dies." Sin, salvation, and eternal life are recurring themes. And yet, because Nelson has a way of making anything he touches his own, this album can be enjoyed simply on its musical merits. The songs themselves--some traditional, some not--have the familiarity of psalms--country-inflected, extremely hummable psalms. "Will the Circle Be Unbroken" will be familiar to many, and "Uncloudy Day" went to number four on the country and western charts, but after one listen, you'll know the chorus to nearly all of these stirring tunes.
<
Personnel: John McCutcheon (vocals, 6 & 12-string acoustic & electric guitars, banjo, hammered dulcimer, fiddle); Mike Cotter, Mary Ann Redmond, Demetra Katson); Pete Kennedy (acoustic & electric guitars, banjo, mandolin); Bob Read (clarinet, soprano saxophone, saxophone); Jon Carroll (accordion, piano, background vocals); John D'earth (trumpet); Doug Elliott (trombone); Michael Aharon (piano, electric piano, organ, synthesizer); JT Brown (bass, background vocals); Robert "Jos" Jospe (drums, percussion); Kevin Davis (congas, percussion); Bob Dawson (percussion).Recorded at Bias Studios, Springfield, Virginia.All tracks have been digitally mastered using HDCD technology.JOHN MCCUTCHEON'S FOUR SEASONS: AUTUMNSONGS was nominated for a 1999 Grammy for Best Musical Album For Children.Nothing's what you expect it to be on AUTUMNSONGS. McCutcheon is known as a first rate folk guitarist, but he underplays both his guitar skills and his folkie side in favor of full band arrangements featuring lots of electric instruments. This is ostensibly a children's album, but if you weren't listening intently to the skew of the lyrics, you'd just think it was a straight-up contemporary singer-songwriter effort. This recording continues McCutcheon's seasonal series, and it does contain songs about Halloween, Thanksgiving and such, but it seems to venture far beyond the theme. AUTUMNSONGS is ultimately a family album rather than just a kids' recording.
<
Personnel: Bill Evans (piano); Teddy Kotick (bass); Paul Motian (drums).Recorded at Reeves Sound Studio, New York, New York on September 18 & 27, 1956. Originally released on Riverside (223). Includes liner notes by Orrin Keepnews.Digitally remastered by Danny Kopelson (1987, Fantasy Studios, Berkeley, California).This groundbreaking recording was the first to feature then-unknown Bill Evans as a leader, and it also introduced a trio format of piano, bass, and drums, which would become Evans's standard format for playing and recording. NEW JAZZ CONCEPTIONS, recorded when Evans was just 26, merges his articulate, vigorous playing with the music of fellow Tony Scott Quartet musicians Teddy Kotick on bass and the extroverted Paul Motian on drums. The album's four original compositions include "Five," a witty, complicated song which makes clever use of the chords from "I Got Rhythm," and the disjointed, slightly off-kilter "Displacement," a study in a common Evans theme of playing against the meter and around the beat of a composition. The most remarkable material is the wonderfully eloquent piano solo, "Waltz for Debby," written for Evans's niece, which became perhaps the most renowned classic of his musical career.
<
Road Trip Songs 8 Great Hits To Cruise To On Audio CD Album
<
Bowery Electric: Martha Schwendener (vocals, various instruments); Lawrence Chandler (various instruments, programming, samples, scratches).Recorded at Electric Sound, Brooklyn, New York.When Lawrence Chandler and Martha Schwendener first spiked Bowery Electric's gorgeous wash of dream-pop guitars and voices with looped hip-hop beats, the New York-based duo was a few steps ahead of the game. The music world eventually caught up, trip-hop happened, and the combination proffered by 1996's landmark BEAT quickly became commonplace. LUSHLIFE, Bowery Electric's belated follow-up, strikes back with stronger songs and sharper production, bucking the trip-hop trend.LUSHLIFE's after-dark cityscape incorporates the best atmospheric elements of hip-hop, dub, downtempo, and soundtrack design. Profound basslines burrow beneath velvety string swatches ("Deep Blue," "Lushlife") and organ shimmers, guitars glittering everywhere like motes of stardust. Chandler's programming and production match the sparse, spooky eloquence of the RZA's Wu-Tang work, particularly on "Psalms of Survival," "Saved," and the album finale "Passages." Schwendener's vocals drift dreamily, surveying an unbroken neon skyline of samples, scratches, and breakbeats. The sweet pop snarl of "Freedom Fighter" makes for an ideal single, though the song seems slightly at odds with the album's finely tuned melancholic mood.
