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  #2921  
Old 09-05-2009, 07:54 PM
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Breaking Benjamin - I Will Not Bow = 3.5 out of 5 stars = Good
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  #2922  
Old 09-05-2009, 08:05 PM
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various artists - verve remixed



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This compilation featuring remixes of tunes from the vaultsof one of the premier '50s and '60s jazz labels varies in tone from the thumping house of the Dorfmeister Con Madrid reworking of Willie Bobo's "Spanish Grease" to the ethereal tones of Thievery Corporation's re-imagining of Astrud Gilberto's "Who Needs Forever?". Tricky performs his usual impenetrable sleight-of-hand on the Billie Holiday classic "Strange Fruit", giving the terrifying imagery of a Southern lynchingan appropriately dark, disturbing feel, while in contrast Sarah Vaughan's "Summertime" is given a reggae bassline that percolates under the song's languid string arrangement.
The brace of Nina Simone cuts ("Feelin' Good" and "See-Line Woman") are given the appropriate updated R&B treatment, while the other Billie Holiday track, "Don't Explain", treats the singer's voice as an adjunct to a musical experiment. Although some of the originals find themselves submerged beneathmulti-layered waves of electronica, there's enough here of interest to make this an exploration well worth investigating.
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  #2923  
Old 09-05-2009, 11:01 PM
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Boston - Greatest Hits [1997] (FLAC) = 4.5 out of 5 stars = Excellent



From allmusic.com

Quote:
Since Tom Scholz is such a slow worker, there were only four Boston albums between the group's 1976 debut and this Greatest Hits collection in 1997. That may mean that there isn't much music to compile, as the reliance on their biggest-selling album, Boston, suggests, but that doesn't matter for most casual fans, since Greatest Hits gathers all of their best songs, from "More Than a Feeling" to "Amanda," on one compact disc. For the collector, the record isn't quite as appealing, even if it contains three new songs as bait. These three songs simply don't deliver the melodic punch or guitar crunch that distinguishes the group's best work. It's nice to hear original vocalist Brad Delp on "Higher Power," but "Tell Me" is slight, and an instrumental version of "The Star Spangled Banner" is nearly an insult. So, for the devoted, Greatest Hits is a mixed bag, but for less dedicated listeners, it may be all the Boston they need.
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  #2924  
Old 09-06-2009, 07:02 AM
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Words & Music: John Mellencamp's Greatest Hits is a greatest hits album by American rock and roll artist John Mellencamp. This 2-disc set was released October 19, 2004 on the Island and UTV Records labels.
Initial pressings of the album included a bonus DVD that contained the music videos for "Crumblin' Down," "R.O.C.K. In The U.S.A., "Rain On The Scarecrow," "Check It Out" and "Key West Intermezzo (I Saw You First)."
Contents

[hide]

[edit] Track listing

All songs written by John Mellencamp, except where noted.

[edit] Disc One

  1. "Walk Tall" – 3:45
  2. "Pink Houses" – 4:45
  3. "Lonely Ol' Night" – 3:46
  4. "Jackie Brown" – 4:03
  5. "Rain On The Scarecrow" (Mellencamp, G.C. Green) – 3:46
  6. "Love And Happiness" – 3:54
  7. "Check It Out" – 4:21
  8. "Peaceful World" – 4:06
  9. "Paper In Fire" – 3:52
    • (from The Lonesome Jubilee, 1987)
  10. "Your Life Is Now" (Mellencamp, Green) – 3:59
  11. "Human Wheels" (Mellencamp, Green) – 5:36
  12. "When Jesus Left Birmingham" – 5:16
    • (from Human Wheels, 1993)
  13. "Authority Song" – 3:50
    • (from Uh-Huh, 1983)
  14. "What If I Came Knocking" – 5:06
    • (from Human Wheels, 1993)
  15. "Crumblin' Down" (Mellencamp, Green) – 3:36
    • (from Uh-Huh, 1983)
  16. "Small Town" – 3:42
    • ((from Scarecrow, 1985)
  17. "R.O.C.K. In The U.S.A." – 2:55
    • (from Scarecrow, 1985)
  18. "Cherry Bomb" – 4:49
    • (from The Lonesome Jubilee, 1987)
  19. "Pop Singer" – 2:46
    • (from Big Daddy, 1989)

