They say moss won't grow on a rolling stone.

Hi everyone. Sorry I've not been posting much, but I'm back, and I'll try to remember to keep filling this blog with some goodies, starting with this one.

Today's generation knows Tiffany Darwish as more of a washed up singer who's made income by going on reality shows like Celebrity Fit Club and posing for Playboy. And while I admit, I was out of the pop culture loop for most of my youth. I didn't even start entering it until I was about 15 or 16 because I was wrapped up in my own little world of musicals and Disney, so I never even HEARD of Tiffany until she popped up on "Where are they now" shows, but MOST of my generation remembers Tiffany Darwish as a teen pop mall queen who just went by her first name. (Holy run-on sentence!) In 1987 and 1988, Tiffany ruled the charts with a string of successful singles and two top 20 albums that each went multi-platinum. However, by the end 1988, Tiffany's chart reign was slowing down and Tiffany's life was tangled up in a web of personal and professional drama.

When Tiffany finally released her third album, New Inside, in 1990, Tiffany had shed her wholesome teen pop sound for a more edgier urban sound and fans and record executives expected the album to fix her sagging popularity. Unfortunately, the opposite happened. The album as well as its singles, "New Inside," "Here In My Heart," and "Back In The Groove," failed to chart and the album quickly became the last studio album of hers that would be released in the US for a decade, although an unsuccessful Greatest Hits album would be released in 1996, and her 1993 album Dreams Never Die would be an Asia-only release until 2005, when Tiffany's former manager and producer George Tobin would release it through the CD Baby website.



To be honest, I can't see why this album flopped so badly. I think for the time and sound, it probably should have been a bigger hit. Unfortunately, by this time, Tiffany's reputation had already been damaged by her teen pop past, plus the fact that it had been two years since her last album had been released - for a teen pop star in ANY decade, that's a dangerously long time to go without releasing new material.

Due to the album's commercial failure, MCA Records took it out of print years ago. CD copies on the internet often go for as much as $75, if not higher. I recently stumbled upon a cassette tape at a used music/movies store, which cost me all of 52 cents. (49 cents + 6% sales tax) This is a rip from that cassette, although were it not for the minimal amount of tape noise and the occasional slight anomaly associated with the medium of audio cassette tapes, one would have a difficult time knowing it. A little note: my cassette is from the first run, where the song "Here In My Heart" is dedicated to the memory of Ryan White, the AIDS victim who was infected to a blood transfusion containing the HIV virus when he was 13. Later on, the song would be re-dedicated to the troops fighting in the Gulf War.

So here's the long-forgotten and long-out of print Tiffany album, New Inside, ripped from the cassette in 256 KBPS MP3 format. The ZIP file not only contains the album but also scans from the cassette insert.

1. New Inside (5:33)
2. It's You (5:18)
3. Tenderly (5:21)
4. Never Run My Motor Down (3:54)
5. Here In My Heart (4:06)
6. Tiff's Back (3:49)
7. Our Love (5:57)
8. Life Affair (4:02)
9. Back In The Groove (4:31)
10. There Could Never (7:33)

DOWNLOAD! (90.56 MB)

CD REVIEW: Madonna - Hard Candy

Hard Candy is Madonna's eleventh studio album and the last one she'll be releasing with Warner Bros. records, whom she's been signed to since she first came onto the music scene with the club hit "Everybody" in 1982. The title of Hard Candy is VERY fitting for this CD. The entire thing is one massive aural confection, lacking the depth and, yes as a big Madge fan, I'll admit it - pretentiousness of some of her post-Ray Of Light material. Madonna drops all of the spirituality, messages, etc. for Hard Candy, something of a continuation of her 2005 album Confessions On A Dance Floor. Confessions was an unabashed dance album, seamlessly segued from one track to another, mostly full of nonsense and fun times, albeit with a few messages thrown in here and there. Nothing wrong with some nonsense every once in a while - god knows her preaching got old after a while. (I've only just now rediscovered that American Life was actually a GOOD CD. And naturally, I've been a big Ray Of Light fan since I first FINALLY heard it in 2002.)

