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Legend - Legend CD Cover Art
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Legend CD - Import

 Legend Discography of CDs
4 stars (1 Customer Review)

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Limited digipak edition features the bonus tracks 'Life', 'Late Last Night', Don't You Never' & 'Someday' in a square CD digi-sleeve card wallet (with no plastic) and an inserted fold-out poster. Repertoire. 2005.
Legend Music


Detailed Legend Music Information



List Price $24.98 (You save $1.23)
Category Rock/Pop Albums, Rock CDs
All Time Sales Rank   147360  
CD Universe Part number 6984555
Catalog number 1064
Discs 1
Release Date Oct 31, 2006
Additional Info Limited Edition
Legend Songs


Legend Album Track Listing



1.Cross Country
2.Cheque Book
3.Lorraine Part 1
4.Nothing Wrong With Me
5.Somebody In Love
6.Goin' To
7.Anything You Do
8.My Typewriter
9.Five Years
10.Hole In My Pocket
11.Lorraine Part 2
12.I Feel Like Sleeping
13.Life (Bonus Track)
14.Late Last Night (Bonus Track)
15.Don't You Never (Bonus Track)
16.Someday(Bonus Track)
Legend Music


Legend Other Versions



Legend
Legend  (2007) With Book; Limited Edition; Digipak
CD$16.59
Legend
Legend  Bonus Tracks
CD$17.35
Legend Music Review


Customer Legend Reviews 




Average Rating: (4 out of 5 stars) 4 stars

4 stars Jupp the Legend
1st Album of Mickey Jupp's Legend, arguably his best. Pretty much an unknown outside the British Pub circuit. Contains the classic "Hole in My Pocket". A very good blues album in the style that the only Brits can seem to do.
Submitted by mrcondon (Sunbury, Vic, Australia) Verified Buyer
Was This Review Helpful? Yes No  1 of 1 found this helpful.

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Kaleidoscope World
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KALEIDOSCOPE WORLD contains 10 bonus tracks and represents everything the band recorded through early 1986, including all of the LOST EP, and the I LOVE MY LEATHER JACKET/THE GREAT ESCAPE 12" KALEIDOSCOPE WORLD, The Chills' 18-track compilation culled from The Chills early and mid-'80s EPs and singles, is highlighted by the song "Pink Frost." The Chills' Martin Phillipps mixes up melodic pop with elements of garage rock and punk, creating songs with a sweet melancholy all their own. Phillipps has always been the focus of the Chills, writing and singing the band's songs. His group has also rivaled Menudo in its sheer number of personnel changes. In a just world, the Chills would have sold just as many records. KALEIDOSCOPE WORLD showcases the shifting line-ups and many moods of the early to mid-'80s Chills. "Rolling Moon" captures a mood of shambling joy, its simple, repeated keyboard riff sounding like a distant caravan crossing New Zealand's big-sky country. "Pink Frost" is undoubtedly one of the Chills' two or three finest songs, an eerie tale of finding one's lover dead and being stricken with waves of icy panic. Phillipps's ...
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The sheer toughness -- and overall derivative -- nature of Killing Floor's debut album, issued six months after Led Zeppelin's debut in 1969 on the Spark label, is a wondrous contrast to the overly slick treatment American blues were given by British artists. All of these tunes, with the exception of one, are revamped versions of songs from the blues canon with different words. The lone "cover" in the set was written by Willie Dixon titled "Woman You Need Love," the tune Zep ripped for "Whole Lotta Love." Despite the fact that this set was issued before by Repertoire, the Akarma version is definitive in that it features the original cover artwork in a heavy cardboard gatefold sleeve, and killer sound. This is a raw, immediate, overdriven, psychedelic blues record that offers an interesting historical counterpoint to the immediate impact of Page and Plant and Co., but it also offers a great contrast to the recent 1990s versions of American groups trying to rock up the blues in like style: Jon Spencer Blues Explosion immediately comes to mind. They also provide a heavier, less ...
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The first solo album from Fleetwood Mac singer/songwriter Daniel David Kirwan has the future producer for Human League and Buzzcocks, Martin Rushent, utilizing those skills here, as well as engineering. The sound is crystal clear, and a feather in the cap for Rushent as well as Kirwan. It starts off with an uncharacteristic "Ram Jam City," which has more Lindsey Buckingham sounds than one would expect, especially since the two guitarists come from two different musical worlds. "Odds and Ends" is more lighthearted, the kind of music Paul McCartney toyed with on The White Album's "Rocky Raccoon." What Second Chapter immediately sets forth is the importance of Kirwan as a pop artist, and how, despite Fleetwood Mac's success after he left, his sounds could still have been beneficial to that supergroup. "Hot Summers Day" is a fine example of that, a beautiful song that could offset Buckingham's gritty ramblings. It would have made a nice counterpoint as Stevie Nicks complemented Christine McVie's tunes with her adventures, bringing an important change of pace to that popular band's hits. The jacket looks like a dusty old family album-style book holding Kirwan's Second Chapter. And the music reflects ...
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In some circles, Mickey Jupp is something of a minor legend, a roots rocker with excellent taste and a cutting wit, best heard on the songs "Switchboard Susan" and "You'll Never Get Me Up in One of Those," both covered by Nick Lowe. Basher's endorsement is a clear indication that Jupp is a pub rocker, a guy who specializes in laid-back good times, so it shouldn't come as a great surprise that his first band, Legend, was proto-pub, an unabashed celebration of old-time rock & roll, filled with three-chord Chuck Berry rockers and doo wop backing vocals. Nevertheless, listening to their 1970 LP is a bit of a shock, as it's completely disassociated with anything that was happening in 1970, even with Tony Visconti enlisted as their producer. Legend's sensibility is ahead of its time in its retro thinking, pointing the way to the rock & roll revival of the late '70s and not even ...
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Remember The Future
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Linea De Oro
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Down South Bounce Vol. 3
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Taiko To Tabla
Pete Lockett Taiko To Tabla CD  (2004) (Import) England; United Kingdom