[edit] Disc Two

  1. "Thank You" – 3:38
    • (from Words & Music: John Mellencamp's Greatest Hits, 2004)
  2. "Martha Say" – 3:43
    • (from Big Daddy, 1989)
  3. "Key West Intermezzo (I Saw You First)" (Mellencamp, Green) – 4:54
  4. "Hand To Hold On To" – 3:25
  5. "I Need A Lover" – 5:36
  6. "Hurts So Good" (Mellencamp, Green) – 3:41
    • (from American Fool, 1982)
  7. "Get A Leg Up" – 3:47
    • (from Whenever We Wanted, 1991)
  8. "Wild Night" (Van Morrison) – 3:28
  9. "Dance Naked" – 3:01
    • (from Dance Naked, 1994)
  10. "Teardrops Will Fall" (David Allard, Marion Smith) – 4:20
  11. "Ain't Even Done With The Night" – 4:38
  12. "Just Another Day" – 3:31
    • (from Mr. Happy Go Lucky, 1996)
  13. "Jack And Diane" – 4:17
    • (from American Fool, 1982)
  14. "Rumbleseat" – 2:59
    • (from Scarecrow, 1985)
  15. "I'm Not Running Anymore" – 3:27
    • (from John Mellencamp, 1998)
  16. "Again Tonight" – 3:18
    • (from Whenever We Wanted, 1991)
  17. "This Time" – 4:20
    • (from Nothin' Matters And What If It Did, 1980)
  18. "Now More Than Ever" – 3:43
    • (from Whenever We Wanted, 1991)

[edit] Personnel on 2004 tracks


[edit] "Walk Tall"

  • John Mellencamp - lead vocals
  • Kenneth "Babyface" Edmonds - guitar, background vocals
  • Reggie Hamilton - bass
  • Ricky Lawson - drums
  • Michael Ramos - organ
  • Miriam Sturm - violin
  • Andy York - guitar

[edit] "Thank You"

  • John Mellencamp - lead vocals
  • Kenneth "Babyface" Edmonds - guitar, background vocals
  • Ricky Lawson - drums
  • Michael Ramos - organ, background vocals
  • Miriam Sturm - violin
  • Mike Wanchic - guitar, background vocals
  • Andy York - guitar, background vocals
  • Jane McLeod - background vocals
  • Sonja Rasmussen - background vocals
  • Laurie Robert-Glug - background vocals
  • Susan Swaney - background vocals
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  #2925  
Old 09-06-2009, 07:16 AM
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Captain Beefheart & His Magic Band - 1967 - Safe As Milk



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Drawing from a diverse range of influences, Captain Beefheart & The Magic Band created music that has occasionally been dubbed “avant garde-blues”, with a loud complex weave of guitar work that would come to influence the punk movement in the following decade, unusual use of percussion, free jazz solos, and surreal lyrics. His album Trout Mask Replica (1969), which was produced by Frank Zappa, is number 58 on Rolling Stone Magazine’s 500 Greatest Albums of All Time list (beating albums like Led Zeppelin’s Physical Graffiti, Prince’s Purple Rain and John Lennon’s Imagine) and is his most popular album, regarded by some as the most original musical work to come out of the 1960’s.

The Magic Band’s first formation was in 1965 when Don Glen Vliet was contacted by Alex Snouffer, a local Lancaster, California rhythm and blues guitarist. Together they assembled the first Magic Band, and at this point Don Vliet became “Don Van Vliet”, whilst Alex Snouffer became “Alex St. Claire”. Nearly all the musicians that Van Vliet worked with were given stage names; Van Vliet’s being “Captain Beefheart”. The first Magic Band was completed with Doug Moon on guitar, Jerry Handley on bass and Vic Mortenson on drums, who was soon replaced by Paul Blakely.

