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Close To You - The Carpenters
by ladybracknell Back in my youth there were certain very successful bands that it simply wasn't cool to like, especially if you regarded yourself as a rock fan. One such band was the American brother and sister act, the Carpenters, whose singles always made it into the charts due to their catchy tunes and the duo's undoubted talent. For several ... years during the Seventies, the Carpenters had chart success though it did come at a high cost. Richard developed an addiction to prescription drugs and Karen struggled with anorexia, a battle she sadly lost. Like Abba, the Carpenters' music has recently been re-examined and declared worthy. Despite their lack of cool at the time they were playing, however, I strongly suspect that many record collections from the Seventies have a copy of Close to You tucked away somewhere. They say one shouldn't judge a book by its cover and it's equally true of music CDs. The album cover, which replicates the original vinyl one, is very dated with Karen in her Laura Ashley style frock and badly styled long hair and Richard looking like a retro member of One Direction. Don't be fooled into thinking this album is totally naff though: the style is definitely of its time but the quality of Karen Carpenter's voice remains timeless. The album kicks off with We've Only Just Begun which has a short and simple piano/flute intro before the remarkable voice of Karen Carpenter joins in turning this rather mediocre ballad about new love into something more special. If you can screen out the rather naff sounding backing and concentrate on the voice, it's possible to get a feel for exactly why the duo was so successful. Love is Surrender is another little slice of Seventies kitsch offering a jazzy beat, lots of percussion and piano. Both Carpenters share vocals here with lots of harmonising in the choruses. This song is very reminiscent of lift music which washes over the listener and is forgotten the instant the lift doors open. Maybe It's You was co-written by Richard Carpenter with John Bettis and I suspect Richard's understanding of his sister's vocal abilities played a part in its composition as it certainly plays to her strengths. Karen Carpenter had a rich, velvety contralto voice, pretty unusual in a female singer back then and still fairly uncommon today. The timbre of her voice was deeply resonant and she frequently began a musical phrase softly, building intensity as it developed. Forget the dated lyrics, dealing in a very schmaltzy way with love, and concentrate instead on the musical phraseology. It's superb. Reason to Believe is a Tim Hardin folk song given a Carpenters makeover into a less folk, more country sound but with a more up-tempo pop overlay which would have stripped away all the emotion from the song if not for the integrity of Karen's voice. She carried the album then and listening to it some forty years on, she still carries it. All the arrangements on the album are courtesy of Richard Carpenter and, sadly, they haven't weathered the years quite as well as the singing. Another classic to be Carpentered follows and it's that holy of holies, a Beatles song. Let's be fair, Help isn't one of Lennon and McCartney's best compositions but the Carpenters certainly don't bring anything new to the party here. In fact, they turn it from a so-so pop song into something very unmemorable involving lots of harmonising, almost choral sounding notes, keyboard and tambourines and with a keyboard solo midway through which wouldn't have given Jon Lord or Rick Wakeman any sleepless nights. Close to You is probably the song which could most be regarded as the Carpenters' signature tune. It's a Burt Baccarach/Hal David composition and even the changing times can't disguise the quality of the songwriting. Personally, this song has never been a favourite of mine. It takes a far too saccharine view of love and completely lacks any real emotion. I get the feeling perhaps Karen Carpenter felt the same because she doesn't seem to put as much effort into the song as she does with some of the others. A second Baccarach and David song follows, this time taking a less sugary look at love and dealing with the disillusionment of breakup. I'll Never Fall in Love Again is a wry take on a failed romance from a female perspective. The words are heartfelt and beautifully interpreted by Karen Carpenter and the upbeat rhythm of the backing takes some of the sting out of the lyrics. The arrangement is far more subtle and much less dated although still bearing the trademark harmonics of all the Carpenters songs. Crescent Noon is the standout song on this album to my mind. It's a slow, melodic ballad and gives Karen Carpenter the perfect showcase for her superb voice so it's no surprise this is another song composed by her brother. Some of the notes she hits during the course of the song, especially those in the minor key, send shivers down the spine. The backing is kept subtle and subdued in the main with just a few strings