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British Steel - Judas Priest
by Jarisleif "British Steel" is the 6th studio album by British heavy metal legends, Judas Priest. The album was produced by Tom Allom and released in 1980 on Columbia Records. The line-up for the album was Rob Halford (vocals), Glenn Tipton (guitar), K. K. Downing (guitar), Ian Hill (bass) and Dave Holland (drums). Coming two ... years after the band's 1978 classic, "Killing Machine" ("Hell Bent For Leather" in the United States), "British Steel" saw Judas Priest work with producer Tom Allom for the first time in the studio of what would be a partnership that spanned a further five studio albums. Commercially, "British Steel" was Priest's most successful album which peaked at No.4 on the UK album charts and had three top 40 hit singles - "Living After Midnight" and "Breaking the Law" both reached No.12, while "United" crashed in at No.26. This was the first Judas Priest album to feature drummer Dave Holland, having replaced Les Binks in 1979. "Rapid Fire" brings the album in to a storming start with pounding drums and some classic Tipton/Downing riffs. The main riff sounds a bit like Motörhead's "Ace of Spades" which came out in the same year. There's a great solo interchange between the two guitarists during the bridge that adds to what is already a very good song. Rob Halford makes his singing so effortless before hitting the high notes on the last bar. This is a song about what would happen is a nuclear war was to begin culminating in the end of civilization as we know it. "Metal Gods" is up next and the title tells you all you need to know about Judas Priest in that they are gods of heavy metal. However, this song isn't about the band - it's about machines that were built to be man's slave and end up taking on personas of their own, enslaving man and hunting him down. It's a good song with a great beat but the chorus is pretty weak which is a shame because it could have been one of the better songs on the album. If you're a heavy metal fan, "Breaking the Law" needs no introduction. It is as metal as anything I've ever heard. There's no other heavy metal song that broke down so many walls than this did in its two and a half minutes and it's one of the best records I've ever heard. It is a song which deals with high unemployment in the band's home town of Birmingham and the lack of opportunities for someone leaving school. The main riff is excellent and Halford has the listener exactly where he wants them with his stunning vocals. "Grinder" is a song with a rocking tempo that carries a meaty riff along with it, backed by a timely drum beat. It's a song of a controversial nature at that time with Rob Halford's homosexuality still very much in the dark at the time, although it was always pretty obvious and on this song he's telling us that he's different from the most of us and what he does is underground because it was frowned upon. "United" is a heavy metal anthem with a chorus that everyone can sing along to. It's everything you'd expect from Judas Priest with slow guitar riffs and a boppy bass line that rocks the speakers if played loud enough - and why wouldn't you play Judas Priest loud?! It's a song that epitomises heavy metal fans as unique and that they stick together through thick and thin. It's a great song for me, but some might think it's a little too corny. Teen angst is the subject with "You Don't Have to be Old to be Wise" and although it's not considered by some as good as some of the songs on the album, it still has its classic moments. For me, Judas Priest are on fine form here with a hard rocking song that doesn't fail to give listening pleasure to my ears. It's kind of a strange song for the band to be playing now because they're past their younger days and it's all about rebelling against the older generation. After "Breaking the Law", "Living After Midnight" is the other monster song on the album with another heavy riff that's instantly recognisable. As the story goes, Glenn Tipton kept Rob Halford awake one night by playing the main riff over and over. Halford knocked on his hotel door and told him he had the lyrics for it. It has a nice solo in the bridge and Halford's vocals are in excellent form here. "The Rage" is very AC/DC in style with a funky sounding bass line but it's Halford that shines with some of the impressive vocal ranges he's famous for, reaching all the high notes in amazing harmony. There is a ripping solo in the bridge that changes the shape of the song but it's then brought back down to earth with a bluesy sound. It's hard to define which column this song should go in - whether it's brilliant or bad - but I mostly always learn towards it being a work of art. "Steeler" is a strange number to finish the album with. I like it but I think that's because the tempo is just right for the song. If it was any slower I don't think it would have had the