| | Code/Whatever It Takes CD Code Discography of CDs
This is the first joint release for both bands, which came out in early 2003 as a limited 10'' on Spent Records. Due to the overwhelmingly positive response in the punk community, A-F Records decided to release a CD version. All of the tracks on this release are remixed and remastered and previously unavailable on CD until now. A-F. 2003. Code/Whatever It Takes Music Code/Whatever It Takes Songs Code/Whatever It Takes Review
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Buy Code/Whatever It Takes CD Purchase Code/Whatever It Takes CD To buy, Click on price to add to cart | Trans-Siberian Orchestra Night Castle CDs (2009)
Code/Whatever It Takes album
$11.35 NIGHT CASTLE appears just in time for the big 2009 holiday season but don't be fooled: this isn't a Christmas album, even if it's sonically indistinguishable from Trans-Siberian Orchestra's other seasonal releases, and the fact that it's been dubbed "Capra-esque" certainly brings it within the realm of the season. NIGHT CASTLE brims ...
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| | Ana da Silva Lighthouse CD (2005)
Code/Whatever It Takes songs
$27.95 Debut album from Ana Da Silva, lead-singer of the massively influential early Rough Trade signings The Raincoats who were worshipped by Kurt Cobain & Sonic Youth amongst others.
Most artists with reputations as esteemed as that of Ana da Silva don't wait two and a half decades to put out a solo album. But then, da Silva has never been particularly predictable or traditional. After the Raincoats' first hiatus in 1984, she was perfectly content to largely turn her back on music and concentrate on painting and working in an antique shop, until the band reunited for 1996's Looking in the Shadows (after which the Raincoats disbanded again). This mix of indifference to outside expectations and artistic independence means that da Silva fans don't get to hear new music from her as often as they'd like, but when she does reappear, it's cause for celebration. On the surface, da Silva's eclectic, mostly electronic debut solo album, The Lighthouse, is a far cry from her former band's bristling post-punk. "Disco Ball" recalls Pram's bubbly, wobbly luminosity, which makes sense, since that band's sound is like a missing link between British art-punk and electronica. The quirky, almost dance-pop of "In Awe of a Painting" is reminiscent of the way Björk pairs her very human voice and thoughtful lyrics with electronic settings; the urgent, bustling title track suggests the kind of music David Byrne might make if he were a she; and with its passion and flair for the dramatic, "Modhina" feels like a distant relation of PJ Harvey and John Parish's Dance Hall at Louse Point. But, despite these reference points, The Lighthouse is completely, distinctively da Silva. Though her singing is sweeter here than it was in the Raincoats, her delivery ...
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Code/Whatever It Takes album
$27.05 On his fourth album My Time, Boz Scaggs' pop side truly begins to surface in earnest -- or, rather, he begins to channel his smooth soul into a pop package, pushing the funky workouts that dominated the previous ...
| | Jimmy Eat World Futures CDs (2004) Import
Code/Whatever It Takes CD music
$23.29 This UK tour edition includes two bonus tracks, and a bonus CD of demos.
After firmly establishing itself in the hearts and minds of rock fans through numerous EPs and two albums of angst-fueled power-pop, Jimmy Eat World scored a big hit single with "The Middle," from the excellent BLEED AMERICAN (re-christened JIMMY EAT WORLD in the wake of 9/11). The mainstream had finally caught up with Jimmy Eat World.
FUTURES, the ensemble's first album following its breakthrough, doesn't stray from the formula that has worked so well for the Arizona band. Jim Adkins's vocals are quietly insistent, and at times fiery, conveying reflective, intelligent lyrics that complement intricate melodies. Like its immediate predecessor, FUTURES opens with a politically minded title track ("I hope for better in November"), but, in general, the songs mostly revolve around love and longing. "Work" and "Pain" are filled with heart-on-the-sleeve emotions, and Jimmy Eat World makes these tunes work with undeniable sincerity. With many sharp, catchy songs on display, FUTURES is another outstanding record from Jimmy Eat World.
The massive success of Jimmy Eat World's 2001 Bleed American propelled the band into the mass-culture spotlight, with the hit single "The Middle" seemingly popping up in every third movie released and the group turning in an energized performance on Saturday Night Live. Many, many groups followed in their wake, crafting a similar blend of melodic, anguished punk-pop and leaving Jimmy Eat World in the position of crafting a follow-up that set them apart from their acolytes. Futures gets around this dilemma in two ways. First, with the help of producer Gil Norton, the band polishes its sound until it shines like a slick '70s arena rock record. The guitars are stacked like thick diamonds, the vocals are way out front and buttressed by sweet harmonies in the choruses, the drums sound large, and the mix is loaded with sweetening from acoustic guitars, keyboards, and female vocals. In the process, they sacrificed the immediacy of the previous record, but they gained an epic and weighty feel. Secondly, the lyrics are much darker and more mature, including themes that revolve around politics, drugs, and despair. The piano-and-feedback ballad "Drugs or Me" and the bittersweet love song "Night Drive" are the products of age and experience the ...
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