and piano accompaniment, only swelling into choral harmonies during the choruses. I'd say this was one of Richard Carpenter's best compositions. Another Richard Carpenter/John Bettis composition, Mr Guder, lets Karen to do her stuff whilst also allowing Richard to demonstrate his keyboard skills with a rather Bach sounding riff or two and a chorus which I suspect takes its inspiration from the Swingle Singers, an a capella group who specialised in vocal interpretations of Bach's music. I Kept on Loving You puts Richard Carpenter as lead singer with Karen singing the harmonies and suffers somewhat in comparison with other songs on the album. This is another 1970s piece of muzak only fit to listen to whilst shopping or riding a lift. The album ends with Another Song which gives Karen's voice full rein and allows her to show her range from softly sweet to full power. The song's intro is almost operatic in construction and ends abruptly before the song proper begins. Again, the arrangement suffers from an excess of the 1970s sound although Richard Carpenter has tried to inject the backing track with some more avant garde sounds from the era such as a rather disjointed musical interlude full of eastern elements but they sit rather incongruously here. In summary, I'd have to say this album does not stand up well to the passage of time. There's no getting away from the fact that this is a very dated sound both musically and lyrically but the extraordinary quality of Karen Carpenter's voice shines through. I'm sure this would be appreciated by big fans of the Carpenters but for most people who merely want a flavour of what this duo was all about, I'd recommend getting a 'Best of' compilation and I guess most of the songs on this album wouldn't make the cut. The album is currently selling for £4.38 with used copies available from 38p which, I'm afraid, is about what it's worth. Read the complete review |
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The Next Day - David Bowie
by Jojoborne David Bowie - The Next Day ---- I feel that the old dog deserves some recognition or at least a look at his new album and his twenty-fourth, believe it or not.The album was released on Monday 11th March 2013 and I received it after pre-ordering it about a month ago.Bowie is approaching his seventies now and at the ... age of sixty-six he no doubt uses his bus pass regularly. OK, perhaps not but it's a nice thought. Bowie is laid back enough to do just that. After having a heart attack in 2004 and having to cancel a World tour it would have been easy for Bowie to call it a day and retire. Music is more than a job for Bowie; it is his passion. The very thought of this aging rocker calling it a day is about as likely as Queens Park Rangers winning the premiership this year; i.e., no chance. I think Bowie will literally rock until he drops and good on him for that. I have never been a massive Bowie fan but have always liked him and some of his music. Most of you reading this will know a little about Bowie, so I will not go into a massive biography on this one as it is a product of the week review after all, so I will stick to that. If you don't know a lot about Bowie, then you are either too young or not bothered so I will save myself the work and time. ---- The Album ---- For me on first listen The Next Day is quintessentially what we would know as a Bowie Album. It is full of angst and questions of morality (as you would expect after his heart attack) but still has a playful pop inside to its raunchy rock exterior. It would've been easy for Bowie to call it a day in 2004 as I have already suggested but I'm glad he didn't as it is always great when a legend like Bowie brings out a new and in some ways, rather unexpected new album. The fact that Bowie's official website announced the new album on his sixty-sixth birthday on January 8th this year speaks volumes of his nous in the music world and how his fans operate. Either that or his management were a little clever knowing that his birthday would be wildly covered and linked to the site where people would see the announcement. Bowie himself had taken a rest and sheltered himself from the media after his heart attack and who could blame him. So in many ways it was a big surprise to many that this album came so much later but to fans it wasn't such a massive surprise as they knew he couldn't keep quiet for long. It is his first album for ten years after 'Reality' in 2003. The one thing to make clear about this album is it isn't some desperate attempt to make some money. Bowie doesn't need the money and has always produced an album because he wants to make a statement or get his thoughts across, rather than for commercial gain. Taking orders doesn't sit easily with Bowie and he has always done what he wants to do in a creative sense, when he wants to do it. This album is no different. He felt he had to say the things that he has said on this album and so he went ahead and made it. It might not be everybody's cup of tea but one thing for sure is that it comes from the heart