For Hard Candy, Madonna enlisted some a-list collaborators in Timbaland, Justin Timberlake, Nate "Danja" Hills, and The Neptunes. Tim, Pharrell Williams, and Justin also make vocal appearances, as does Kanye West on the song "Beat Goes On." This isn't Madonna's first foray into R&B and hip-hop influenced music. Much of her early material is based on R&B dance music, and her cruelly underrated 1994 album Bedtime Stories boasted such R&B production talent as Babyface, Dave "Jam" Hall, and Babyface, as well as genre-bending work by the incredible Nellee Hooper, best known for his work with Bjork and recent work with No Doubt and solo projects by its lead singer, Gwen Stefani.

For the most part, Hard Candy is quite enjoyable. I admit, I didn't love the first single, "4 Minutes," upon first listen. For one, I'm not a major Justin Timberlake fan, and I was annoyed that I had to hear him in my Madonna music. The song grew on me, though, as a lot of pop songs tend to do. Still scratching my head over the damn video though. Are they suffering from some major flesh-eating bacteria or something, cause DAMN. Anyhoo, I digress.

The album can be easily broken up into two categories - songs produced by The Neptunes and songs produced by Timbaland, Justin Timberlake, and Danja. (The only Timbaland/Timberlake production NOT involving Danja is "Dance 2night.") So I'll discuss the album broken up into these two categories.

First I'll discuss the Timbaland/Timberlake/Danja portion of the album, which consists of "4 Minutes," "Miles Away," "Dance 2night," "Devil Wouldn't Recognize You," and "Voices." Many of these songs can be seen as a continuation of the material that Tim created with and for Nelly Furtado and Justin on their latest albums, both of which contain some great tracks as a result. "4 Minutes" can even stand alongside Tim's best work for the late great Aaliyah, for whom he produced several classic tracks such as most of the material from her One In A Million album, the smash hit "Try Again," and "We Need A Resolution." "Devil Wouldn't Recognize You" is reminiscent of Justin's hit "Cry Me A River," while "Dance 2night" reminds one of a great time at a late 70's/early 80's disco. "Voices" is a haunting closer to the album, and I "Miles Away" just has a great quality to it. The Timbaland material rarely ever veers out of Tim's typical urban-dance pop fare, with a bit of genre-bending here and there, but I'm pretty sure Madonna was counting on that. Tim is one of the most overused producers these days, but he definitely made sure he worked hard to give Madonna some great material.

That leaves all the songs produced by The Neptunes - "Candy Shop," "Give It 2 Me," "Heartbeat," "She's Not Me," "Incredible," "Beat Goes On," and "Spanish Lesson." First, let me get the negative out of the way, because I'm about to disagree with the majority. If you ask me, "Incredible" is crap with a capitol C and a capitol RAP. Madonna isn't exactly known for her subtlety and for being overly classy at all times, but the line "Sex with you is incredible" is crass, even by Madonna standards. And frankly, the whole damn thing is odd and I don't understand why it's such a fan favorite. Madge can do so much better than this crap. However, it's still more listenable than "Spanish Lesson," which makes "I Love New York" look like "Ray Of Light."

Now that the bitching is out of the way, I can continue with the praise. Pharrell does quite a bit of genre-bending himself, with many of his productions incorporating elements of hip-hop, rap, R&B, and electro-pop. The album's second single, "Give It 2 Me" is too electronic for pop radio, too pop for urban radio, but I'm almost certain it'll be a massive club smash. Some of the material incorporates elements of 70's disco and 80's pop music, which is actually why I thought some of this material was Timbaland produced, since he's been known to do the same. "She's Not Me," and "Beat Goes On" both sound like something some ahead-of-his-time producer would have done in 1986, and I love 'em, although I could do without Pharrell's damned falsetto in "She's Not Me." "Heartbeat" has the vibe, but I'm not sure I'd say it necessarily has the elements that drive it home. "Candy Shop," the album's opener and most blatant reference to the album's title, is also quite enjoyable.

