| | Travis Shredd 668: The Neighbor Of The Beast CD Travis Shredd Discography of CDs
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Full performer name: Travis Shredd & The Good Ol' Homeboys. 668: The Neighbor Of The Beast Music | List Price | $14.99 (You save $1.84) | | Category | Rock/Pop Albums, Rock CDs, Comedy | | Label | Blue Cliff | | Orig Year | 2000 | | CD Universe Part number | 7111941 | | Catalog number | 7015 | | Discs | 1 | | Release Date | Dec 31, 2000 | | Studio/Live | Studio | | Mono/Stereo | Stereo |
Travis Shredd 668: The Neighbor Of The Beast Songs | 1. | 668: The Neighbor of the Beast | |
| 2. | Die (In a Flaming Car Crash) | |
| 3. | Fire in Her Eyes (Hail Satan) | |
| 4. | Whoa Tequila | |
| 5. | Quit Yo' Whinin' | |
| 6. | Rooster in the Henhouse | |
| 7. | Thunderin' Bass | |
| 8. | Oklahomey | |
| 9. | Saddle Tramp | |
| 10. | I'm Like a Kenworth | |
| 11. | Goin' South (In a Northbound Lane) | |
| 12. | My Ex's Lawyer Is the Antichrist | |
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668: The Neighbor Of The Beast Review
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Purchase 668: The Neighbor Of The Beast CD To buy, Click on price to add to cart | Rosanne Cash List CD (2009)
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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 ...
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With its titanic guitar solos, symphonic suites, and multi-layered melodies, Muse's fifth album operates under the assumption that bigger is better. This is the very definition of a super-sized album, an album that takes its cues from Queen, its lyrics from science fiction novels, and its delivery from rock opera. It's also the first time that Muse has truly sounded like Muse, as few bands since Queen have so readily explored the intersection of bombast and extravagance. THE RESISTANCE is ...
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The last Stones studio album of the '60s finds the band, for perhaps the first time, accurately reflecting the spirit of its age. The erstwhile bad boy outsiders of rock now found themselves firmly in the center of the social and political post-'68 whirlwind, and faced up to the challenge magnificently. The band's confident climb to its artistic peak was begun ...
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Made between 1978 and 1982, this early set of recordings features the pioneering 1980s U.K. synth-pop duo Soft Cell working up to its chart-dominating sound in a fascinating variety of sonic sketches.
Soft Cell's first demo tapes have frequently been bootlegged, most famously as Science Fiction Stories. They had never seen more than the most cursory commercial release, however -- four songs spread across a rare EP and a mid-'80s flexidisc. Yet they are, in many ways, the purest of all the band's recordings -- the sound of two art students who want to make music and couldn't give a hoot for commercial considerations. Certainly there's no "Tainted Love" or "Say Hello Wave Goodbye" in sight, as Marc Almond and Dave Ball take as their starting point a clash between the first Suicide album and the Normal's "Warm Leatherette," and just get weirder from there. "Potential," the opening cut, is so heavily in thrall to that archetype that it's easy to think you've put on the wrong record -- indeed, when the group self-released its first EP, drawing from this same stockpile of songs, that was one of the most common complaints. But dig deeper and a firm identity does begin to take shape -- arguably, "L.O.V.E. Feelings" remained the template for the duo's balladic tendencies until their second album, at least, while future B-sides "Fun City" and "Facility Girls" both draw from the same D.I.Y. document as the best of this set. Occasionally, the relentless primitivism of the electronics does get a little wearing; there was only so much you could do with the machines on the market at the time, and none of it sounds especially impressive today. But that's the fate of almost all the artists who were dancing on the frontiers of musical technology in the 1980s, including most of those who were actually releasing records then (Gary Numan and Ultravox among them). At the time, and for all their obvious precedents, Soft Cell ...
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