Captain Beefheart & His Magic Band signed to A&M and released two 1966 singles, a version of Bo Diddley’s “Diddy Wah Diddy,” followed by “Moonchild,” which was written by David Gates. Both were hits in Los Angeles. The band began to play music venues catered to underground artists such as the Avalon Ballroom in San Francisco.

Sometime in 1966 demos of what became the Safe as Milk material were submitted to A&M. Jerry Moss (the “M” in A&M) reportedly described the new direction as “too negative” and they were dropped from the label. But by the end of 1966 they were signed to Buddah Records and John French had joined as drummer. French would be the mainstay of the band until 1971, and he returned twice after that (1975–77 and 1980, as a guitarist on the records Doc at the Radar Station and Ice Cream For Crow; he also led the reformed Magic Band). French had the patience required to be able to translate Van Vliet’s musical ideas (often expressed by whistling or banging on the piano) for the other players. In French’s absence this role was taken over by Bill Harkleroad.

The Safe as Milk material needed much more work, and 20-year-old guitar prodigy Ry Cooder was asked to help. They began recording in Spring 1967, with Richard Perry producing (his first job as producer). Cooder left shortly after recording the album, which was released in September 1967. Among those who took notice were The Beatles. John Lennon displayed two of the album’s promotional bumper stickers in the sunroom at his home, and later the Beatles planned to sign Beefheart to their experimental Zapple label. (Those plans were scrapped after Allen Klein took over the group’s management.)
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  #2926  
Old 09-06-2009, 11:55 AM
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Attwenger - 2005 - Dog



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Attwenger (formed 1990) is a musical duo from Linz, Austria. The name Attwenger comes from an old four-lined stanza, that was played in regional broadcast. Markus Binder plays drums, Hans-Peter Falkner the accordian (electric squeeze-box). Both also sing and use electronic effects and instruments. Attwenger is considered one of the most innovative bands in Austria and fuses elements of folk with punk, rock, hip-hop and electro.
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  #2927  
Old 09-06-2009, 01:29 PM
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Def Leppard - Vault: Def Leppard Greatest Hits [1995] (FLAC) = 4 out of 5 Stars = Excellent





From allmusic.com:
Quote:
Def Leppard was untouchable in the '80s. Over the course of four albums, the band established itself as one of the best and most popular hard rock/heavy metal groups of the decade, scoring a long list of hit singles. Vault compiles the biggest of those hits, as well as selections from their first album of the '90s, Adrenalize, and the outtakes collection Retro Active. Essentially, Def Leppard's legacy rests on two albums: 1983's Pyromania and 1987's Hysteria. On both records, the group created a sleek, shiny brand of hard rock powered by huge, catchy melodies and guitar hooks that owed more to Mott the Hoople and T. Rex than Deep Purple and Black Sabbath. It was a polished but potent sound, whether the band turned out rockers ("Photograph," "Rocket") or ballads ("Bringin' on the Heartbreak," "Love Bites"). Vault has all of the necessary items, from "Pour Some Sugar on Me" to "Rock of Ages." It's not a perfect collection — it's not sequenced chronologically, it includes too much material from Adrenalize, and the new "When Love & Hate Collide" is simply average — but that doesn't stop Vault from being a great greatest-hits collection.
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  #2928  
Old 09-06-2009, 02:09 PM
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Scott 3 is the third solo album by singer songwriter Scott Walker.
Upon release in 1969, it met with slower sales than his previous albums, as pop audiences struggled to keep pace with Walker's increasingly experimental approach. The dense lush string arrangements by Wally Stott seemed to evoke a Vegas-style lounge crooner atmosphere, but one tinted with surreal drones and touches of dissonance.
Since its release, it has been regarded by many of Walker's fans as a favourite. The title of the compilation Fire Escape in the Sky: The Godlike Genius of Scott Walker is taken from the lyrics of the song "Big Louise", and the 2006 documentary Scott Walker: 30 Century Man is named after "30 Century Man".
The final three tracks are covers of compositions by Jacques Brel.
Contents

[hide]