Let's talk about the art direction of Hard Candy. I admit, it annoyed me for a while. I get the idea behind the awful backgrounds - the album's titled Hard Candy, candy backgrounds, blah blah blah. And then there's Madonna, doing the TIRED ass act of showing us her crotch, as if the Confessions era and that DAMNED PINK/PURPLE LEOTARD wasn't overkill. (Not that I didn't learn to love that crap too.) Sadly, I've succumbed to it and now I actually LIKE the artwork. As for her crotch, I'm used to it again. The artwork is at least a bit more creative than some people's dumb album art as of late. *cough Celine, Mariah, Britney cough* It's colorful, which I enjoy. And although her body's a little too toned, she's still in great shape and looks good.

I had my reservations when details of the album started coming out. I was a bit upset that she was working with already overused producers, something she typically doesn't do. (Usually when she works with a producer for the first time, they're not that well-known in the mainstream.) Fortunately, Hard Candy turned out to be a deliciously sweet surprise. Frankly, I've listened to it so much I'm surprised I don't have a toothache already. 9 stars out of 10. If "Incredible" and "Spanish Lesson" were replaced by two superior tracks and Pharrell's falsetto was removed from "She's Not Me," I'd give it that extra star. As it stands, Hard Candy is a great closer for her time at Warner Bros. Good job.

CD REVIEW: Dolly Parton - Rainbow

1987 was set to be a big year for Dolly Parton. Fresh with a new $44 million two-year contract for a primetime variety show on ABC and a new recording contract with Columbia Records which included a deal where Dolly would record separate pop and country albums, Dolly's career looked to be on fire. Dolly would start this new chapter of her recording career with her first ever purely pop album, Rainbow.

But things didn't go quite as planned. Dolly debuted with high ratings, but quickly declined and was cancelled after only one season. And Rainbow didn't fare any better, peaking at #18 on the Billboard country album charts and #153 on the Billboard pop album charts. The album's first single, "The River Unbroken," peaked at #63 on the Billboard country charts, with the second single, "I Know You By Heart" with Smokey Robinson, not charting at all, and both singles missed Billboard's Hot 100. The album is considered one of Dolly's biggest flops and has been long forgotten by all but the biggest Dolly fans.

I only discovered this album...I'd say sometime last year. And although it's no Coat Of Many Colors, Jolene, or even Backwoods Barbie, I think it's quite good and deserves another listen, and for the time and sound...I really don't understand why it wasn't more successful. (You can find a download here. Just a note - tracks 3, 6, and 8 are mislabeled in the download, likely due to discrepancies between CD mastering and tracklistings found on many websites, including the databases feeding the track information to media players. Track 3 is labeled Dump The Dude, but is actually Everyday Hero. Track 6 is labeled Could I Have Your Autograph, but is actually Everyday Hero. Track 8 is labeled Could I Have Your Autograph but is actually Dump The Dude. Just a heads up for you guys.) I'll be reviewing the tracks in the order that the CD's back cover lists them.

1. The River Unbroken - This is actually a really good song. I'd go so far as to say it's one of her more underrated tracks. I'd love for her to re-record this on a future album.

2. I Know You By Heart - A great ballad that brings two of our finest singers together. The song would later be covered by Bette Midler for the soundtrack to the film Beaches, best known for her signature hit Wind Beneath My Wings.

3. Dump The Dude - One of the mose cheesetastic and fun songs ever. It's as close to the classic fun Dolly songs like 9 To 5 and Here You Come Again as you can get on this album.

4. Red Hot Screaming Love - A decent ballad that really could have been better. The title alone made me expect something different. But it's still listenable.

5. Make Love Work - An improvement over the last track, but not much. Dolly makes it work though.

6. Everyday Hero - Basically a rip-off (lyrical content-wise) of Bon Jovi's monster hit Livin' On A Prayer, but it's a favorite of mine, especially for the bridge, which is where the album's title comes from - "Everybody has a special reason/There's a chosen road to follow/Just remember nothing good comes easy/Don't surrender till you you find your rainbow."