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The result of various collaborations at percussion festivals and the like, the Taiko to Tabla pairing has toured for a while, releasing a live album in 1998. This, however, is the first studio album to feature the duo of Pete Lockett and Joji Hirota. The core idea is to mix just what the group name implies: Indian and ...
Show You A Good Time
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24 Great Instrumental Bands Play The Fireballs
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While the Fireballs had some success as an instrumental rock group back in the late '50s and 1960s, you'd be hard-pressed to say they were an especially influential group. Even in the world of instrumental guitar rock, the Ventures, for instance, were far more influential both in the U.S. and overseas. So it's a bit of a stretch to put together a 24-track compilation of covers of songs that were recorded by the Fireballs (and, usually, written by the Fireballs' George Tomsco). Mixing together obscure Fireballs covers from the early '60s with much more recent interpretations by more modern bands, it's something of a mix of a '60s instrumental rock compilation and a tribute album -- but not quite either. For that reason alone, it's rather uneven listening, and it's fair to say that most of the relatively small band of people who collect Fireballs releases in the first place will be more interested in the vintage material than the newer items. Accepting all these limitations, this is an adequate testament to the modest influence the group had, and continues (in a very low-scale cultish level) to have, with their Tex-Mex-flavored brand of instrumental guitar rock. It did reach as far as covers by two of the biggest bands in the genre, the Ventures (who did "Bulldog") and the Shadows (who covered "Find Me a Golden Street"), with both tracks presented on this CD. Other '60s cuts by names who will be known to instrumental rock aficionados are here as well, via surf bands the Lively Ones, the Belairs, the Challengers, and the Tornadoes. The most unusual of the '60s ...
Cerebral Caustic
Fall Cerebral Caustic CDs  (1995) Bonus CD