same effect, somehow. I like the blend between the speed of the song and Halford's vocals, which seem to be running at completely different speeds which makes it work. It's played out at the end to some frantic riffing from Downing and Tipton, backed by timely drumming. In summary, you can't fail to dislike this album from a heavy metal point of view because it is the ultimate heavy metal album. Scott Ian of Anthrax once said that it IS heavy metal because it disowned the blues that most previous metal albums had and said "Even the title. ow does it get more metal than that?" He is, of course, very right. This is one of my all-time favourite albums because it was groundbreaking in shaping the path of things to come from the heavy metal genre. 1. Rapid Fire 2. Metal Gods 3. Breaking the Law 4. Grinder 5. United 6. You Don't have to be Old to be Wise 7. Living After Midnight 8. The Rage 9. Steeler My rating: 9/10 Read the complete review |
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Alone With Everybody - Richard Ashcroft
by Jojoborne Richard Ashcroft - Alone With Everybody A review of Richard Ashcroft and his first solo album. Richard Ashcroft - Background I'd like to speak about Richard Ashcroft's career and his role as lead singer in the band 'The Verve' before I talk about his debut solo album. I think it is more ... befitting for people to know how he arrived at this album. I won't go into too much of an overview but feel the information is both relevant and interesting to anyone who may want to purchase his solo work, especially any fans of The Verve, who for one reason or another never bothered to. From time to time there comes a musician or songwriter that has a natural ability at doing what he does. Lyrics flow from there pen easily and come from the heart. Their music touches people and there procure a large fan base, which borders on a cult following. Richard Ashcroft is one of those people. In 1992 when I first heard 'The Verve', who Richard was the lead singer of, I thought that the guy had something special and he would prove me right. Originally the band was known just as 'Verve' and the first releases were raw and edgy but not mainstream enough to reach a large audience, although they did raise the eyebrows of many critics and in a positive sense. The first album was titled 'Verve'. Their second offering 'A Storm in Heaven' saw them playing more live gigs and although not a commercial success saw them travelling and playing gigs throughout the United States in 1993 and 1994. Drinking and stupidity almost caused them to split. By now Ashcroft was getting a reputation and Noel Gallagher of 'Oasis' was quoted as being a fan. The third Verve album 'A Northern Soul' was dedicated to Noel after Noel had dedicated one of his songs to Richard. For me this album was the start of something big and the song 'History' is still one of my favourite songs today. Sadly after its release in 1995 the band would have some bitter arguments, usually between Ashcroft and lead guitarist Nick McCabe and some creative differences. They had been unhappy for a while and Ashcroft said that he had put off the decision to split for a while. In 1996 however, he announced the break-up of the band. A month or so after the break-up, Ashcroft got the band back together but McCabe did not re-join them. After toying with new material in the recording studio, Ashcroft felt that he needed McCabe for the band to really work as The Verve. McCabe finally agreed and the band recorded one of the best-selling rock albums in history. When they released the album 'Urban Hymns' as 'The Verve' in 1997 it was a massive commercial success and garnered the band a new set of fans to join the hordes already following their work.. The first single from the album 'Bitter Sweet Symphony', reached number two in the UK charts. There would be controversy over this release as some of the music would be legally sampled from a Rolling Stones track. The problem was that the Rolling Stones and their record company said that too much of their original track was used. The Verve ended up having to pay the Rolling Stones one hundred per cent of their royalties from the record. The second single from the Album 'The Drugs Don't Work' went to number one as did the album in the album charts. The third single 'Lucky Man' would reach number seven and the band would start to tour again for the first time in over two years. The band had been noticed on a big scale in the US too and they were becoming widely known as the best band in the world. With all the success and touring came pressure and the bust ups would start again. McCabe ended up punching Ashcroft in the face and the tour was finished without McCabe and a session musician replaced him. The Verve disbanded again or as I like to see it, McCabe threw a wobbler again. They would reform in 2007 and split in 2009 but that is for another review as it is now time to