and with some thought and as he approaches seventy, Bowie is as enigmatic and outspoken as ever. The shock value of some of the lyrics might be lost on this world today where kids know too much too soon but if you listen to them, they have meaning and they have substance, which all too often these days many song lyrics are lacking in. So, let's take a look at the album tracks: Track One - Next Day -- The opening track happens to be the title track as you may have noticed. Straight away you realise that Bowie is going for rock n roll and has lost none of his verve. The main spine of this track is the thumping base and the lead guitar, which vibrates its way through the song. It's got steel but not quite enough for me on first listen. Maybe it is a track I will leave playing if it is on but not one that I wanted to play again straight away. The beat can be quite grating if you're not in the mood for a constant drum bash, but it's not a bad song. 'Here I am, not quite dying, my body left to rot in a hollow tree. Its branches throwing shadows on the gallows for me. And the next day, and the next and another day.' -- Track Two - Dirty Boys -- This track is in total contrast to track one and sounds like a mix between Nick Cave and the Bad Seeds and the Miami Horns who back up Southside Johnny and the Asbury Jukes from time to time. It is also more akin to blues than rock with a meaty sax solo in the middle of the track. 'When the sun goes down. When the sun goes down and the die is cast. When the die is cast and you have no choice. We will run with dirty boys.' -- Track Three - The Stars (Are Out Tonight) -- Track three bounces onto the album and we are instantly reminded that this is Bowie. This track is more akin to the Bowie stuff of old and is essentially a pop song with a little guile. I like this track and will definitely be playing this one again and I think it will grow on me. 'Here they are upon the stairs, sexless and unaroused. They are the stars, they are dying for you, but I hope they live forever.' -- Track Four - Love is Lost -- This is a cool track and a bit different. A mix of all three opening tracks melody wise, with an almost surreal winding motion to it and a synth that Tony Banks of Genesis would've been proud to call his own. The track winds open and becomes more pop-like in the chorus before falling back into the grim churning style that is the underbelly of the tune. A more story-like tune lyrically and destined to be a favourite live track with Bowie fans I think. 'Say goodbye to the thrills of life. When love was good, when love was bad. Wave goodbye to the life without pain. Say hello, you're a beautiful girl.' -- Track Five - Where Are We Now? -- A slow down to the pace with a ditty little number. It is a slow song but the piano is belting in a Chris Martin sense and really carries the track along nicely once it gets going. It is so slow at the beginning of the track that you do begin to wonder whether it is going to pick up but it does eventually. A song about realising when you've made it big whether you realise it or not. A lot of references to Berlin in this song where Bowie gained a cult following in the seventies. This song holds a lot of memory for Bowie as you can tell when you listen to it. 'Twenty thousand people Gross Bose Bruke. Fingers are crossed just in case, walking the dead.' -- Track Six - Valentine's Day -- Another pop track that reminds me of something that 'Pulp' would've done. I can almost imagine a Jarvis Cocker duet along with Bowie when he plays it live. The backing vocals are a little cheesy but are meant to be I think. I can't stand Valentine's Day personally and I am quite a romantic person. I just hate all the hype and commercialism; drives me mad. The song was a little better but not one of my favourites on the album up to yet, albeit a little more upbeat in that sense. On a serious side, this is a song that will remind most Bowie fans of 'Heroes' as it does have that mix of heady guitar as a back-drop to the pop sound. 'Valentine told me how he feels, if all the world were under his heels., or stumbling through the mail, it's in his tiny face, it's in his scrawny hands, Valentine knows it all.' -- Track Seven - If You Can See Me -- Classic Bowie intro; which as always is organised chaos. A fast paced drum beat that seems out of pace with the rest of the instruments on the track; but this is deliberate and it works on a level or should I say a 'Bowie' level'. Reminds me of a Genesis track when Peter Gabriel was lead singer. One thing this track does is convey the fact that Bowie is as passionate about music today as he always has been. The riff is U2 like and you would be forgiven for thinking that 'The Edge' had suddenly burst onto the track. I like the fact that Bowie seems to rise up out of this track in the chorus. The synthesiser sounds really muddled and haunting on this track.'Now you could say I've got a gift of sorts. A fear of rear windows and swinging doors. A love of violence, a dread of sighs. If you can see me, I can see you.' -- Track Eight - I'd Rather Be High -- Another classy track and one that I liked straight away. I'm a pacifist so I can relate to the lyrics and the fact that everything about war and fighting is wrong, no matter who says that we need it. I like the lyric 'I stumble to the graveyard and lay down by my parents, whisper, just remember duckies, everyone gets out.' The tune holds together well and the guitar riff is steady and not too dominant. The instruments band together and create an almost military march of a track. This probably stems from the period where he went through this type of track as it alludes to his time in Berlin as do many of the tracks on the album. Not so much a reminisce as a look back in fondness for Bowie. 