7. Two Lovers - A cover of Mary Wells' (best known for her hit My Guy) 1962 hit. It's an okay cover, but not much special.

8. Could I Have Your Autograph - One of only two Dolly originals on the album. A very fun song about strangers meeting and wanting to know more about each other.

9. Savin' It For You - My favorite song on Rainbow. A happy fun song simply about being in love.

10. More Than I Can Say - The other Dolly-penned track on the album is a gorgeous ballad that shows that whether she's singing pop, country, or whatever that she's still one of our most talented songwriters. Dolly would later re-use the melody for the title track from her made-for-TV movie Unlikely Angel.

To sum it all up, Rainbow is definitely worth a few spins in your MP3 player. Naturally, Dolly does a fabulous job singing the songs, and they're not any better or any worse than most hits of the day. While it's not a masterpiece that can stand alongside some of her classic country material, it's definitely an underrated album that shows off Dolly's pop talents. I give the album 8 stars out of 10.

CD REVIEW: Dolly Parton - Backwoods Barbie

Artist: Dolly Parton
Title: Backwoods Barbie
Genre: Country
Label: Dolly Records
Release Date: February 26, 2008

In the years since her early days singing with country music icon Porter Wagoner, Dolly Rebecca Parton has become a legend in her own right. Her songs have become more than just hits - they've become woven into the very fabric of our culture. Songs such as "Jolene," "Coat Of Many Colors," and "Love Is Like A Butterfly" have proven her as a songwriter with great emotional depth, while songs like "Here You Come Again" and "9 To 5" have allowed her to cross over to pop stardom. Dolly's biggest crossover hit ever actually wasn't even a song that she sang on. Well, actually, she'd had a #1 country hit with it - twice - first in 1974 as the second single from her Jolene album, then again in 1982 as a single release from the soundtrack to her film The Best Little Whorehouse In Texas. But when Whitney Houston recorded "I Will Always Love You" in 1992 for the soundtrack to her motion picture debut, The Bodyguard, it became more than just a song - it became the most successful single in music history by a female artist, selling over 10 million copies worldwide and pushing the film's soundtrack to sell more than 42 million copies worldwide, making it the biggest-selling soundtrack of all time. It wasn't the first time a Dolly-penned track had topped the Billboard Hot 100 - in 1980, the self-penned title track from her film debut 9 To 5 hit #1, making it her first top 10 hit since "Here You Come Again" hit #3 in 1977. Her last top 10 Billboard hit would occur in 1983, when her Bee Gees-penned duet with Kenny Rogers, "Islands In The Stream," also hit #1.

Since the mid 1990's, Dolly's radio play and sales may have waned, but she was still as popular as ever. With declining record sales and being all but abandoned by country radio, Dolly basically said "Fuck it" and decided to record a critically-acclaimed trio of folk-and-bluegrass-inspired albums, which earned her multiple Grammys. The albums contained a mix of self-penned originals, re-recordings of some of her previous hits, and cover songs, many of which were originally recorded by bands/artists such as Billy Joel, Led Zeppelin, Collective Soul, Johnny Cash, Cole Porter, and others.

In 2008, Dolly decided to make her long-awaited return to mainstream country music with the release of her first ever self-released album, Backwoods Barbie. Unfortunately, country radio still doesn't seem to want to play Dolly's music, as the album's two singles, "Better Get To Livin'" and "Jesus And Gravity," peaked at #48 and #56, respectively, on the Billboard Hot Country Songs chart. As a result, the album, which debuted at a respectable #17 on the Billboard Top 200 Albums Chart with 27,000 copies in its second week of release (Her biggest debut ever on that chart.) and peaked at #2 on both Billboard's Country and Independent Albums charts, fell off the Billboard Top 200 after only a few months of release, selling barely over 100,000 copies. <rant> I know CD sales have gone down the toilet in the last few years, but this is ridiculous. God forbid country radio take away five spins of Carrie Underwood and Rascal Flatts' overplayed songs so Dolly can have a few more plays and at least crack the top 20 on the country charts. </rant> (Yeah, I'm not really a fan of them...or most people on country radio these days. Maybe I should rethink my desire to have Dolly played on country radio...) Anyhoo, she's making $300K-$500K per tour date, and she owns most of Pigeon Forge, TN by now, so I doubt she's hurting for money. She probably at the least made back all the money she spent to put the album out there on her own label.