talk about Richard Ashcroft's first solo album after The Verve split for the second time in 1998. Alone With Everybody - The Album All tracks mixed and recorded at Olympic and Metropolis Studios in London, UK. Track One - A Song For The Lovers Instantly the most recognisable Ashcroft solo single release and one that fared very well indeed when it came to commercial success. The song was originally penned by Ashcroft for The Verve's Urban Hymns album in 1997 and that is why it is so steeped with the melodic guitar sound and pumping bass rhythm that The Verve were so well known for. This song was a massive hit and went to number One in the UK and did well across Europe. It was released on the 3rd April 2000 before the album was released. Ashcroft wrote the lyrics and sings, plays lead guitar, keyboards and percussion on the track. Peter Salisbury from The Verve plays drums on the track. Two wonderful musicians Teresa Lyle and Lucinda Barry play vibes and Harp respectively, giving the track that haunting riff. This song is a great upbeat smash of a song to open the album. The track runs for five minutes and twenty six seconds. 'I spend the night, yeah, looking for my insides in a hotel room, waitin' for you. We're gonna make it tonight, yeah, something in the air tells me the time is right, so we better get on. DJ, play "A Song for the Lovers", tonight....please play "A Song for the Lovers", tonight.' Track Two - I Get My Beat Anyone who has ever loved anyone either mutually or from a distance can relate to this track; or should I say any man who has ever loved a woman can relate to it. I think that the track alludes to Ashcroft's wife Kate Radley who was the former keyboard player in the band 'Spiritualized'. It is a lovely love song and a special tribute. The track ambles along melodically and is backed by a session choir. Ashcroft again plays guitar, keyboards, percussion and organ and wrote the lyrics. The trumpet, played by Duncan Mackay is prevalent throughout the track. The track lasts six minutes and two seconds. 'I get my beat with you when we see things through and I think about you all the time'. Track Three - Brave New World Vocals, guitar, percussion, organ and piano again from Ashcroft. Another loaded fable that could have had more variety lyrically for me. A slow track alluding to Ashcroft's sometimes impatient need for getting things right and his search for stability in everything he does. The fact that he was now married lends us the belief that he was now in that place and looking back to how unstable he was. The track lasts five minutes and fifty-nine seconds. 'Into the brave new world, I hope I see you on the other side of this changing world. Baby when my ship pulls in, I try to believe in anyone, look at the state I'm in. But for now I'm just sitting at the table. Hearing songs, wishing I was able, stable.' Track Four - New York The second of the three tracks on the album that was originally written for the Urban Hymns album by The Verve. Again Ashcroft plays on guitar and keyboard. That it was written for the Verve is apparent as it again contains that hefty rock riff and alludes to their time in the States at a time when they were enjoying their music so much, if not quite as much as the drink and rock and roll life style. Ashcroft once again plays the keyboards and guitar as well as writing the lyrics. The track lasts five minutes and thirty seconds. 'There's no time to unpack, yea, let's get straight out on the street, and feel no inhibitions, this city was built for me. And my head is full of questions, when did I feel this good? In the arms of my lover, burning through the night of New York. New York are you tuning in?' 'New York big city of dreams, New York oh what a city, New York, are you tuning in?' Track Five - You On My Mind In My Sleep Guitar and percussion by Ashcroft. A stand-alone love song, which is filled with melodic piano and enchanting strings. B J Cole plays the pedal steel guitar to great effect on this track and Ashcroft's voice is sampled and mixed into the melody to give it a kind of haunting feel. Not a song for everyone as it is a very slow song but listening to after all these years and you can see that Richard has indeed loved and does love his wife and children and it comes through in this track. The track is five minutes and six seconds long. 'Do you know how hard I'll try to lose this foolish pride? Can you take me as I am? Can you understand me? Unchain me now. If all we lose is the skin, I'm putting you under within, we're gonna make this life together. The symptoms are too deep, I got you on my mind in my sleep.... you on my mind in my sleep.' Track Six - Crazy World One of my favourite tracks on the album when I purchased it back in the day and still one of my favourites now. An upbeat and powerful track with a really catchy chorus. Ashcroft plays guitar and wrote the lyrics. As well as being upbeat it is uplifting and shows us that you can be strong in the crazy world that we live in and that love can survive if you protect each other. Let's not forget that Ashcroft alludes to the crazy world over ten years ago and it's an even crazier world now. Ashcroft guitar is prevalent in the mid-section of the track as is BJ Cole on the steel pedal guitar again. Salisbury's drums bash away through the track and give it that perfect beat to punch along to. The track is four minutes and fifty-seven seconds long. 