[edit] Track listing

All songs written and composed by Scott Walker (credited as Noel Scott Engel), except where noted.
Side one # Title Length 1. "It's Raining Today" 4:02 2. "Copenhagen" 2:22 3. "Rosemary" 3:22 4. "Big Louise" 3:10 5. "We Came Through" 1:59 6. "Butterfly" 1:42 7. "Two Ragged Soldiers" 3:07
Side two # Title Length 1. "30 Century Man" 1:29 2. "Winter Night" 1:45 3. "Two Weeks Since You've Gone" 2:48 4. "Sons Of" (Gérard Jouannest, Jacques Brel, Mort Shuman) 3:45 5. "Funeral Tango" (Jouannest, Brel, Shuman) 2:56 6. "If You Go Away" (Brel, Rod McKuen) 4:57
The original U.S. Smash label vinyl issue omitted "30 Century Man", replacing it with "The Lights Of Cincinnati", a UK non-LP single from the same period. This issue also featured a different cover design from the UK Philips release.

[edit] Personnel

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  #2929  
Old 09-06-2009, 03:55 PM
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Augustus Pablo - 1999 - Valley Of Jehosaphat



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As any business person will tell you, the way to success is through the discovery of a niche or a previously unexploited market. Still, few business people, and even fewer musicians, would have believed that there was a market for the sound of the melodica. What next, they would have sniggered, a kazoo? Yet Augustus Pablo would take this child’s toy and launch a revolution in jamaican music. Not only was Pablo’s melodica unique, it would sweep the entire island’s scene and become an integral part of the music of the era. But Pablo was no one-trick pony, he was also a virtuoso keyboardist and his playing permeated the island across myriad of his own releases and as a session man for others. He was equally talented on the other side of the recording desk and his production work was as inspired as his playing.

What’s truly miraculous was that Pablo managed to keep up this pace for so long. His health had always been very delicate due to a nerve disorder he suffered for much of his life. On May 18, 1999, his body finally gave out; he was only 44. However, although the artist may be gone, his legacy is in no danger of fading away.
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  #2930  
Old 09-06-2009, 07:35 PM
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Alice in Chains - A Looking In View [2009] (LAME MP3 3.97 VBR V0) = 3.5 out of 5 Stars = Better than good Song


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Last edited by eboyer93; 09-06-2009 at 07:41 PM.
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  #2931  
Old 09-07-2009, 02:55 PM
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Richard Pryor - Is It Something I Said?

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  #2932  
Old 09-08-2009, 03:42 PM
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  #2933  
Old 09-08-2009, 03:56 PM
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Los Tigres del Norte - 2003 - 20 Corridos Inolvidables



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Los Tigres del Norte (The Tigers of the North in English) are a Grammy and Latin Grammy winning norteño-band ensemble, from Rosa Morada, Sinaloa, Mexico. The group was started by Jorge Hernández, his brothers, and his cousins. They began recording after moving to San José, California in the late 1960s, when all the members were still in their teens.

Many of their most popular songs consist of tales or corridos about life, love, and the struggle to survive in an imperfect world. They regularly touch on the subject of narcotics and illegal immigration, but they have also shared stories of love and betrayal between a man and a woman. Together, the band and its public has turned norteño music into an international genre. The band has modernized the music, infusing it with bolero, cumbia, rock rhythms, waltzes, as well as sound effects of machine guns and sirens integrated with the music.
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  #2934  
Old 09-09-2009, 02:15 AM
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  #2935  
Old 09-09-2009, 05:20 PM
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Endstille - 2005 - Navigator



Quote:
Black metal proliferation, thy name is Endstille. Not that that's necessarily a complaint. But the German giants have put out an album every year since their first release, _Operation Wintersturm_ in 2002. Usually, when bands are as abundant with material as this, the quality of the music is sacrificed tremendously. However, Endstille manage to keep their militantly fierce brand of black metal honed tightly. And with their 2004 release, _Dominanz_, their guns are kept at the ready with the exceptional precision of an expert sniper.

