Good Grief Music & Meditation CD

Good Grief Music & Meditation CD
by Good Grief Center for Bereavement Support

New!: $9.95 (as of 03/03/2013 16:49 PST)

Sheet Music Folders

The music & meditation CD provides a way for you to relax and promotes healing. Classical music has long been associated with therapy as it can reduce heart rate, blood pressure, breathing rate, stress and anxiety. The CD features: ? Calming music of Bach and Mozart ? Head-to-toe relaxation practice by a certified clinical nurse practitioner with soothing background music. ? 36 minutes of guided meditation by a licensed clinical social worker and therapist. Did you know? You can purchase the CD as part of the Good Grief Care Package!

• Rank: #69891 in Health and Beauty

• Created by bereavement specialists.
• Designed to inspire relaxation and healing.
• Proceeds help support the center's free services.

Description #1 by DeepDiscount:

The many voices that come out of the ether on Bruce Springsteen's The Rising all seem to have two things in common: the first is that they are writing from the other side, from the day after September 11, 2001, the day when life began anew, more uncertain than ever before. The other commonality that these voices share is the determination that life, however fraught with tragedy and confusion, is precious and should be lived as such. On this reunion with the E Street Band, Bruce Springsteen offers 15 meditations -- in grand rock & roll style -- on his own way of making sense of the senseless. The band is in fine form, though with Brendan O'Brien's uncanny production, they play with an urgency and rawness they've seldom shown. This may not have been the ideal occasion for a reunion after 15 years, but it's one they got, and they go for broke. The individual tracks offer various glimpses of loss, confusion, hope, faith, resolve, and a good will that can only be shown by those who have been tested by fire. The music and production is messy, greasy; a lot of the mixes bleed tracks onto one another, giving it a more homemade feel than any previous E Street Band outing. And yes, that's a very good thing.The set opens with "Lonesome Day," a midtempo rocker with country-ish roots. Springsteen's protagonist admits to his or her shortcomings in caring for the now-absent beloved. But despite the grief and emptiness, there is a wisdom that emerges in questioning what remains: "Better ask questions before you shoot/Deceit and betrayal's bitter fruit/It's hard to swallow come time to pay/That taste on your tongue don't easily slip away/Let kingdom come/I'm gonna find my way/ Through this lonesome day." Brendan O'Brien's hurdy-gurdy cuts through the mix like a ghost, offering a view of an innocent past that has been forever canceled because it never was anyway; the instrument, like the glockenspiels that trim Bruce Springsteen's songs, offers not only texture, but a kind of formalist hint that possibilities don't always lie in the future. Lest anyone mistakenly perceive this recording as a somber evocation of loss and despair, it should also be stated that this is very much an E Street Band recording. Clarence Clemons is everywhere, and the R&B swing and slip of the days of yore is in the house -- especially on "Waitin' for a Sunny Day," "Countin' on a Miracle," "Mary's Place" (with a full horn section), and the souled-out "Let's Be Friends (Skin to Skin)." These tracks echo the past with their loose good-time feel, but "echo" is the key word. Brendan O'Brien's guitar-accented production offers us an E Street Band coming out of the ether and stepping in to fill a void. The songs themselves are, without exception, rooted in loss, but flower with the possibility of moving into what comes next, with a hard-won swagger and busted-up grace. They offer balance and a shifting perspective, as well as a depth that is often deceptive.The title track is one of Springsteen's greatest songs. It is an anthem, but not in the sense you usually reference in regard to his work. This anthem is an invitation to share everything, to accept everything, to move through everything individually and together. Power-chorded guitars and pianos entwine in the choruses with a choir, and Clemons wails on a part with a stinging solo. With The Rising, Springsteen has found a way to be inclusive and instructive without giving up his particular vision as a songwriter, nor his considerable strength as a rock & roll artist. In fact, if anything, The Rising is one of the very best examples in recent history of how popular art can evoke a time period and all of its confusing and often contradictory notions, feelings, and impulses. There are tales of great suffering in The Rising to be sure, but there is joy, hope, and possibility, too. Above all, there is a celebration and reverence for everyday life. And if we need anything from rock & roll, it's that. It would be unfair to lay on Bruce Springsteen the responsibility of guiding people through the aftermath of a tragedy and getting on with the business of living, but rock & roll as impure, messy, and edifying as this helps. ~ Thom Jurek, Rovi

Description #2 by eBay:

Personnel includes: Steven Halpern (piano, electric piano, keyboards); Daniel Kobialka (violin); Georgia Kelly (harp); Bettine Clemen (flute).Steven Halpern's Transitions is an instrumental album of songs to help someone deal with loss and grief. These minor key piano compositions are the epitome of sentimental, utilizing button-pushing key changes and gentle instruments. Of course, this is the exact purpose of the album, and it does quite well at achieving its goal. Anyone looking for some comforting music without lyrics to dictate the subject matter should try this, there are many good songs that should be helpful to those in need of sympathy. ~ Bradley Torreano

Description #3 by Google Play:

It's hard to understand why Canadian singer/songwriter Fred Eaglesmith isn't better known in the US His gruff vocals, dark lyrics, and classic melodies could be compared to the work of Tom Waits or maybe even fellow Canadian poet Leonard Cohen, but he's never managed to crack the American market despite his relentless touring. His last album, Tinderbox, was allegedly a gospel album, but like all of Eaglesmith's work, it was his own skewed version of gospel. This time out, Eaglesmith set out to make a bossa nova record, but got sidetracked by the sounds of late-'50s/early-'60s rock & roll. The music resonates with sounds of that era -- female backing harmonies, big reverb-drenched guitars, simple chord progressions, and the faux Latin beats referenced in the album's title -- but it's the '50s as seen through Eaglesmith's singular vision. He comes close to a bossa nova on "Tricks," but the twangy guitar is more spaghetti Western than Brazilian. It's a meditation on an unattainable woman with Eaglesmith's vocal capturing the right balance between desire and befuddlement. "Shallow" and "Gone Too Long" has the kind of laid-back, almost Latin funk that the Drifters made good use of. Muted electric piano and subtle congas grace "Shallow," which sports one of the album's best lines: "I could be that shallow too, if only I wasn't in so deep." The Fabulous Ginn Sisters add backing vocals to the bluesy "Gone Too Long." Dreamy B-3 organ gives the track the feel of a midnight cocktail lounge. "Dynamite and Whiskey" channels early Howlin' Wolf as played by Creedence Clearwater Revival. Swampy low-string guitar, Eaglesmith's growling vocal, and a brittle snare drum rhythm add to the sinister vibe. You can't speak of '50s rock without mentioning Elvis, and Eaglesmith wrote two ballads for the album that he imagined the King might sing. "Sliver of the Moon" is marked by shimmering Hawaiian slide guitar and moody electric organ. "Silhouettes" is actually more Willy DeVille than Elvis, but that's not a bad thing. Eaglesmith's lazy slurred vocal has a soulful tone that conveys grief and loss on the brink of a deluge of manly tears. This album probably won't make Eaglesmith a star, but it's another superb album from a criminally overlooked songwriter. ~ j. poet, Rovi