Frankly, as much as I want the people I like to sell a million and have hits galore, in the end, sales don't mean a damn thing. Backwoods Barbie is a perfect example of this. The public may not want to buy it, but when I downloaded it and listened to it, I knew I had to go snatch up a copy and support Dolly. Backwoods Barbie is a nice little gem that I can pretty much have to myself without having to share it with the world, although sharing it with the world wouldn't be so bad either - at least then I'd have someone to obsess over it with.

Out of the disc's 12 songs, (not counting live tracks included as bonus tracks on various store and online versions of the album) nine were written solely by Dolly, two are covers written by others ("Drives Me Crazy," originally by Fine Young Cannibals and "The Tracks Of My Tears," originally by Smokey Robinson), one is an original written by others ("Jesus And Gravity"), and one was written by Dolly and Kent Wells, who also produced the album together. This song written by Dolly and Wells is the album's rousing and inspirational opener, "Better Get To Livin'." The song offers Dolly's advice for life and how to live a good one. "I'm not the Dali Lama, but I'll try to offer up a few words of advice." If there was ever anyone to ask for advice on how to live a long healthy life, it's probably Dolly. (Just don't ask for her advice on where to get a good face lift. Love her, but have you seen her lately?)

"Made Of Stone" is a heart wrenching emotional song in the country tradition of women dealing with their cheating husbands. But the mood isn't down for long, as the next track is "Drives Me Crazy," a cover of the 1980's hit by Fine Young Cannibals. Dolly has recorded many covers in her lifetime, and even though she may not make you forget the original, she definitely makes them her own, and this one is no different. While she does a great modern country-pop rendition of it, full of guitars and fiddles, at the end, she turns the song into a bluegrass-inspired hoedown that only someone like Dolly can pull off. The title track comes up next. Written for the 9 To 5 musical for the character of Doralee, Dolly's character in the original film, "Backwoods Barbie" is not only perfect for the character of Doralee, but its also as autobiographical as she gets, and explains what her fans have known all along. "I might look artificial, but where it counts, I'm real." The sound of the song is pure classic country in the tradition of her early 70's albums like Jolene and Coat Of Many Colors.

Up next is another inspirational song, "Jesus And Gravity." As the title may have given away, the song is steeped in Dolly's religious roots and features a choir. She sings about "somethin' liftin' me up, somethin' holdin' me down - somethin' to give me wings and keep my feet on the ground" without being contrived or cliched about it. Definitely one of the disc's highlights. The next track, "Only Dreamin'," is steeped in Celtic sounds and tells the story of a woman brokenhearted by a breakup. This song is about as emotional as one can get, and Dolly nails it. Following this track is her cover of Smokey Robinson's "The Tracks Of My Tears." Again, Dolly puts her own stamp on the song and does a fantastic job. The next song, "The Lonesomes," reminds one of any one of Patsy Cline's legendary hits.

My favorite song from the entire disc comes on. "Cologne" is a track about cheating. Classic country fodder, I know. This song is from the point of view of "the other woman" and presents a story of a woman so desperately in love with a man that she's willing to give up something small like perfume to be with him. "Love has a nature all its own, so I willingly gave up cologne." The song starts off softly and builds to a vocal, musical, and emotional climax, then ends as softly as it began.

"Shinola" has a whole lot of attitude and is a classic "Fuck off" kind of song. "I'm callin' you out, cause I don't need this crap. I'm gettin' myself out of Dodge." "I Will Forever Hate Roses" is another classic country tune where Dolly recounts the reason for her hatred of roses - her man broke up with her in a note included with a bouquet of roses. The platter (or at least the standard version of it) ends with "Somebody's Everything," which is simply a good closer for an album and is a classic "I'm lonely and need someone to love me" song.