<
Latin American composers share many things, but the diversity found within their music adds as much to the culture of classical music as any of the individual shared traits. This collection of new compositions dating from 1985 to 1999 highlights the variety and verve of new practitioners of the Latin American sound.Commencing with the languorous luxury of Miguel Del Aguila's "Pacific Serenade," the album embraces the jazzier side of new music. The piece centers on the clarinet's melody line, employing blues idioms as well as traditional Brazilian folk song traditions.On the other side of the coin, Miton Estᅢᄅvez's "Cantos Vivos y Cantos Rodados" is arranged for a combination of traditional ensemble and electronic equipment. Its rhythmic underpinnings create a taut, vital, and very unique take on the traditional canto.The works of ten different composers, artists with very distinct styles, make this album a wonderful exploration into the future of music. These Latin Americans will inspire musicians for ages to come, as well as audiences today.
<
This is a collection of Henry Kaiser's solo guitar improvisations from 1973 (a year after he began playing the guitar) to 1991. Some of the tracks are culled from the out-of-print albums IT'S A WONDERFUL LIFE and DEVIL IN THE DRAIN. Others were recorded specifically for this collection, were previously un-issued, or are from works which are either still available or have been reconfigured in some manner.A sense of playfulness pervades much of the work. "Red Shadows" features a midi-guitar triggering piano sounds that approach a Conlon Nancarrow-like flurry. In "Novelty Act," Kaiser's guitar simulates the varied sections of an orchestra (evoking an oblique game of call-and-response). "Meet the Flintstones" is not the television theme song, but rather an autobiographical tale that Kaiser weaves while accompanying himself on guitar. As always, the pieces are cleanly recorded, and this album serves as a fine introduction to Kaiser's improvisational work.
<
Jazz Legend: Songs from His Classic Albums (CD)
<
Two Favourite Albums - Songs from the Heart
<
Includes a bonus DVD of live performances and interviews.Personnel includes: Robert Smigel, Conan O'Brien, Adam Sandler, Horatio Sanz, Jack Black, Maya Rudolph.Straight from the set of LATE NIGHT WITH CONAN O'BRIEN comes Triumph the Insult Comic Dog, everyone's favorite cigar-chomping, put-down-slinging canine puppet. Mixing live stand-up performances with lewd songs, crank calls, and star-studded sing-alongs, COME POOP WITH ME features Triumph at his raunchiest.During the course of POOP, Triumph attempts to solicit sex at a local kennel, extols the virtues of dog self-love, waxes nostalgic for the days of truly dirty "blue" comedy, and duets with Jack Black, Adam Sandler, and other famous (and not-so-famous) friends. Before launching into an anti-cat song with guest star Conan O'Brien, Triumph sums up the whole affair by warning: "For those of you that think that the show has been a little randy up 'til now...a little dirty...a little filthy...I just want to apologize, because it's about to get worse." And it does get randier, dirtier, and filthier, making this a very adult-oriented comedy album that ends on the hilarious pop-culture-skewering "I Keed," a hip-hop-inflected list of all the people and places that this insult-flinging mutt would like "to poop on."
HOWLIN' HALLOWEEN: 1 HOUR OF HORROR MOVIE THEME SONGS & SCARY SOUNDS (2008, CD)
Frightmare Terrifying Movie Theme Songs Various Artists CD 2013 Weird Halloween
Goosebumps Sounds of Halloween (1996) Rare Cassette - TV Theme Song, R.L. Stine