| | Natasha Bedingfield Unwritten CD - Import Natasha Bedingfield Discography of CDs
Much less dance-oriented than her brother Daniel's records, Natasha Bedingfield's impressive debut album is closer to a UK version of Kelly Clarkson's similarly masterful sophomore release, BREAKAWAY. Although UNWRITTEN unashamedly has its roots in mainstream chart pop--it's only degrees away from the likes of Jessica and Ashlee Simpson--Bedingfield's strong vocals (alternately flirty and commanding) and personal, quirky lyrics turn songs like "Single" and the title track into frothy but substantial gems, while the soaring opener "These Words" could well be the perfect summer single.
Throughout, the production is pleasantly gimmicky, with neat touches like the slide guitar and echoed vocals in the intro of "Silent Movie," and most importantly, the songs don't sound like they've had all the personality focus-grouped out of them in the manner of so many similar records. UNWRITTEN is a startlingly good example of glossy, commercial pop music circa 2005, and a rebuke to those who feel that successful pop records must by definition be irritating fluff.
Includes the bonus track 'Sojourn'. 12 tracksEntertainment Weekly (No. 833, p.74) - "...[T]hink a softer Pink at her peak, grrrly but less steely." - Grade: B plus Unwritten Music | Category | Rock/Pop Albums, Rock CDs | | Label | BMG | | Orig Year | 2005 | | All Time Sales Rank |  193609  | | CD Universe Part number | 6786241 | | Catalog number | 663999 | | Discs | 1 | | Release Date | Dec 14, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Personnel | Estelle | | Additional Info | Germany; Argentina |
Unwritten Review
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Purchase Unwritten CD To buy, Click on price to add to cart | Eurythmics Touch CD (1983) Bonus Tracks; Reissue; Remastered; Deluxe Edition; Digipak
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After the dark and chilling themes of 2006's BLACK CADILLAC, which saw Rosanne Cash dealing with the deaths of her mother, Vivian Liberto, her father, Johnny Cash, and her stepmother, June Carter Cash -- all of whom passed within a two-year span -- one might assume that her next project would move into an even deeper level of bleakness, but with THE LIST, it's immediately clear that she has instead found a more measured place to stand. It's a lovely and redemptive outing that looks back to go forward. When Cash turned 18, her father, alarmed that his daughter only knew the songs that were getting played on the radio, gave her a list of what he considered 100 essential American songs; Cash kept that list, and now she's drawn on it for this wonderfully nuanced outing that brims with a kind of redemptive timelessness. THE LIST is a renewal and a testament to life, and it belongs to her father as much as it belongs to her, a beautiful restatement of her father's passions, only now, they've become his daughter's treasures, as well. It's an affirming story, but that's all it would be if Cash didn't sing her heart out here. The opener, a version of Jimmie Rodgers' "Miss the Mississippi and You," is full of comfortable grace and sentiment, and Cash keeps that fine emotional tone throughout this set. Songs like the folk classic "500 Miles" feel at once both lovingly rendered ...
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Returning to the American concert scene after a three-year layoff, the Rolling Stones recorded GET YER YA-YA'S OUT! during a triumphant two-date stand at Madison Square Garden in late November 1969 that found B.B. King and Ike & Tina Turner opening for them. Having amassed an impressive recorded output during their three years away from touring, the Stones peppered their sets with hits, including "Honky Tonk Women," "Jumpin' Jack Flash," and "Street Fighting Man." Tipping their collective hats to Chuck Berry, the band also included covers of "Carol" and "Little Queenie" alongside more blues-influenced numbers such ...
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| | Tub Ring Fermi Paradox CD (2002)
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Like its predecessor, Drake Equation, Tub Ring's Fermi Paradox offers outrageously intelligent narratives on science, and the fictions that motivate it, backed by dizzyingly frenetic music that often changes genre and mood several times within a single track. They do it, however, with a significantly poppier, catchier sound that should go a long way toward liberating them from the flattering but deeply overstated comparisons to Mr. Bungle that Drake Equation elicited from fans and critics alike. The result is a deeply intelligent album that is as powerful as it is fun. As its title suggests, Fermi Paradox is often concerned not simply with science, but particularly with the myth of progress and the promise of a utopian future that so often motivates and supports it. Tub Ring is clearly not a band of techno-fetishists. Citing everyone from Shakespeare and Descartes to Asimov and the Bible, singer Kevin Gibson offers narratives of ironic utopias and dark techno-apocalypses. On "I Am the Robot," Gibson sings ironically from the point of view of a robot celebrating the new age of peace his creation implies: "I carry strength but not aggression, the fear of failure gone away/The first two races in our history that can communicate!" The irony in "I Am the Robot" and "The Way to Mars" (on which Gibson sings "All dreams and thoughts shine like stars on our way to Mars") is cunning, and is brought into stark relief by tracks like "Psychology Is B.S. (Not Science)" and "Panic the Digital," in which Gibson's cynicism is clear: "This is my cancer from my cellular phone that emits radiation that destroys my brain."
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The Doobie Brothers shuffled personnel a bit after their debut album, changing bass players and adding a second drummer. For whatever reason, this sophomore effort was the one that kicked off their long streak as one of the most popular bands in America. The basic sound of TOULOUSE STREET isn't really all that different from the Doobies' previous effort. There's a similar mix of acoustic guitars, gospel harmonies, and overall post-hippie mellowness.
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