| | Client Price Of Love CD - Import Client Discography of CDs
PRICE OF LOVE is a single from electro-synth act Client. The release contains three songs including an edit of the title track.
On Client's debut EP, Price of Love, the group presents a colder, more predatory version of the sleek electro-pop also purveyed by Ladytron. While they never quite reach the cybernetic chill or existential terror of the likeminded Adult., there are some similarities to that group, too; the rather clinical yet fetishistic picture of women's legs and shoes on the cover recall Nicola Kuperus' photography, adding a visual parallel to the musical ones here. Deceptively fuzzy synths hum icy, eerie melodies as the singer competes with the drum machine to see which one can sound stiffer and more robotic. The drum machine has a natural advantage, particularly on the single's title track -- which recalls the Human League as much as any of Client's contemporaries -- but it's a dead heat on "Client," where the singer rattles off a list of increasingly sexually-charged corporate jargon before snapping "F*ck off, don't touch me there." The instrumental "Liepzig" is the slightest track of the bunch, but does show the group's talent for crafting a stylishly linear, menacing mood. Ultimately, Client's ideas -- namely, the commodification of love and sex -- might be slightly more interesting than the group's music at this point, but Price of Love is a smart and promising debut. ~ Heather Phares
Client is a saucy looking synth electro female duo. They are the first act signed to Andrew Fletcher's (Depeche Mode) imprint Toast Hawaii via Mute. Client Price Of Love Songs | 1. | Price of Love (Edit)  | |
| 2. | Client | $0.99 | |
| 3. | Leipzig | $0.99 | |
| Price Of Love Review
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Purchase Price Of Love CD To buy, Click on price to add to cart | Lady Gaga Fame Monster CDs (2009) Deluxe Edition
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$16.24 Initially planned solely as a standard double-disc reissue in the wake of the blockbuster success of The Fame, Lady Gaga decided to release the new material as a separate EP called The Fame Monster in addition to the standard two-CD set, where it's tacked onto a now standardized version of her debut. It's a nice move for fans, plus it helps emphasize the new material, which does act as a bridge from the debut to a forthcoming full-length. Everything on The Fame Monster bears a galvanized Eurotrash finish, as evident on the heavy steel synths of "Bad Romance" and the updated ABBA revision "Alejandro," as it is on the rock & roll ballad "Speechless" -- its big guitars lifted from Noel Gallagher -- and the wonderful, perverse march "Teeth." Even the stuttering splices on "Telephone," a duet with Beyoncé, leans to the other side of the Atlantic, which just emphasizes the otherness that's become Gaga's calling card. And even as she's becoming omnipresent, with her songs mingling with those who co-opt her on the radio, she still is slightly skewed, willing to go so far over the top she goes beyond camp, yet still channeling it through songs that are written, not just hooks. The Fame Monster builds upon those strengths exhibited on The Fame, offering ...
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$14.44 Unlike previous entries in Neil Young's Archives series, Dreamin' Man Live '92 does not capture a specific gig. Instead, it's a compilation of highlights from the tour he took prior to recording Harvest Moon, as he aired the album's ten songs alone with his guitar (or on one occasion each, his piano and banjo). Although every one of the album's cuts is here, this isn't a strict re-creation of the album, since the songs are sequenced in non-LP ...
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$8.75 At this stage of her career Mariah Carey does not need to prove herself, but her voice is so powerful that with each new recording she, once again, reminds you: "Listen to what I can do." Vocal gymnastics and Christmas songs are not often thought of as a compatible combination, but on MERRY CHRISTMAS Mariah jumps, climbs, crawls, twirls and dashes her way through both traditional fare and original Christmas songs.
She shifts through styles, offering fans from all musical camps a gift of their own. Her "Silent Night" shows off a studied vocalization where liquid phrasing is key. "Miss You Most (At Christmas Time)" shows off a dynamic voice that is hard to match. She has fun with the Phil Spector goodie "Christmas (Baby Please Come Home)," a song straight out of '60s girl-group heaven. There is even a "Joy To The World" medley mixing the old and the new--the traditional Christmas song and the Three Dog Night hit. And, as usual, her gospel-voiced background singers are out in full force.
There are two ways to enjoy this album. One is to sit back and revel in Mariah Carey's vocal fireworks, and the other is ...
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$16.09 When SONIC BOOM was released, it had been over a decade since the last Kiss studio album, so expectations were understandably high. In addition, the intervening period had seen the band fire two of its founding members for the second time, only to replace them with sidemen wearing Ace Frehley and Peter Criss's iconic makeup. Luckily, the new additions, unlike some of Kiss's "un-masked years" members, have a good feel for classic Kiss. That fact, matched with Paul Stanley's assumption of production duties, makes SONIC BOOM one of the most consistent and thoroughly Kiss-sounding albums since the group's `70s heyday. That said, the New York City unit manages to branch out a bit; alongside very ROCK & ROLL OVER/LOVE GUN-esque tracks such as the Gene Simmons-sung rockers "Yes I Know (Nobody's Perfect)" and "Russian Roulette," sit ambitious pieces such as "Stand," which employs a Motown-influenced chorus ...
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Recorded in Los Angeles, California between 1978 & 1979. Originally released on Epic (35745).
Digitally remastered by Bernie Grundman (Bernie Grundman Mastering, Los Angeles, California).
As the lead singer of the Jackson 5, Michael Jackson had already been labeled a legend at a young age; but OFF THE WALL introduced the world to the adult Michael Jackson, and proved that he was still very much worthy of that label. It was the real beginning for Michael as a solo artist, and opened the doors for his next album THRILLER, which would become the greatest selling album of all time and help foist upon a Jackson a new title: King Of Pop.
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