| | Razorlight Up All Night CD Razorlight Discography of CDs
 (4 Customer Reviews)
`Up All Night' is one of the most hotly anticipated albums of 2004, coming, as it does, from one of the finest young rock'n'roll bands to emerge in Britain for many long years - Razorlight. Led by the charismatic Johnny Borrell, Razorlight have spent much of 2003 and 2004 grabbing headlines, releasing sharp sounding singles and generally behaving like the greatest band that ever walked the earth.
Razorlight: Bjorn Agren, Johnny Borrell (vocals, guitar); Carl Dalemo (vocals, bass guitar); Christian Smith-Pancorvo.
Personnel: Björn Åquen, Johnny Boruell (vocals, guitar); Christian Smith-Pancorvo (vocals, drums); Carl Daleure (vocals).
Audio Mixers: John Cornfield; Steve Lillywhite.
There must be a healthy middle when it comes to capturing the essence of Brit-pop. Something in between the impenetrable swagger of Liam and Noel Gallagher and the vacuous and hollow bravado of Jet that can both pay homage to big riffs and bad attitude, yet still maintain a unique personality, which is what made the rock gods of yesteryear so endearing. Razorlight mastermind, lead singer/guitarist Johnny Borrell wants so desperately to be the next Joe Strummer or Lou Reed, and for what Razorlight's first album lacks in identity, it gathers momentum on effort and sheer will. It's the same, albeit slightly worse, garage rock revival record that's been all too common in the early 2000s, but quick, aggressive tracks such as "Vice," "Rip It Up," "Golden Touch" and "Stumble and Fall" are undeniably catchy and Borrell himself is largely responsible for playing them as if he really were the next Freddie Mercury. He wails and passionately groans over some horribly vapid vocals, "hey girl/get on the dancefloor/rip it up, yeah/that's what it's there for" (on "Rip It Up") but even a bad cover version of your favorite Strokes-type song can still appeal to the less cynical part of your brain. Even John Cornfield and Borrell's production seems like a shoddy attempt to re-create the frontman's favorite records note for note. His desire to add a layer of grime by muddying up the louder moments (such as on "Don't Go Back to Dalston," which starts off quietly before careening into a bloated call and response conclusion) doesn't remove the feeling that the entire recording process was extremely sterile. At this stage, Borrell lacks the confidence to move beyond his idols, and his energetic music remains a game of spot the influence. ~ Erik Leijon
The 2004 debut by London's Razorlight is another addition to the post-Strokes fray of driving, updated garage rock. Stylish, swaggering, and fueled by catchy hooks, chugging bass and drums, and electric guitars that alternately ring and chime, Razorlight has all the trimmings of a successful rock outfit. From the seesaw riff that kicks off "Leave Me Alone" and vocalist/guitarist Johnny Borrell's David Bowie-influenced phrasing, it is clear that Razorlight plans to take the international stage with a classic flourish. And if any doubt remains, the punchy, pop-conscious rave-up "Rock N Roll Lies" should settle the score.
However, UP ALL NIGHT mixes it up a bit, too. The title track is a brisk, melodic ride aided by stinging, upper-register guitar leads. The bouncy vocal delivery of "Which Way Is Out" provides a bit of quirky, rock & roll soul, while "Don't Go Back to Dalston" is a minor-key ditty that builds in intensity. But edgy, energized, raw-throated rockers like "Rip It Up" bring the quartet back to what it does best. UP ALL NIGHT shows this up-and-coming band not only finding its legs, but strutting with them.
Entertainment Weekly (pp.85-7) - "[T]his no-filler debut conjures the wounded majesty of Springsteen and Patti Smith..." - Grade: A- Up All Night Music Review Average Rating: (4 out of 5 stars)   Excellent
album... spankin gorgeous! Love it...
Submitted by Shiner (GREAT BRITANIA)
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 WOW
WOW! next big thing 2005. no doubt about it.
Submitted by aaa (somewhere in london..)
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What revolution???
Razorlight's debut disc, dear reader, is not going to inspire a revolution BUT it will clear away any pop idol debris or plasti-pop rubbish thrown onto the yuletide bandwagon and replaqce it with quality.
My verdict...a tip-top start from a band who will be making skid-marks on the charts for many months to come.
Another xmas super-duper stocking filler
for your festive consideration.
Submitted by Tim (...somewhere in England.)
Was This Review Helpful? Yes No antiMUSIC.com review (Nov 04)
The rock and roll press, particularly the British press, wants to champion the next best thing so badly. Up All Night is a good album, but it is not going to inspire the revolution that it has been hyped to inspire.
Submitted by Zane Ewton antiMusic.com (Orange, Ca, USA)
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Purchase Up All Night CD To buy, Click on price to add to cart | Franz Ferdinand CD (2004)
Up All Night
 $8.99  
Rock/Pop/Post-Punk Band From The U.K.
Franz Ferdinand: Alexander Kapranos (vocals, guitar); Nicholas McCarthy (guitar, keyboards, background vocals); Robert Hardy (bass); Paul Thomson (drums, background vocals).
While the Darts of Pleasure EP proved that Franz Ferdinand had a way with equally sharp ...
| | Black Keys Rubber Factory CD (2004)
Up All Night
$10.09 
3rd Rel.From Rock Duo From Akron, Ohio.
