Robert Miles Race

Varèse Sarabande presents: Little Box Of Horrors! Our tradition of releasing classic horror soundtracks continues with this new collectors box of 12 outstanding albums housed in a black retro-styled carrying case. Little Box Of Horrors includes premieres, out of print classics and some titles making their debut on CD! Included with Little Box Of Horrors is a 24 page booklet written by acclaimed author Randall Larson. If you wanted to find some of these titles on the secondary market you'll pay over a $1000 for them all. The box ships complete with all albums included. Little Box Of Horrors: "Deadly Friend" by Charles Bernstein; "Dracula 2000" by Marco Beltrami; "The Fly" by Howard Shore; "The Hidden" by Michael Convertino; "Maniac" by Jay Chattaway; "The Mephisto Waltz" & "The Other" by Jerry Goldsmith; "Mimic: Deluxe Edition" by Marco Beltrami; "A Nightmare on Elm Street" by Charles Bernstein; "Pumpkinhead" by Richard Stone; "Scream: Deluxe Edition" by Marco Beltrami; "The Serpent And The Rainbow" by Brad Fiedel; "The Strange Case Of Dr. Jekyll And Mr. Hyde" by Bob Cobert.

The Time Machine is the third solo album produced and engineered by Alan Parsons following the split of The Alan Parsons Project. While the sound of this album is recognizably similar in style to some of the soft, ethereal tracks from certain Alan Parsons Project albums, it is noteworthy that none of the writing or performance credits in the sleeve notes (of the CD edition) go to Alan Parsons, except for one short and simple instrumental part on "Temporalia", and that the album lacks much of the rock edge of the previous albums; his relation to the album is almost exclusively as producer. "The Time Machine" (Parts 1 and 2) are in a similar style to that of Robert Miles's first album Dreamland, and not to other Alan Parsons instrumental tracks or the rest of this album.

The Time Machine is the third solo album produced and engineered by Alan Parsons following the split of The Alan Parsons Project. While the sound of this album is recognizably similar in style to some of the soft, ethereal tracks from certain Alan Parsons Project albums, it is noteworthy that none of the writing or performance credits in the sleeve notes (of the CD edition) go to Alan Parsons, except for one short and simple instrumental part on "Temporalia", and that the album lacks much of the rock edge of the previous albums; his relation to the album is almost exclusively as producer. "The Time Machine" (Parts 1 and 2) are in a similar style to that of Robert Miles's first album Dreamland, and not to other Alan Parsons instrumental tracks or the rest of this album.

In the 1950s and 60s, the blues was the dominant form of Black vernacular music throughout Texas and the surrounding areas. In segregated neighborhoods, community members gathered in saloons, dancehalls, and each other's homes to hear their neighbors sing their stories of sorrow, heartbreak, jubilation, and triumph. Robert "Mack" McCormick, an academically untrained but fanatical devotee of the blues, stepped into this world and became one of its most devout advocates and documentarians.

Here's an educated guess that road tapes are the second most popular type of homemade mix cassette. (One suspects that old off-road standard–the bedroom mix–would clock in at No. 1.) Hot Rods & Custom Classics is Rhino Records' big daddy of road mixes: four discs housed in an elaborate box that includes a scrupulously assembled 66-page booklet, a catalog of hot-rod accessories, a strip of decals, and even a set of fuzzy dice for your own resto rod. Musically, this collection is all over the road, ranging from selections that seem like they were written with one foot on the accelerator (Johnny Bond's "Hot Rod Lincoln," Chuck Berry's "Maybelline," War's "Low Rider") to more tangential tracks that might force you to pull into a rest stop (Hank Williams's mournful "Lost Highway," Rod Stewart's "Gasoline Alley"). Spanning multiple genres and five decades, Custom Classics is enlivened by film and ad snippets, including a public-safety message from high-speed-crash victim James Dean on, naturally, safe highway driving. –Steven Stolder

Here's an educated guess that road tapes are the second most popular type of homemade mix cassette. (One suspects that old off-road standard–the bedroom mix–would clock in at No. 1.) Hot Rods & Custom Classics is Rhino Records' big daddy of road mixes: four discs housed in an elaborate box that includes a scrupulously assembled 66-page booklet, a catalog of hot-rod accessories, a strip of decals, and even a set of fuzzy dice for your own resto rod. Musically, this collection is all over the road, ranging from selections that seem like they were written with one foot on the accelerator (Johnny Bond's "Hot Rod Lincoln," Chuck Berry's "Maybelline," War's "Low Rider") to more tangential tracks that might force you to pull into a rest stop (Hank Williams's mournful "Lost Highway," Rod Stewart's "Gasoline Alley"). Spanning multiple genres and five decades, Custom Classics is enlivened by film and ad snippets, including a public-safety message from high-speed-crash victim James Dean on, naturally, safe highway driving. –Steven Stolder

In the 1950s and 60s, the blues was the dominant form of Black vernacular music throughout Texas and the surrounding areas. In segregated neighborhoods, community members gathered in saloons, dancehalls, and each other's homes to hear their neighbors sing their stories of sorrow, heartbreak, jubilation, and triumph. Robert "Mack" McCormick, an academically untrained but fanatical devotee of the blues, stepped into this world and became one of its most devout advocates and documentarians.

At present the total nuclear arsenal of the world is no less than 27,000 nuclear warheads. Nine countries in the world (probably) have nuclear weapons and a dozen more have access to the resources and technology needed to produce such a weapon.