'I'd rather be high; I'd be rather be flying. I'd rather be dead or out of my head, than training these guns on those men in the sand. I'd rather be high.' -- Track Nine - Boss of Me -- When you hear the opening chord to this track you would be forgiven for thinking that it was about to burst into Marillion's 'Kayleigh'. It immediately changes tack and launches into the track proper. The song is dominated by rock guitar again and holds its own although it didn't appeal to me on first listen. It is not a bad track but the chorus grinds on me a little as the backing singers rather screech their part along with the wailing guitar, which seems to overpower everything. 'You fly through the night with tears on your lips, Life has your mind and soul, it spins on your hips.' -- Track Ten - Dancing Out in Space -- It wouldn't be a Bowie album without a reference of some kind to the universe or space. I'm sure when Bowie as taken his last breath he will float endlessly above us in orbit, watching over us. This is typical Bowie and more connected to the pop side of things than the rock. The backing singers are a little more mellow on this track and it fits better. Another ditty little number than wouldn't be out of place on some of his past albums. 'No-one here can see you, dancing face to face. No-one here can beat you dancing out in space.' -- Track Eleven - How Does the Grass Grow -- This track reminds me so much of the old Bowie I used to listen to. Maybe the reason is again in the fact that it is steeped in the Berlin type stuff from the seventies. More shimmering and warbling from the synth, giving us that sixties psychedelic feeling and an almost surreal quality. I quite like this track without really knowing why, which I guess is the norm for a lot of Bowie stuff, especially when he goes off on one. The almost chanting and child-like backing vocals work really well and the thrashing guitar and bashing drums end out the track on a high. 'But I lived a blind life, a white face in prison. But you made a life out of nothing, now I ride my black horse. I miss you more than you will ever ever know, waiting with my red eyes and my stone heart.' -- Track Twelve - (You Will) Set the World on Fire -- After listening to the album two or three times now, this is one of my favourite tracks at the moment. It is the song that had me singing along to the chorus on the first listen. Classic Bowie and full of pumping energy and angst. I could see Springsteen, Waits, Jagger and Jack White smacking this one out live with Bowie. Now that would be something. Great rhythm and togetherness about this one and it flows really nicely. 'Kennedy would kill the lines that you've written. Then rock says to Barbie she's the next real thing. Cracks still at hell fly, screaming like a banshee. You're in the boat babe. Reel in the water.' -- Track Thirteen - You Feel So Lonely You Could Die -- This is an epic blockbuster of a track that reeks of Bowie's competence as an artist and a man still capable of belting out a tune. A rock ballad with a jaunty melody, that is full of angst and triumph at the same time. If anyone questions Bowie's album (I was going to say comeback album, but did he ever really go away?) then this song should push the doubters raucously aside with its brash rhythm and heady chorus. I really liked this track on first hearing and I am looking forward to listening to it again. One thing his hater will say is that this track is morbid in its reference to death, but you get bad press when the people remarking don't get it and try to be clever; it goes with the territory. 'Some night on the thriller's street will come the silent gun. You've got a dangerous heart; you stole their trust, their moon, their sun. ' Track Fourteen - Heat A weird way to end the album for me, but then it is Bowie we're talking about so it goes without saying. A strange dream-like track or maybe nightmare would be a better word. It ambles along in the beginning like the soundtrack score from a horror movie. This is one I will have to listen to a little more to understand the lyrics and appreciate it a bit more. Bowie sounds haunting and his voice cruises through the thrashing symbols and electric acoustics. The last track on the album proper. 