| | David J V For Vendetta CD David J Discography of CDs
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Our Price: $9.79  CDFor Sale Usually ships in 1-2 days
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Bauhaus' David J teamed with V for Vendetta creator and fellow Northampton, UK hipster Alan Moore in 1983 to write a "soundtrack" to Moore's graphic novel V for Vendetta. At turns dark and atmospheric, then edgy and thrilling, this EP is the perfect soni
Personnel: David J; Ego Plum.
David J V For Vendetta Songs | 1. | Overture |
| 2. | This Vicious Cabaret |
| 3. | V's Theme (Intro) |
| 4. | Incidental |
| 5. | V's Theme (Outro) |
| 6. | Song From the Kitty Kat Keller |
| 7. | This Vicious Cabaret - (Demo) |
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V For Vendetta Review
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Purchase V For Vendetta CD To buy, Click on price to add to cart | U F O No Heavy Petting CD (1976) (Import) Japan; Remastered
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| | U F O Mechanix CD (1982) (Import) Bonus Track; Japan; Remastered
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| | U F O Obsession CD (1978) (Import) Japan; Remastered
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UFO had finally fulfilled their potential with 1977's exceptional hard rock tour de force, LIGHTS OUT, and ...
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| | Chris Stamey Travels In The South CD (2004)
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A founding leader of the influential cult band the dB's, Chris Stamey has spent most of last 15 years producing other people's discs (Alejandro Escovedo, Yo La Tengo, Whiskeytown) rather than creating his own. Not counting a 1995 instrumental album, Travels in the South marks his first record since 1991, when he released both the solo Fireworks and Mavericks, a duet disc with his old dB's partner Peter Holsapple. South, however, shows little sign of rustiness. The album kicks off with the glorious "14 Shades of Green," a chimey gem that takes a nostalgic look at a hometown. This leadoff track also establishes the theme of traveling that runs through the disc. Songs like "Insomnia," "Ride," and the title track all touch upon the feeling of life in transit. The sublime "In Spanish Harlem" takes a Paul Simon-esque look at New York City but with a decidedly eased-back Southern tempo. The entire album, in fact, rides along at a leisurely pace, with the majority of songs surpassing the four-minute mark. But Stamey uses his production savvy to build these songs into "mid-life symphonies," to make Brian Wilson's phrase more age-appropriate. A solitary piano and mournful pedal steel help to accentuate the longing in "Insomnia." A Byrds-ian guitar riff weaves through "Alive" and heavenly Beach Boys harmonies swell in ...
| | Mission Of Burma Gun to the Head CD 2 CD Set
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Taking its cue from late-1970s British art-punks like Wire and Gang of Four, Boston's Mission of Burma developed a unique, angular sound that was at once pre-eminent in and definitive of the burgeoning US post-punk scene. For a band whose initial studio recordings consisted only of one full album and one ...
| | Elkie Brooks Best Of CD (1998) (Import) England; Germany
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| | Complete Mau Maus Punk Singles Collection CD (2000) (Import) Import; Canada
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| | Ashanti Chapter 2 CD (2003)
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U.K. version features a track, "I Know," that is not found on U.S. edition.
Skits notwithstanding, Ashanti's sophomore album is a confident leap away from her self-titled debut. She makes the most of her lightweight, breathy voice, incorporating airy, summery, string-laced arrangements in a variety of settings that go down extremely smoothly even, as in "Living My Life," when they're about that thorniest of topics, the struggle to make it.
Ashanti never hectors or browbeats, instead soaring effortlessly above the Murder Inc. goons who populate the skits between the cuts, sounding persuasive even on an ostensibly downbeat song such as "Carry On." The lyrics may tell us she's had enough, but there's a quiet, constant center to her voice that says otherwise. She's also at home with a sexy lyric such as that ...
| | Perez Prado Mambo Party CD (1957)
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This BMG reissue of Perez Prado's 1958 album MAMBO HAPPY! (complete with retro-classic ...
| | Saturday Looks Good To Me Every Night CD (2004)
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Over the course of its career, Saturday Looks Good to Me hasn't tampered much with its mix of artful lo-fi haze, winsome melodies, and pithy lyrics. Change comes with Every Night, but fortunately the band doesn't try to fix what wasn't broken in the first place. Most immediately different is the album's sound: although head Saturday honcho Fred Thomas and Warn Defever reteamed on Every Night's production, this time they use a polished approach that sounds as if it's already been remastered. Paradoxically, jettisoning the faux-vintage patina only makes Saturday Looks Good to Me sound more traditional, as if Every Night was culled from pristine acetates of lost '60s pop. However, the album's performances and songwriting fit well with the clearer production, and though more work might have gone into Every Night than SLGTM's earlier albums, the music is still effortlessly breezy. All of this applies to the charming opening track, "Since You Stole My Heart," which also introduces the band's other major change, new vocalist Betty Marie Barnes. Barnes' voice is just as guileless as those of Erika Hoffmann, Kelly Caldwell, and Ko Melina (who also make appearances on Every Night), but has a richness that matches the album's full-fledged sound. "All Over Town"'s swooping, heartbroken melody showcases her expressiveness, as does the witty ode to missed connections, "The Girl's Distracted." A duet between Barnes and Thomas, the contrast between her lively voice and his softer one plays to both of their strengths. Likewise, Thomas' vocals sound more self-assured throughout Every Night, particularly on "If You Ask," a fantastic song that may be the best thing that Saturday Looks Good to Me has yet produced. Based around a tight organ and guitar groove and vibes that would do the Zombies proud, it expands into swooning choruses with glorious harmonies. It's spooky, restrained, and a real breakthrough for the band: not only does it evoke a classic atmosphere, it owns it completely. Thomas' other moments bridge the gap between singer/songwriter fare and the rest of the album's bright, knowing pop: "When the Party Ends"' A-A-A-A rhyme scheme is alternately funny, infuriating, and impressive; "Dialtone" fuses some of his most intimate lyrics ("I smelled summer in those letters") with a full-band rave-up; and "When You Get to New York" ends the album with a question dressed up in Left Banke-esque chamber pop. This song and "We Can't Work It Out" are the closest Every Night gets to the bittersweet, half-remembered mood that defined the band's previous work (especially All Your Summer Songs), but Every Night is probably ...
| | Freddy Gardner Sideman Supreme CD (2005)
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