The packaging of Backwoods Barbie is far better than one would expect from an independent release. Lately I've been noticing that album covers and such...just suck. I know that the music is the most important thing, but packaging CAN entice people to buy something, trust me. The CD comes in a thin digipak...not the wallet crap like many current released such as Celine Dion's Taking Chances, but a true digipak, with a plastic tray to hold the CD in place. Inside the front flap is a sleeve that holds the CD booklet. The cover is a delight and features a grinning Dolly with her trademark blonde hair piled up about a foot high in a low-cut and short leopard-print number with a sheer pink coat on top while she's lying on a big pile of hay inside a butter-colored classic pickup truck, giving a visual of the Backwoods Barbie title. The back features a view of the truck from behind and fairly low, allowing one to see the Dolly mudflaps. (A silhouette of which is also on the disc itself.) The booklet includes more pictures that echo the Backwoods Barbie theme plus lyrics to all the songs. The biggest treat on the cover is the return of a fan-favorite - the Dolly logo used on pretty much all of Dolly's RCA albums from 1977's Here You Come Again up until her departure from RCA in 1985 with the Real Love album. The Dolly logo is also utilized in the Dolly Records logo, along with a butterfly. (Likely a reference to her country hit "Love Is Like A Butterfly.") The logo for Dolly Records is seen on the album art many times, including on the lower right-hand corner of the cover. Not a problem for me, as I think it's gorgeous.

From beginning to end, Backwoods Barbie is a fantastic listen and even though Dolly may not have the airplay and sales power she once had, it proves why she's become a legendary music icon. The CD is pure, honest music straight from Dolly's heart. If you haven't picked up a copy yet, please consider giving it a try. It's a fantastic listen, and you won't regret the 45 minutes you spent listening to it, I promise. I give the CD 10 stars out of 10. Absolutely wonderful.

Sleeping Beauty (1959 Movie OST)

Artist : Various Artists
Album : Sleeping Beauty [Original Motion Picture Soundtrack]
Label : Walt Disney Records
Genre : Soundtrack
Bitrate : 320 KBPS CBR
Source : CD (LP)
Runtime : 1:02:44 (144.1 MB)
Release date : 2008-04
Store date : 1997-02-04

Change .abc to .zip
DOWNLOAD PART 1! (74.4 MB) (ZIP file contains scans, info TXT, and tracks 1-8.)
DOWNLOAD PART 2! (71.7 MB) (ZIP file contains tracks 9-19.)

[Track List]
1. Main Title/Once Upon A Dream/Prologue
2. Hail To The Princess Aurora
3. The Gifts Of Beauty And Song/Maleficent Appears/True Love Conquers All
4. The Burning Of The Spinning Wheels/The Fairies Plan
5. Maleficent's Frustration
6. A Cottage In The Woods
7. Do You Hear That?/I Wonder
8. An Unusual Prince/Once Upon A Dream
9. Magical House Cleaning/Blue or Pink
10. A Secret Revealed
11. Skumps (Drinking Song)/The Royal Argument
12. Prince Phillip Arrives/ How To Tell Stefan
13. Aurora's Return/Maleficent's Evil Spell
14. Poor Aurora/Sleeping Beauty
15. Forbidden Mountain
16. A Fairy Tale Come True
17. Battle With The Forces Of Evil
18. Awakening
19. Finale

Alan Silvestri - Death Becomes Her OST

Artist : Alan Silvestri
Album : Death Becomes Her [Original Motion Picture Soundtrack]
Label : Varese Sarabande
Genre : Soundtrack
Bitrate : 320 KBPS CBR
Source : CD
Runtime : 34:47 (80.4 MB)
Release date : 2007-06-18
Store date : 1992-07-28

Change .abc to .zip
DOWNLOAD! (74.2 MB) (ZIP contains tracks, m3u playlist, scans, and info txt.)

