| | 30 Seconds To Mars Beautiful Lie CD - Import 30 Seconds To Mars Discography of CDs
Japanese enhanced pressing includes a bonus track and video. EMI. 2005. Beautiful Lie Music | List Price | $48.98 (You save $7.23) | | Category | Rock/Pop Albums, Rock CDs | | CD Universe Part number | 6998359 | | Catalog number | 66492 | | Discs | 1 | | Release Date | Jan 13, 2008 | | Additional Info | Bonus Track; Japan |
Beautiful Lie Review
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Purchase Beautiful Lie CD To buy, Click on price to add to cart | Rod Stewart Soulbook CD (2009)
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| | Mariah Carey Merry Christmas CD (1994)
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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 ...
| | Rammstein Liebe Ist Fur Alle Da CDs (2009) Bonus Tracks; Deluxe Edition; Digipak
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Anyone familiar with the industrial-metal band's dark sense of irony should take one look at the title of Rammstein's 2009 album LIEBE IST FUR ALLE DA ("Love Is There For Everyone") and conclude that this one is a mean monster. Combining the tightness and punch of their 1998 album SEHNSUCHT with the musicianship and elaborate textures of their later work, LIEBE IST is a grand achievement, skillfully dividing its time between razor sharp metal rockers like "B********" or the opening theme song "Rammlied" and nostalgic, cabaret pieces that conjure the spirits of Weil and Brecht at a goth club. Best of the latter is the naked and haunting closer "Roter Sand" but little touches of a sinister yesteryear are ...
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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 ...
| | Weird Al Yankovic CD (1983)
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Like an X-ray of a dinosaur egg, this debut Weird Al Yankovic production provides a detailed glimpse of the creature to be grown. "Another One Rides the Bus" is the earliest of his arena rock parodies, recorded in 1980 during an on-air appearance on the Dr. Demento show and a classic piece of musical humor. Already he had developed his knack of knocking the wind out of any pretentious, overblown rock anthem by slightly adjusting the lyrical content. Once one of these songs was describing the boring, mundane activities of the non-rock star, it was if a new life were born within the song. "My Bologna" demonstrated the concept as applied to the fine art of making the stupid much stupider. A later album title by this artist would be Dare to Be Stupid, and if the Knack's "My Sharona" had to be sacrificed at his creative altar for this to be understood, so be it. Once parodied by Yankovic, a song can never be thought of in the same way again. "I Love Rocky Road" brilliantly trivializes both rock & roll and the idea of singing about loving it. If one is going to sing about loving something, let's make it be something important -- like a horrible ice cream flavor. Unfortunately, the album doesn't really get off on the right foot with "Ricky." Yankovic hadn't quite fine-tuned his skills of parody to the point where he could pull off connecting the new wave Toni Basil number with Lucille Ball's situation comedy, and the results are contrived and not particularly funny. This is also the best way to describe his original material, which was used in a smaller proportion in all his later albums than it is here. His original songs may not seem like they were written in ten minutes, but the ideas behind them don't seem to involve that much contemplation. As a result, they are like little bits of puff, produced so expertly they seem like some kind of ultimate filler, except that their impact on the flow of an album side is more like ballast. The defense that Yankovic's material is best understood by his main target audience, 11-year-old kids, washes no better than they do. Kids this age really don't like his original material as much as his parodies, although a few years down the road he managed to come up with at least a few of his own songs that were acceptable to what has to be the fussiest audience imaginable. Since the originals tend to dilute the excitement of any Yankovic album, the titles in his discography are rated based on how successful his originals that are featured are with 11 year olds. It goes without saying that each of his albums contains at least a few brilliant parodies, so this songcraft is where one finds varied levels of cons
Recorded at Cherokee Studios in Hollywood, ...
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