'He believed that love is theft. Love and war, the theft of love.' ---- My Thoughts ---- So that was the fourteen track album as it was intended. There are also three bonus tracks on the deluxe edition, which are: 'So She', 'I'll Take You There' and 'Plan'. Tony Visconti is a producer that has worked with Bowie for many years and was alongside him in the Berlin days; hence the Berlin influenced vibe of this album. He has said in interview that he was in the recording studio with Bowie for three months and Bowie would just belt out tunes on a synthesiser. They were accompanied by Gerry Leonard on guitar and Sterling Campbell on drums. Visconti himself would play the bass. When they had mish-mashed their way through maybe twelve tracks that had no lyrics, Bowie went off home and they didn't hear from him again for four months. How amazing would it have been to have been a fly on Bowie's wall and to hear him work in the lyrics to each track? It's a strange way of working but it seems to work for Bowie. The album took a full two years to come together and the recording sessions were all over the place. This is again evidence of the organised chaos that Bowie seems comfortable with.I thought a really cool thing that Visconti did was to walk around New York listening to the early cuts of 'The Next Day' and seeing Bowie fans wearing tee-shirts walking past him and knocking in to him in the crowds. He thought 'Boy, if you only knew what I was listening to now'. The cover art for the album is a reworking of the 'Heroes' album cover. Bowie has been quoted as saying that he will not play this album live, so it is a big disappointment to fans. Many fans think this means he will never play live again but Bowie has not actually said that and said he just wants to concentrate on making records. So that bodes well for future releases and more material but doesn't look too good if you like to see him live.I am enjoying the album at the moment and perhaps a little more than I thought I would to be honest. I remember buying the 'Tin Machine' album (Bowie's other group) and being slightly disappointed, but The Next Day is quite a cool album and I will continue to listen to see if it grows on me more.The album was released on the 8th of March in Germany, the 11th in the UK and the 12th in the US.The album can be picked up for nine pounds ninety-nine on CD and four pounds ninety-nine on MP3 from Amazon.I give it three out of four stars, which may rise to four over time. ©Lee Billingham Read the complete review |
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Different Class - Pulp
by cha97mw Back in 1995, I was a teenage girl from a working class background, sitting my GCSEs alongside all of my friends, and one of the sounds of that summer was Pulp's Common People - an anthem to my friends. At that time, there was Blur, or Pulp, and with Pulp being from Sheffield (the town I was going to for University) and singing about ... more class related matters that seemed a bit more important to a teenager starting to take more notice of the world, the band for me was Pulp. The cover to the disc is not that inspiring, but certainly very striking. Featuring a colour picture of a wedding scene, the band are superimposed in black and white over the top. To me this always has a bit of an old feel to it, and while not that appealing to me, perhaps more appealing to the parents of me and my friends who had grown up at the same time as front man and singer, Jarvis Cocker, and experienced similar angst to him. The tagline inside, 'Please understand. We don't want no trouble. We just want the right to be be different. That's all. ' There is something very appealing about this sentiment to someone on the cusp of becoming an adult and establishing their opinions at an alarming rate. The CD I own was purchased from Woolies - thanks to a receipt tucked in the cover, I can see I paid £12.49 for it. How amazing that you can get albums cheaper than this now. One of the only commodities that doesn't cost you more these days. The album features 12 songs with an alternative rock feel, sung by Jarvis Cocker in a style that features his Yorkshire accent and sometimes almost feels more speech like than singing, with a bit of a nasal property. Each track has a run time between 3 and 6 minutes, so the CD as a whole runs for about one delightful hour. Mis-shapes opens the album - a song that reached 2 in 1995. This is quite a catchy tune about class divide and how people who stand out get mistreated. It is a song about standing up for yourselves and rising up in spite of where you come from. 'We want your homes, we want your lives, we want the things you won't allow us. We won't use guns, we won't use bombs. We'll use the one thing we've got more of - that's our minds. ' For someone from a working class background, that is so relatable about rising up beyond what you have using education and hard work. Pencil Skirt is more of a little ditty to me rather than a full blown song, spoken by Cocker in quite a breathless voice about an affair between two people who shouldn't be together. You can't help but feel he is the underdog who is not quite good enough as the other man. I love the rhyme in the lyrics with this one, it always makes me chuckle a bit with its descriptiveness and although it kind of is meant to be a bit seductive, its like a satirical northern version of it. 