Legend album
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Smith once again landed on his feet after departing a label, ditching Matador in favor of Permanent, but Cerebral Caustic is notable for many other reasons. First, of all people, Brix Smith (still going by the name) rejoined the lineup, while future events made this the last studio album featuring Craig Scanlon. Though not an original member, his guitar playing for many made the Fall as much as Smith's vision and vocals, and knowing in retrospect that this was his unintentional final bow makes Cerebral that much more of interest. On top of that, Dave Bush would also leave after this album and its tour to join Elastica. Musically, Cerebral followed in the vein of recent albums like Infotainment Scan, blending techno-derived touches and glam-era sonic tributes to the usual stew of approaches. Generally the band sounds like they're having a great time, pulling out some odd arrangements and fun little touches, like the rising and falling melody of "Life Just Bounces." Smith himself sounds a touch disconnected around the edges, but makes up for it with some interesting vocal treatments and sudden interjections to leaven things up. Perhaps the strangest of the bunch is "Bonkers in Phoenix," with Brix's voice turned into overdubbed Chipmunks while the music combines a soft, low volume lope with sudden bursts of noise and Smith rants. One of the sharpest songs in context is "Don't Call Me Darling" -- while the truth can't be known, hearing Brix deliver the chorus with a roaring edge in response to Smith's verses makes a listener wonder. As is often the case, a cover version helps to spice things up -- having paid tribute to Frank Zappa elsewhere, here the band cover his "I'm Not Satisfied" in low-key but well-paced fashion. Smith has good fun blurring and double-tracking his vocal, and the result is another winner in the Fall's series of remakes. ~ Ned Raggett Smith once again landed on his feet after departing a label, ditching Matador in favor of Permanent, but Cerebral Caustic is notable for many other reasons. First, of all people, Brix Smith (still going by the name) re-joined the lineup, while future events made this the last studio album featuring Craig Scanlon. Though not an original member, his guitar playing for many made the Fall as much as Smith's vision and vocals, and knowing in retrospect that this was his unintentional final bow makes Cerebral that much more interesting. On top of that, Dave Bush would also leave after this album and its tour to join Elastica. Musically, Cerebral followed in the vein of prior albums like Infotainment Scan, blending techno-derived touches and glam-era sonic tributes to the usual stew of approaches. Generally the band sounds like they're having a great time, pulling out some odd arrangements and fun little touches, like the rising and falling melody of ""Life Just Bounces."" Smith himself sounds a touch disconnected around the edges, but makes up for it with some interesting vocal treatments and sudden interjections to leaven things up. Perhaps the strangest of the bunch is ""Bonkers in Phoenix,"" with Brix's voice turned into overdubbed Chipmunks while the music combines a soft, low volume lope with sudden bursts of noise and ...
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Only 30 seconds into Put Up or Shut Up and it's pretty apparent that this has all been heard before -- more times than one could possibly count. All Time Low plays unabashedly earnest and summery pop-punk like the Starting Line used to play before they took a stab at "maturity" and experienced severe growing pains. Mostly featuring new recordings of older material from 2005's out of print The Party Scene, the band's Hopeless debut is bright, energetic, catchy, and practically pleading to be repeatedly blared from the car stereo over that last high-school summer before senior year starts. Their music reeks of youthful exuberance and fleeting innocence (though all of this should come as no surprise since the guys signed on with Hopeless during the final months of their senior year). So while there's nothing really new or innovative among the EP's ...
Over The Wall
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Get Back Loretta surprised everyone in 2005 when they won "Best New Artist" at the San Diego Music Awards. Forming almost overnight, the band quickly found the sound they wanted and began to win over fans. Their on stage antics and mind blowing performances won them respect among musicians and venues alike. Get Back Loretta is often described as upbeat and refreshingly soulful. Their engaging stage presence, unique songwriting abilities, and powerful vocals are what set them apart from the generic mainstream. They have received rave reviews from Absolute Punk, made an appearance on FOX ROX (Fox underground music show), discussed their future goals on FM 94/9 Sunday interview with Tim Pyles, rocked a sold-out Troubadour with indie giant Circa Survive. In a recent review of the Get Back Loretta EP in the magazine San Diego CityBeat, Troy Johnson wrote, "I thought I had discovered the best unknown band in San Diego. Best out-of-nowhere goodness I've heard." While the band enjoys their sucess in San Diego, they appreciate the concrete genesis ...
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