'It's a crazy world for a mixed up boy and a mixed up girl. So you got no god, you got no love to tell me of. But you've got that spirit, so please stick with it, this world wouldn't be a world without you in it. Please Shelter Me, please shelter me.... from this Crazy World'. Track Seven - On A Beach Ashcroft plays percussion and guitar again but Steve Sidelnyk comes in to program on drum machine instead of Salisbury on the drums. The trumpet and saxophone can be heard and Cole's steel pedal is prominent throughout the track. A song about being stranded on an island, which probably relates to the isolation and frustration that Ashcroft felt when the Verve were going through all the on and off problems that they encountered. There's a hearty guitar solo from Ashcroft and the song is put together well. The track is five minutes and nine seconds long. 'I have swam those raging seas; washed up by an ocean that had tired of me. How I survive I will never know. This wreck's got a home and a whole lot of hope'. 'I'm out on a beach, sat on a rock, thinking of you and the love I've got. I saw the devil's servant. I sent her home. I said, "Bring me your master. I don't want his dog." I'm on fire. I'm full of a new desire. I'm full of love and new desire.' Track Eight - Money To Burn Guitar and lyrics from Ashcroft and Peter Salisbury back on the drums. A whole array of musicians play on this track, which was the second single release from the album and released on the 12th June 2000, two weeks before the album. The B-sides or extra tracks on this single were 'Leave Me High' and 'XXYY', which were also included as extra album tracks on the Japanese release of Alone with Everybody. Another upbeat rockfest, which is, again, reminiscent of the Verve but was not one of the tracks that were originally written for a Verve album. I suppose the likelihood of any Ashcroft song sounding like a Verve track is pretty obvious though, given that Ashcroft penned all the Verve's songs and essentially he is the nerve centre of the Verve. The track lasts six minutes and fifteen seconds and is the second longest track on the album. 'Baby, you're my sweet saviour, you're my one adventure, and you're my one and only gift I've got From above' 'Oh I got money to burn I want to burn it on you, you light my fire, I want to burn all night, I want to burn on through.' Track Nine - Slow Was My Heart The slowest track on the album, but no surprises there with the word slow being in the title of this song. Ashcroft plays the guitar as usual but also dabbles in the use of the Mellotron and the Melodica. The Mellotron is an electronic keyboard that enables you to play a note or tune and record it to one key or a set of keys for playback. You can then have a pre-set chord while playing a tune over it. The Melodica is a sort of flute with a keyboard on it. The user blows into it as you would a flute and presses the keys for different notes. The Melodica is like a harmonica with a keyboard but is more widely likened to the flute because of the mouthpiece into which one blows air. These instruments create a melodic overlapping of tunes on this track and it works quite well. The track is three minutes and forty-four seconds long. 'Fly, fly my plane, to an eastern runway, and tell me why love must die? It keeps on turning yeah yeah for everyone. You keep on learning yeah yeah to kiss the sun.' Track Ten - C'mon People (We're Makin It Now) The third single release on the album and also one of my favourites. Another upbeat, rambling pop epic with backing singers and an energetic chorus that helps it belt along at a decent pace. Released on 11th September 2000. Ashcroft plays guitar, percussion, keyboards and piano. So many people say Ashcroft is depressing but I say they are wrong. Listening to 'Drugs Don't work' and some of the slower tracks you could arguably have a case but there are many upbeat tracks on the album and this is one of them. The lyrics are testament to that. The track lasts five minutes and three seconds. 'Sometimes I feel like I can't move on, nothing in life is turning me on, but I still see clearly when I see you smiling. You know nothing seems to fit, I couldn't see my way through the shit, when every single second of my waking day was thinking of you, thinking of you, you never know, that I am alive, I am alive, I wanna grow.' 'There are so many things I can do, Just like falling in love with you, take my hand now, understand me, you can come here too.' 