'When you raise your pencil skirt like a veil before my eyes. Like the look upon his face as he's zipping up his flies.' I can't think of anything less romantic sounding myself. We are then took into the biggest hit from this CD that has most mass appeal, Common People. Another number two, this was the song of my summer. At 6 minutes, it is quite long, but it doesn't necessarily feel it. It describes a girl lowering herself a bit with an affair with a boy who is a lower social class than her, but there is this undercurrent that she can always stop pretending and go back to her normal life whenever she wants, and how pretending that your poor is not the same reality as being poor. This for me is such a relevant theme even now though is obviously more from Cockers own youth in the 80s. It definitely felt relevant at the time where I was approaching my own University/college education, making it sound an exciting time. I Spy - this has a bit of a sound of the Pet Shop Boys to me. This is almost whispered by Cocker, over music which starts really quietly and then builds throughout the song, leading to song through the chorus. It seems a quite jealous song to me. Some of the words are pronounced quite harshly with a lot of emphasis on the 's' sound which sounds almost like hissing. 'You see you should take me seriously. Very seriously indeed. Cause I've been sleeping with your wife for the past sixteen weeks. Smoking your cigarettes, drinking your brandy, messing up the bed you chose together. And in all that time I just wanted you to come home unexpectedly one afternoon, And catch us at it in the front room. You see I spy for a living and I specialise in revenge, On taking the things I know will cause you pain. I can't help it, I was dragged up.' Disco 2000 - another hit from the CD, though this one was only ever number 7 in the charts, but I found it far more 'pop' and catchy than Mis shapes. I love looking back now at 'Let's all meet up in the year 2000' which at that point was a future event, but now how long ago was that? It describes Cocker's real life, of falling in love with someone totally unattainable, and how they grew up not very differently, but the girl is infinitely more popular and never notices him and his love in unrequited. It's hard to see that the track did not achieve more commercial success as it is a lot more cheerful than some of their other tracks. Live Bed Show - this is quite a melancholy sound which to me is about the demise of a relationship that has just slipped away. This is to me, a couple who are moving apart from each other, like ships in the night. I love the line 'It's changed from something beautiful, to something else instead.' Something Changed - It's a nice guitar based track. It always puts me in the mood of the film, Sliding Doors, what would happen to you if you made one choice in life rather than following another route. 'When we woke up that morning we had no way of knowing that in a matter of hours we'd change the way we were going. Where would I be now if we'd never met? ' Sorted for E's and Whizz was the other A side of the track, Mis shapes which reached number 2. The song has a bit of a spaced feel with clear reference to drug use, describing the trip. This seems to make drug use seem quite unglamourous to me, talking about feeling like you can't go home because you left part of your brain in a field in Hampshire. F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E is a very weird song, following on well from the quiet ending of the previous track, featuring Cocker speaking in a very quiet voice through the verses that is difficult to make out like he is telling you a secret. The chorus starts with him almost whining like an animal that it is cold. It is an odd description of love, stripping it back to more of an animal thing. 'So what do I do? I've got a slightly sick feeling in my stomach, Like I'm standing on top of a very high building oh yeah. All the stuff they tell you about in the movies, but this isn't chocolate boxes and roses. ' Underwear - firstly, an odd name for a track - it sounds a bit sordid, and this is what the lyrics describe, someone stripping down to their underwear. I feel there is a bit of sordidness underneath the lyrics, someone not quite wanting to be where they are, but needing to continue once they have started. 