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Rare Bird Sympathy CD

 Rare Bird Discography of CDs

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Sympathy Music


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List Price $12.98 (You save $6.13)
Category Rock/Pop Albums, Rock CDs
CD Universe Part number 2484390
Catalog number 7874822
Discs 1
Release Date Apr 02, 1990
Rare Bird Sympathy Songs


Rare Bird Sympathy Album Track Listing



1.Sympathy
2.You Went Away
3.Nature's Fruit
4.Bird On A Wing
5.What You Want To Know
6.Beautiful Scarlet
7.Hammerhead
8.I'm Thinking
9.As Your Mind Flies By
Sympathy Music


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Susan Boyle's grand unveiling on Britain's Got Talent was with a song from Les Miserables - the very song that lends this album its title -- and if she could become an international sensation based on a show tune standard, there's no reason for her to change her approach on her debut, since that's the sound that made her a star. Plus, a large part of Boyle's appeal is that she's a middle-aged woman recalling a bygone era when there were singers that appealed to an adult audience by offering soft, stately versions of pop hits and standards. That time was the late `60s and early `70s, and apart from a rather faithful version of Madonna's "You'll See," I Dreamed a Dream could very well have been released all those years ago, as it mixes up the show tunes, gospel, and Christmas carols with covers of Skeeter Davis' "The End of the World," the Rolling Stones' "Wild Horses," and a version of "Daydream Believer" that is easily the slowest on record. Boyle sings beautifully throughout, delivering more of the same of what she did in her moment in the sun on television. Those won over by Boyle, either her voice or story, will surely be satisfied. There's no question that Susan Boyle's story is inspiring, but the same adjective can't quite apply to her debut, I Dreamed a Dream. This is almost a willful antonym of "inspiring" -- it is not ...
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Unlike its 2002 predecessor Back in the U.S., Good Evening New York City doesn't cherrypick highlights from a tour, it commemorates a specific event: the inauguration of Citi Field -- the replacement for the now-defunct Shea Stadium, where the Beatles played a legendary show in 1965 -- in the summer of 2009. The circumstances may be different -- different enough to lead to a Billy Joel cameo on "I Saw Her Standing There," the piano man returning a favor from Paul, who played at Billy's Shea-closing shows in 2008 -- and McCartney might have two strong albums of new material to draw upon, but as an album, Good Evening New York City plays a lot like Back in the U.S. with a whopping 17 of its 35 tracks shared between the two titles. More importantly, the vibe is the same, with Macca delivering an expertly ...
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Like the HIGH SCHOOL MUSICAL franchise, GLEE became more than a TV show when several of its songs cracked the Hot 100, including the number four hit "Don't Stop Believing." That song kicks off this soundtrack, the first in a series of albums cataloging the music performed by the show's cast. Not all GLEE members are created equal--some cast mates are far better actors than singers--but this soundtrack has enough star power to keep things trucking along, especially when powerhouse alto Lea Michele takes the wheel. She sounds fantastic throughout, whether she's holding her own during a duet with Broadway queen Kristen Chenoweth or covering the likes of Jordin Sparks, Avril Lavigne, and Queen. The soundtrack is mostly a vehicle for her voice, ...
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With a sludgy, chainsaw guitar sound that owes as much to early Black Sabbath as to Kurt Cobain's heroes The Melvins, whose drummer puts in an appearance here, Nirvana emerges from Seattle's underground scene as standard-bearers of a style that embraces the anger and energy of punk alongside the thick, muddy sonic attack favored by early '70s proto-metal bands. Cobain's lyrics are fueled by outrage and self-loathing, combining literary flair with a direct, visceral quality that makes him a viable candidate for the John-Lennon-of-Gen X award. Nirvana's debut album showcases what sounds more like a force of nature than a rock band. The unrelenting fervor with which the group delivers these 13 tunes is almost frightening. There is also a strong melodic flair that leavens the ferocity occasionally, hinting at the scope of Cobain's compositional talents. "Love Buzz" and "About A Girl" show off enough pop smarts to make it clear that as strong as BLEACH is, Cobain's hiding even more tricks up his sleeve. This is one case where the legend really precedes the record itself. Cut for about 600 dollars in Jack Endino's studio over just a matter of days, this captures Nirvana at a formative ...
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Pink's insistently hooky, attitude-filled pop-rock has kept the singer a fixture on the radio and on singles charts since the early 2000s. The artist's fifth effort, FUNHOUSE, doesn't tamper with the formula: Pink's powerhouse vocals and in-your-face approach, backed by stadium-sized production, are in full effect on all 12 tracks. Even though the album deals primarily with aftermath of her divorce and includes serious moments of self-confrontation like "Sober," ...
Kill My Landlord
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The heyday of Public Enemy and Boogie Down Productions was over by the time the Coup released their incendiary debut album Kill My Landlord. Gangsta hedonism had replaced black-power politics as the hip-hop menace du jour, and that's perhaps the only reason this revolution-minded outfit failed to become the controversial boogeymen they seem tailor-made to be. Unabashedly Marxist (the first line on the album is "Presto, read the Communist Manifesto..."), the Coup takes political rap to a whole new level of intelligence, attacking not only racism but also the economic and class factors that keep African-Americans oppressed. Much of Kill My Landlord is fiercely polemical, but to the group's credit, it sounds too invigorating to resemble the hour-long lecture it could easily have been. There's a palpable sense of glee at some of the more transgressive statements: the album-opening one-two punch of "Dig It!" and "Not Yet Free," the pro-L.A. riot "The Coup," the anti-police brutality "I Know You." Kill My Landlord doesn't have as much of the wry humor or storytelling that would enrich later releases, but it is in evidence: "Last Blunt" is told from the perspective of a stoner who wants to quit, but can't face the pressure of a tough everyday life. Lead rapper Boots Riley sprinkles his rhetoric with clever wordplay, declaiming in a deadpan baritone that resembles an eerily calm Chuck D. He's supported by a bed of thick, loping Oakland funk that blends vintage soul samples (courtesy of DJ Pam the Funkstress) with live instrumentation. Parts of the album are somewhat underdeveloped musically (especially over the second half), which means that it isn't quite as consistent as its ...
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