'C'mon people, we're making it now, yeah, yeah, yeah. C'mon people, we're making it now, yeah, yeah, yeah.'. Track Eleven - Everybody The last track on the album and the longest track. Ashcroft on the guitar and using the Mellatron again. I love that hazy, mellow effect that the Mellotron creates. Another ballad about love and being a part of something and how that can have an adverse affect when it all goes wrong and you lose someone through death. Not a morbid track but more a track for celebrating those we have lost. The track lasts six minutes and thirty-four seconds. 'Everybody's gotta feel the weight of death sometime, and find out what it's like to be left behind. Sometimes you don't get a chance to ask where or why, so let it break the magic beauty of your fragile mind.'. My thoughts You either hate Ashcroft or you love him. No prizes for which corner I sit in. I do think that most of the haters are pretty judgemental and prematurely so. They see him walking off stage and then read the papers the next day that try and glamorise a rock and roll meltdown and a bad boy image, when the simple truth was Ashcroft had lost his voice. If you have ever seen an interview with Ashcroft, especially after the second split of the Verve, when he was working on his solo stuff, you will see a humble man who takes nothing for granted and who doesn't think he is owed anything. He's a family man and a devoted husband and father and he is without doubt a hard worker and someone who is passionate about his work. While his first album 'Alone With Everybody' may not have seemed as big and bold as the Verve's 'Urban Hymns' album it was still filled with the emotion and grit of a man who is serious about his work. Since the first album he has had another two solo albums and the Verve have reformed, produced an album and split again. In 2010 he released an album under the name 'RPA and the United Nations of Sound'. RPA being, Richard Paul Ashcroft. It is not so much a band as just another solo project. It is also the first time he has worked without Peter Salisbury, the ex-Verve drummer who worked on all three solo albums with Ashcroft. As I said, it is more of a solo project than a band effort but Ashcroft sees the United Nations of the title as the people who collaborated on the album. One of these people was 'No ID' who is well known for his work with Kanye West. The new project mixes together rock, pop, hip-hop, blues, folk and all manner of different music genres. The Verve's 'Urban Hymns' and their comeback album 'Forth' both went to number one on the UK album charts. Ashcroft's first and third albums reached number one and his second number three. This meant he had had five consecutive albums in the top three UK album charts. The RPA album only reached number twenty before disappearing. Ashcroft will see this as another challenge in his music career or in his own words in an interview 'Perhaps I'll just slowly fade away slowly in some back room of a Soho pub'. One thing is for sure, whether you like him or not, the man who is touted as the greatest lead man ever will always be regarded as a talented singer-songwriter, who for a moment or two was on top of the world and at the top of his game. ©Lee Billingham Read the complete review |
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The Man-machine - Kraftwerk
by cheffrey For a long time, electronic music was not meant to be aesthetically pleasing or commercially viable, which is something of an irony considering the proliferation of electro-pop in the 80s, and dance and house music in the 90s. Although Kraftwerk are synonymous with electronic music, they were by no means the first to create it. ... Pioneering works by Karlheinz Stockhausen, Edgard Varese and the peculiar works of the BBC Radiophonic Workshop were so bizarre to the ears of most people that electronic music was firmly relegated to the margins of the musical spectrum. But it was Kraftwerk who really demonstrated what could be done with electronically created music, and bring it to a much wider audience by distilling some of their work into more readily digestable capsules of pop music. Before the release of their seventh album, 'The Man-Machine', Kraftwerk had taken a bumpy ride to reach this form. Their 1975 effort 'Radio-activity' was an interesting listen, albeit a minimalist and very 'bleepy' one, with not much focus on melodic aspects. And the full length version of 'Autobahn' is downright confusing. With 'The Man-Machine', Kraftwerk realised electronic music's pop potential. Purists might argue that such commercial value is a very bad thing; alternatively, there's every reason to praise a band for opening a portal to an otherwise secluded musical world. Even before the album starts the cover is a harsh, modernist affair - the harsh linear design and striking black on red just hinting at the mechanical, emotionless dark past of their German home. Yet Kraftwerk are not without a sense of humour; tongues are to be found in cheeks, and under those blank, frosty faces runs a seam of self-aware humour and even, dare I say it, earnest emotion. 