The entire ten-track album kicks off at a maddening pace with the title track and doesn't relent for the duration of the recording. Machine-gunning drums complemented with grinding, furiously fast guitars are omnipresent throughout, especially on "Conquest Is Atheism" and the stark traditional black metal effort, "Monotonous". Iblis' vocals, screaming and painfully strong, do little less than call the masses to take up arms. Deep chested death metal bass drum work is brought to the forefront on "Witch", but it quickly barrels into the tight black metal standard, with an absolutely annihilating demonstration nearly halfway through the track. Amidst the chaos and battlefield imagery the music conjures, there are still melodic, depressive guitar strains underneath the heavy artillery. "Crucified" opens as a stark contrast to most of the album, with an emotive, oppressive aria. Retaining its melodic quality throughout, "Crucified" is almost reminiscent of Windir or even certain, less folkish Nokturnal Mortum tracks. _Dominanz_ ends on a slightly doomy note with "Endstille (Feindfahrt)", but it still manages to keep with the menacing overall feeling of the album. The closing track is almost completely instrumental, with melodic yet threatening overtones. The sounds of guns firing and bombers flying overhead cut through the swampy, static laden atmosphere of the song with a ferocity not often heard.

Endstille keep exceptionally close to traditional black metal, not straying too far from the beaten path. Yet with _Dominanz_, they also machete their ways through new jungles, exploring a vastly militant side that is little seen in the genre, but that fits perfectly. This is a release for purists who have heard it all, for the ones who need something new. In the unlikely circumstance that you haven't heard this release, take a listen.
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  #2936  
Old 09-09-2009, 06:59 PM
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the verve - a storm in heaven (1993)



Quote:
Originally Posted by http://en.wikipedia.org/wiki/A_Storm_in_Heaven


Overview


Like the band's prior EPs and singles, most of the songs on this album are bathed in heavy layers of delay (echo) and reverb, used on both the guitars and the vocals, in order to give a disorientingly psychedelic overall effect.
"Star Sail" appeared on the soundtrack album for the 1993 movie Sliver.
"The Sun, The Sea" and "Butterfly" feature experimental saxophone and trumpet playing and reversed guitar loops. The lyrics of "Butterfly" [e.g., "You could flap your wings a thousand miles away/ You could take the storm away, forever every day"] pertain directly to the so-called Butterfly effect. (The song "Catching The Butterfly," from the band's 1997 album Urban Hymns, is apparently a continuation of this theme.)
The album's closing song is built on a subdued piano motif played by guitarist Nick McCabe.
Like all of the band's releases, A Storm in Heaven features enigmatic artwork. The album's cover photo was shot inside Thor's Cave in Staffordshire, England. The back cover features an old man standing in a cemetery with roses at his feet, giving a peace sign; the cave opening representing the womb, and birth, with the cemetery (obviously) representing death - and therefore the album itself, packaged between birth and death, representing life. The vinyl LP version came in gatefold packaging.
After this album, the band's music moved in a less psychedelic, more structured direction, and their name was officially changed to "The Verve" for legal reasons, so as not to clash with the record label 'Verve'.

[edit] Track listing

  1. "Star Sail" – 3:59
  2. "Slide Away" – 4:03
  3. "Already There" – 5:38
  4. "Beautiful Mind" – 5:27
  5. "The Sun, The Sea" – 5:16
  6. "Virtual World" – 6:20
  7. "Make It Till Monday" – 3:05
  8. "Blue" – 3:24
  9. "Butterfly" – 6:39
  10. "See You in the Next One (Have a Good Time)" – 3:07

[edit] Personnel

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  #2937  
Old 09-10-2009, 04:00 PM
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Roadmaster is a Country rock album by Gene Clark from 1973. The musicians on this album include former bandmates from The Byrds: David Crosby, Roger McGuinn, Chris Hillman, and Michael Clarke. The Album was put together with recording sessions from 1970-1972. Other musicians that sat in on the sessions were: Clarence White, Spooner Oldham, Sneaky Pete Kleinow, Byron Berline, and Rick Roberts.