The Black Keys: Patrick Carney, Dan Auerbach (sound effects).
Personnel: Dan Auerbach (vocals, guitar, lap steel guitar, fiddle, hand claps); Patrick Carney (drums, hand claps, percussion).
Audio Mixer: The Black Keys.
Recording ...
| | Arcade Fire Funeral CD (2004)
Up All Night
$12.05 
Arcade Fire: William Butler (synthesizer, xylophone, bass ...
| | Bloc Party Silent Alarm CD (2005)
Up All Night
$10.79
Bloc Party: Kele Okereke (vocals, guitar); Russel Lissack (guitar); Gordon Moakes (bass guitar); Matt Tong (drums).
Personnel: Paul Epworth (programming).
Audio Mixer: Rich Costey.
Audio Remixer: Four Tet.
Recording information: Detalab ...
| | Kaiser Chiefs Employment CD (2005)
Up All Night
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| | Bravery CD (2005)
Up All Night
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| | Gary Burton Right Time, Right Place CD (1990)
Up All Night
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| | Manfred Mann A's, B'S & EP's CD (2003) (Import)
Up All Night
$12.49
This collection features Manfred Mann's finest material including No. 1 hits, A & B sides, & EP tracks. 24 tracks. Copy Control. EMI Gold. 2003.
This collection of tracks from legendary 1960s U.K. rock group Manfred Mann contains some of the band's best known material, as well as rare tracks.
Manfred Mann's A's B's & EP's is a collection of single and EP tracks recorded for EMI's HMV label between 1964-1966. Most of the band's best songs can be found here: "Do Wah Diddy Diddy," "5-4-3-2-1," "Sha La La," "Come Tomorrow," "I Can't Believe What You Say," and "Pretty Flamingo." The disc also includes a couple of tracks from the group's rare instrumental EP that served as their swan song for HMV ("[I Can't Get No] Satisfaction" and "I Got You Babe") as well as their amazing version ...
| | Mosquitos CD (2003)
Up All Night
$14.49
| | Decahedron Disconnection Imminent CD (2004)
Up All Night
$13.89
| | Nural Weight Of The World CD (2005)
Up All Night
$11.59
| | Bill Wyman Stuff CD (2009) (Import)
Up All Night
$11.79
| | Keith Anderson C'Mon! CD (2008)
Up All Night
$9.09
Personnel: Keith Anderson (guitar, acoustic guitar); Mike Johnson , Russ Pahl (steel guitar); Daniel Myrick, David Lee Murphy, Jeffrey Steele, Phil Sanders (background vocals).
Audio Mixer: Chip Matthews.
The second album by country singer Keith Anderson, and his first for the Columbia label, C'MON! showcases the burly Oklahoma native's knack for rock-influenced modern country. Originally a Music Row staff songwriter who has penned hits for Big and Rich, Gretchen Wilson, and the duo of Garth Brooks and George Jones, Anderson has developed a wry, easygoing style best exemplified by the title track and "Somebody Needs A Hug," though the heartfelt ballad "I Still Miss You" makes a fine first single.
The first time around, Keith Anderson was pumped up and pimped out, a city cowboy decked out in XXL shirts and singing about Podunk towns, but none of his slick arena anthems burned up the charts -- what clicked were the sentimental ballads like "Every Time I Hear Your Name," songs that helped him get on People's list of 50 Hottest Bachelors. Given all this, why wouldn't Anderson choose to tone down the excesses of his 2005 debut, Three Chord Country and American Rock & Roll, and get a little soft and syrupy on its 2008 follow-up, C'mon!? And so he does, deciding not to follow through on the party-hearty exhortation of his chosen title of C'mon! -- well, apart from a couple of rave-ups, none of which feel quite as ready for a happy hour at Buffalo Wild Wings as any random track from Three Chord Country. Such subdued surroundings have the natural side effect of focusing attention on Anderson's writing, which isn't a bad thing, as he's not an untalented songwriter, boasting the crackerjack George and Garth duet "Beer Run" on his résumé, along with the Big & Rich hit "Lost in This Moment." Certainly, his writing is stronger than his voice, which is strangely sweet and delicate, especially coming from somebody with such well-defined biceps, but on C'mon! he's trying hard to have a hit, so he winds up with songs about "Sunday Morning in America" and Billy Ray Cyrus shuffles about somebody needing a hug. It's easier to take than the oversized arena country of his debut -- and it feels closer to Anderson's comfort zone as a performing songwriter -- but there is still a smack of desperation to this softer stance, as if Anderson is happy to do anything to get on the charts, whether it's signing up for any endorsement deal that comes his way or singing any piece of country corn he can dream up. Maybe ...
| | Best Of The Liverpool Five CD (2008)
Up All Night
$14.29
During the mid-1960s British Invasion, U.S. labels were in a feeding frenzy for anything with a British accent and a moptop. The Liverpool Five (who were not from Liverpool, but were indeed British) relocated to the U.S. to capitalize on this phenomenon. This collection of singles (though their lone chart placement, "Anyway That You Want Me," is absent) and tracks from their two albums shows off the quintet's raw, rocking sound, characterized as much by garage-y blues and R&B as by the poppier side of Merseybeat.
First ...
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