'We are the Robots' bloops into life like a freshly booted-up android, clinking about almost delicately while the distorted voice mechanically repeats 'We are the robots...' If you close your eyes and detach from it as an album, it really does sound more like a machine than a recording by a band in places. Surely this is how they would like to be thought of, given the band's tendencies to cut the wires to speakers in elevators so they could listen to the whirring of the motors within, finding it more beautiful than ghastly piped Muzak. Listening to 'Spacelab' now, it is a strange mixture of sounds that are both dated and futuristic. In it are shades of Queen's soundtrack to 'Flash Gordon' (dated) and the vocoder sound from ELO's 'Mister Blue Sky' (even more dated), but the liquid synths and pulsating beats are utterly timeless. It quite hypnotically conjures up mental images of the tranquil expanse of outer space. Everything on here is so meticulous, so precise, so stereotypically German that it's almost funny; that may even be the point of it all. The electronic drumming is mathematically precise but understated, keeping time on everything like a metronome with an imagination. 'Metropolis' is a droning, almost sinister song coupled to some upbeat drum tracks. Clean vocals soothingly croon 'Meeee-troooo-po-lisssss' over some athletic-sounding synthesizers which ape the incessant rhythms of transport and activity of our cities. Its mesmerising sounds are almost trance-inducing, much like the predictable, rhythmic click of trains over tracks and the hum of power lines. Kraftwerk's music is very much a mirror of its inspirations, recreating the effects and images of the electronic and mechanical aspects which define our modern culture perfectly. Sometimes it's hard to tell if Kraftwerk revel in or mourn this way of life; the title 'Man-Machine' suggests that western culture is so far entrenched in electricity and all its technological off-shoots (more so today than ever) that it is not something with which we should be too comfortable. The homogenity and anonymity of its stark, electronic landscapes warns us of our own state and fate. But it's not all mechanical harshness. 'Neon Lights' is almost a love song, a subtle nod to their love of schlager music and romantic pop songs by the likes of the Beach Boys. Ralf Hutter's vocal is one of genuine emotion, celebrating the light to be found within the aforementioned Metropolis. Some deftly-created synth sounds emerge to mimic a choral chant, belying the romantic notions of it all. Possibly their most famous track, 'The Model' is pure pop hooks in electronic form, but carries with it a sting in its tale. A story of a fashion model's lifestyle, it's a subtly clever play on words, likening her habits to the lifeless plastic function of a mannequin, and that her routines and desires are pre-programmed and predictable. Fellow Germans Rammstein covered this as a much more crushingly heavy re-interpretation, and lost quite a bit of subtlety in the process. But for an electro-pop song it's very succinct; it could almost have been written by Gary Numan on one of his good days. The title track closes the album, and given the current burgeoning 8-bit music scene one wonders if it was a source of inspiration for many a video-game programmer, sounding as it does to the intro of many a C64 or Atari classic. Oriental modes and canny key changes do much to break up its initially repetitive sounds; this could so easily have lapsed into a very dull listen, but Kraftwerk seem to know when a riff or passage is just about to outstay its welcome. It's also all very cleanly and precisely recorded, with not a speck of mud to be found on the production. In all, this is probably one of Kraftwerk's most accessible studio efforts. It is frugal on the vocals, as much of their work is, letting the music do much of the talking. Personally, I can't stomach too much of their stuff in one sitting, but this kept my attention throughout. There's an optimum time and place for Kraftwerk, and I've found it to be the perfect soundtrack to a train or car journey through our sleepless, neon-lit, clockwork cities. Listening to this while taking the tram through Manchester at midnight is like waking up in Koyaanisqatsi. And while I'm not sure if that's such a good thing for one's mental health, as a piece of music it is a fittingly powerful one. Read the complete review |
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64 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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10 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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