[Track List]
1. Main Title (1:32)
2. Me [Performed by Meryl Streep] (2:55)
3. Woman On The Verge (1:00)
4. Lisle (1:02)
5. A Touch Of Magic (2:17)
6. Now, A Warning (0:47)
7. Sempre Viva (1:45)
8. Another Drunk Driver (2:09)
9. Hurry Up, You Wimp (1:58)
10. It's Alive (2:42)
11. Helen Spies (2:00)
12. Another Miracle (2:24)
13. I'll Be Upstairs (0:39)
14. Loving You (3:10)
15. I'd Rather Die (2:41)
16. End Credits (5:46)

Soundtrack credits:
Music Composed and Conducted by Alan Silvestri
Album Produced by Alan Silvestri
Executive Album Producer: Robert Townson

Orchestrations by William Ross
Engineer - Dennis Sands
Assistant Engineers - Tom Hardisty and Sue McLean
Music Editor - Kenneth Karman
Auricle/Synclavier Programmer - David Bifano
Featured Violin Soloist - Stuart Canin
Music Contractor - Sandy DeCrescent
Music Preparation - JoAnn Kane Music Service

Mastered by Joe Gastwirt at Oceanview Digital Mastering, West Los Angeles, CA.
Executive in Charge of Music for Universal Pictures: Burt Berman

This release was taken from a lossless download, converted to WAV, volume increased, long gaps between tracks shortened, and converted to MP3. The torrent took me three days of downloading at frustratingly slow speeds, but it was worth it for a good quality version of this now out-of-print soundtrack. Hopefully in the near future, this soundtrack will see a re-release on CD. *Maybe when Universal finally decides to give us a decent DVD release.* Anyhoo, I hope you all enjoy this soundtrack as much as I do! The Meryl Streep song alone was worth the three days of downloading. ^_^

South Pacific (1958 Movie OST) [Cassette Rip]

320 KBPS MP3, cassette rip, change .abc to .zip
DOWNLOAD! (95 MB)

[Tracklisting]
1. South Pacific Overture
2. Dites-Moi
3. Cock-Eyed Optimist
4. My Girl Back Home
5. Bali Ha'i
6. Twin Soliloquies/Some Enchanted Evening
7. Bloody Mary
8. There Is Nothin' Like A Dame
9. I'm Gonna Wash That Man Right Outa My Hair
10. Younger Than Springtime
11. Happy Talk
12. I'm In Love With A Wonderful Guy
13. Honey Bun
14. Carefully Taught
15. This Nearly Was Mine
16. Finale

This download is ripped from a cassette tape I bought at Goodwill one day. (Yes, I said Goodwill. WHO ARE YOU TO JUDGE ME? :P) The tape was in excellent condition as it had never even been opened. This particular cassette came with certain copies of the 1994 VHS reissue. In 1994, Fox Video released the Rodgers and Hammerstein Golden Anniversary line, which included new VHS releases of Oklahoma!, Carousel, The King And I, South Pacific, and The Sound Of Music. Some copies of these tapes came with a soundtrack cassette tape. In the case of The Sound Of Music, the cassette contained previously unreleased film versions of songs, songs previously not included on the soundtrack, and tracks with music not heard in the film. The South Pacific cassette tape merely replicated the original soundtrack album releases, albeit with a slightly different track order.

The sound quality of this download is very good. There's a little tape noise as I chose not to sacrifice audio quality in order to remove it. There's occasional tape anomalies too, such as a slight warping at the end of track 6. Despite the few issues, I think this cassette rip sounds almost as good as the CD release. And I kinda like the bit of tape noise and the fact that it still sounds like a cassette, albeit a really good one. I love a clean remastered CD as much as anyone, but hearing some tape noise and a few anomalies kinda gives it a nostalgic feel. I'm pretty sure most of you still remember listening to cassette tapes, and since I didn't own a CD player until I was 16, I'm still used to them. :P

Since I hadn't done this by the time I zipped the MP3s up and uploaded them, here's an HQ scan of the cassette insert. Click for a larger view.