[edit] Track listing

1. "She's the Kind of Girl" (Clark) – 2:59
2. "One in a Hundred" (Clark) – 2:45
3. "Here Tonight" (Clark) – 3:29
4. "Full Circle Song" (Clark) – 2:44
5. "In a Misty Morning" (Clark) – 4:56
6. "Rough and Rocky" (Charles Justice / Shoji Tabuchi) – 3:14
7. "Roadmaster" (Clark) – 4:12
8. "I Really Don't Want to Know" (Barnes/Robertson) – 4:35
9. "I Remember the Railroad" (Clark) – 2:31
10. "She Don't Care About Time" (Clark) – 3:37
11. "Shooting Star" (Clark) – 4:38

[edit] Personnel

* Gene Clark - acoustic guitar, vocals
* David Crosby - electric guitar
* Chris Hillman - bass guitar
* Roger McGuinn - electric guitar
* Clarence White - electric guitar
* Michael Clarke - drums
* Spooner Oldham - keyboards
* Byron Berline - fiddle
* Rick Roberts - acoustic guitar
* Sneaky Pete Kleinow - pedal steel guitar
* Bud Shank - flute
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  #2938  
Old 09-11-2009, 05:55 PM
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The Death Killers - 2007 - Demo



A 6-year old girl and her older brother make DIY cassette punk. Absolutely awesome, very much Minutemen and/or Sonic Youth.

http://www.myspace.com/deathkillersrockyourface
http://www.last.fm/music/The+Death+Killers
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  #2939  
Old 09-12-2009, 06:19 AM
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Peter Gabriel is Peter Gabriel's third album. The album contains two of Gabriel's most famous songs, the U.K. Top 10 hit "Games Without Frontiers" and the political song "Biko", about the late anti-apartheid activist Steve Biko. The album was remastered, along with most of Gabriel's catalog, in 2002.
This album is often referred to as Melt due to its cover photograph by Storm Thorgerson of Hipgnosis. The photo was taken with a Polaroid SX-70 instant camera, and subsequently modified by Thorgerson or Gabriel. (Thorgerson does not recall whether he or Gabriel manipulated the image.)
The album was Gabriel's first and only release for Mercury Records in the U.S., after being rejected by Atlantic Records, who handled U.S. distribution for Gabriel's first two solo albums and his last two albums with Genesis. Upon hearing mixes of the album's session tapes in early 1980, Atlantic A&R executive John Kalodner deemed the album not commercial enough for release, and recommended that Atlantic drop Gabriel from their artist roster. By the time the album was released by Mercury several months later, Kalodner, now working for the newly-formed Geffen Records label and having realized his mistake, arranged for Geffen to pursue Gabriel as one of their first artist signings.[1] Geffen re-issued the album in 1983 after Mercury's distribution rights to the album lapsed, and has marketed it in the U.S. since.
Gabriel's ex-Genesis bandmate Phil Collins, who succeeded Gabriel as Genesis' lead vocalist, plays drums and provides backing vocals on several of the album's tracks. In particular, Collins played drums on "Intruder", which has been cited as the first use of Collins' "gated drum" sound. This effect, as created by Collins and Hugh Padgham,[2] was featured on Collins' recordings throughout the 1980s. The distinctive sound was identified via experiments by Collins and Padgham, in reponse to Gabriel's request that Collins and Jerry Marotta not use cymbals on the album's sessions. The drum sound on this album has been noted by Public Image Ltd as influencing the sound on their album Flowers of Romance,[3] whose engineer, Nick Launay, was in turn employed by Collins to assist him with his first solo album, Face Value.[3]




Contents

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[edit] Track listing

All songs written by Peter Gabriel.
  1. "Intruder" – 4:54
  2. "No Self Control" – 3:55
  3. "Start" – 1:21 Media:Start
  4. "I Don't Remember" – 4:41
  5. "Family Snapshot" – 4:28
  6. "And Through the Wire" – 5:00
  7. "Games Without Frontiers" – 4:06
  8. "Not One of Us" – 5:22
  9. "Lead a Normal Life" – 4:14
  10. "Biko" – 7:32
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Old 09-12-2009, 07:43 PM
Dreamnine Dreamnine is offline
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