'If you could close your eyes and just remember, that this is what you wanted last night. So why is it so hard for you to touch him, for you to go, to give yourself to him? Oh Jesus!' Monday Morning - this song somes up perhaps how many people live, surviving the week to get to the weekend, where you live, until its Monday again and you are constantly on this repetitive cycle thinking how pointless it is. The lyrics make you think a little about what you would do if you could escape from the rat race. Bar Italia is the 12th and final track on the disc. It describes the feeling at the end of the night, not wanting it all to end, making plans to do it all again, making it a good track for ending the CD. For me, this disc starts with a bit of pace and passion, and kind of dies out by the last quarter where the more laid back and less popular tracks are. I find that the strength to this CD is the lyrics, and this is why Pulp always won over Blur for me as there lyrics have a lot more meaning to them. Musically, this could sound like other bands, but it is the strength of these lyrics and Jarvis Cockers unique voice that really mark this band apart from others. While this angst will not be for everyone, the catchy Common People and Disco 2000 (5* tracks) will drag people in to listen to the rest of the disc. For me, some of it is a bit self indulgent, and this is what stopped the band gaining more commercial mainstream success. While I love the songs that charted from this CD, and I am amused by some of the other tracks like something changed and pencil skirt, I find that I only tolerate the last three tracks really. This is a CD that calls out to you to listen to the words being spoken, unfortunately not all of them are that wise or worth listening to, and overall it is an average album with a couple of gems in it for me. I played it to death when it was new, I still don't mind the occasional listen, but it is music to match a mood and an era. A fun trip down memory lane, but the sentiments are a bit dated now for me. Read the complete review |
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66 reviews Genre: R&B & Soul - Pop R&B / Music Album / Artist: Rihanna / Audio CD released 2008-06-02 at Universal - Disc #1 Tracklisting 1 Umbrella - Rihanna, Jay-Z 2 Push Up On Me 3 Don't Stop The Music 4 Breakin' Dishes 5 Shut Up and Drive 6 Hate That I Love You - Rihanna, Ne-Yo 7 Say It |
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15 reviews Genre: Pop - Dance Pop / Music Album / Artist: Celine Dion / Import / Audio CD released at Sony - Disc #1 Tracklisting 1 It's All Coming Back to Me Now 2 Because You Loved Me 3 Falling into You 4 Make You Happy 5 Seduces Me 6 All by Myself 7 Declaration of Love 8 Dreamin' of You<... |
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5 reviews Genre: Folk - Irish Folk / Music Album / Artist: Enya / Box set / Audio CD released 2002-11-11 at Wea - Disc #1 Tracklisting 1 Watermark 2 Exile 3 Aldebaran 4 March of the Celts 5 Boadicea 6 Sun in your stream 7 On your shore 8 Cursum perficio 9 Storms in Africa (original vers... |
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3 reviews Genre: Soundtrack / Music Album / Artist: Various / Audio CD released 2001-04-02 at Soundtrax - Disc #1 Tracklisting 1 Main Title 2 Looks Like A Suicide 3 John Dunbar 4 Journey To Fort Sedgewick 5 Ride To Fort Hays 6 Death Of Timmons 7 Two Socks The Wolf 8 Pawnee Attack 9 Kick... |
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2 reviews Genre: Indie Rock & Punk - New Wave & Post-punk / Music Album / Artist: Kim Wilde / Audio CD released 2001-04-16 at Commercial Marketing - Disc #1 Tracklisting 1 The Second Time 2 Rage To Love 3 You Keep Me Hangin' On 4 Another Step (Closer To You) - Kim Wilde, Junior 5 Say You Really Wan... |
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13 reviews Genre: Rock - Pop Rock / Music Album / Artist: Kelly Clarkson / Audio CD released 2007-06-25 at RCA - Disc #1 Tracklisting 1 Never Again 2 One Minute 3 Hole 4 Sober 5 Don't Waste Your Time 6 Judas 7 Haunted 8 Be Still 9 Maybe 10 How I Feel 11 Yeah 12 Can I Have A Kiss... |
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4 reviews Genre: Easy Listening / Music Album / Audio CD released 2001-09-10 at Virgin Classics - Disc #1 Tracklisting 1 The Armed Man 2 The Call To Prayers (Adhaan) 3 Kyrie 4 Save Me From Bloody Men 5 Sanctus 6 Hymn Before Action 7 Charge! 8 Angry Flames 9 Torches 10 Agnus Dei 11... |
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7 reviews Genre: Indie Rock & Punk - Britpop / Music Album / Artist: Travis / Audio CD released 2007-05-07 at Independiente - Disc #1 Tracklisting 1 3 Times And You Lose 2 Selfish Jean 3 Closer 4 Big Chair 5 Battleships 6 Eyes Wide Open 7 My Eyes 8 One Night 9 Out In Space 10 Colder<... |
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5 reviews Genre: Rock - Pop Rock / Music Album / Artist: Paul McCartney / Audio CD released 2007-06-04 at Mercury - Disc #1 Tracklisting 1 Dance Tonight 2 Ever Present Past 3 See Your Sunshine 4 Only Mama Knows 5 You Tell Me 6 Mr. Bellamy 7 Gratitude 8 Vintage Clothes 9 That Was Me 1... |
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11 reviews Genre: Rock - Pop Rock / Music Album / Artist: Maroon 5 / Audio CD released 2007-05-21 at Polydor - Disc #1 Tracklisting 1 If I Never See Your Face Again 2 Makes Me Wonder 3 Little Of Your Time 4 Wake Up Call 5 Won't Go Home Without You 6 Nothing Lasts Forever 7 Can't Stop 8 Good... |
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