| | Blackbud Forever CD Single - Import Blackbud Discography of CDs
Second single from their 2006 debut full length 'From The Sky'. Includes 2 exclusive b-side tracks. Forever Music | List Price | $10.99 (You save $3.10) | | Category | Rock Albums, CD singles CDs | | Label | Phantom | | CD Universe Part number | 7263678 | | Catalog number | 955461 | | Discs | 1 | | Release Date | Oct 17, 2006 |
Forever Review
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Purchase Forever CD To buy, Click on price to add to cart | Bon Jovi The Circle CDs (2009) With DVD
Forever
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Bon Jovi's 2007 effort, LOST HIGHWAY, found New Jersey's finest brandishing a Nashville-tinged, commercial rock/country crossover sound that wasn't too far a stretch from their usual arena rocking anthems for the Everyman. ...
| | Doors Live In New York CDs (2009) Box Set; Special Edition
Forever
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Track Listing of songs: DISC 1: JANUARY 17, 1970 FIRST SHOW: Start Of Show; Roadhouse Blues; Ship Of Fools; Break On Through; Tuning/Breather; Peace Frog; Blue Sunday; Alabama Song; Back Door Man; Love Hides; Five To One; Tuning/Breather; Who Do You Love; Little Red Rooser; Money; Tuning/Breather; Light My Fire; More, More, More; Soul Kitchen; End Of Show; DISC 2: JANUARY 17, 1970 SECOND SHOW: Start Show 2; Jim "How Ya Doing?"; Roadhouse Blues; Break On Through (To The Other Side); Ship Of Fools; Crawling King Snake; Alabama Song; Back Door Man; Five To One; Pretty Neat, Pretty Good; Build Me A Woman; Tuning/Breather; Who Do You Love; Tuning/Breather; Wild Child; Cheering/Tuning; When The Music's Over; DISC 3: JANUARY 17, 1970 SECOND SHOW CONTINUED: Tuning/Breather; Light My Fire; Hey, Mr. Light Man!; Soul Kitchen; Jim's Fish Joke; End, The; End Of Show; DISC 4: JANUARY 18, 1970 THIRD SHOW: Start Show; Roadhouse Blues; Ship Of Fools; Break On Through (To The Other Side); Tuning/Breather; Universal Mind; Alabama Song (Whisky Bar)-False Start; Alabama Song (Whisky Bar); Back Door Man; Five To One; Tuning/Breather; Moonlight Drive; Who Do You Love; Calling Out For Songs; Money; Tuning/Breather; Light My Fire; More, More More; When The Music's Over; Good Night-End ...
| | Anthrax Among The Living CDs (1987) With DVD; Bonus Tracks; Remastered
Forever
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When Anthrax released AMONG THE LIVING in 1987, the band was a part of a then-burgeoning heavy metal sub-genre called speed or thrash metal. This was an inversion of glam metal. The band members wore worn-out jeans and T-shirts, their long hair was hairspray-free, and not a smudge of make-up was applied to their unsightly mugs. Their music was dense, borrowing speed from punk and hardcore and mammoth guitar riffing from metal, and featured thought-provoking lyrics. AMONG THE LIVING not only served as Anthrax's commercial breakthrough, but (along with seminal releases by Metallica, Megadeth, and Slayer) the album brought this new musical form to the forefront.
The members of Anthrax were a bunch of comic-book-reading, jam-wearing heavy metal fans from NYC, and the music reflects the lifestyle. The band based it's U.K. Top-30 hit single "I Am the Law" on a favorite comic-book character (Judge Dread). "Imitation ...
| | Rolling Stones Beggars Banquet CD (1968)
Forever
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Retreating from the psychedelia of THEIR SATANIC MAJESTIES REQUEST, the Stones released the roots-rock single "Jumpin' Jack Flash," and then the album BEGGAR'S BANQUET. ...
| | Brandi Carlile Give Up The Ghost CD (2009)
Forever
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If there was any flaw with Brandi Carlile's second album, THE STORY, it's that it was perhaps a touch too austere, painted in amber tones by producer T Bone Burnett. Its 2009 sequel, GIVE UP THE GHOST, opens up and breathes, perhaps partially due to swapping T Bone for Rick Rubin, who retains the spooky, serious vibe but makes things a little less chilly. This isn't sealed off; there is room for guests here, including such L.A. linchpins as Benmont Tench and Red Hot Chili Pepper Chad Smith, but also Elton John and his arranger, ...
| | Pelican What We All Come To Need CD (2009)
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One had to wonder what Pelican's signing to Southern Lord could possibly mean. To be truthful, while the band did write and perform more structurally formal material on 2007's CITY ...
| | Rancid Roots Radicals (1995)
Forever
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Released in Rancid's heyday, the Roots Radicals single came out between the group's seminal Let's Go and the nearly as engaging ...
| | Fleetwood Mac Landslide (1998) 4 versions
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| | Depeche Mode Only When I Lose Myself (2007)
Forever
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Once more releasing singles on the British lines -- meaning two at a time -- this and the other version of the single are curious in that the actual song itself doesn't appear on either them, just remixes. Thankfully, said remixes on both discs are top-notch. On this first single, the lead remix comes from one fine boardsman, Dan the Automator -- his distinctly hip-hop sensibilities get applied to the moodier trip-hop crawl of the original, finding a smart middle ground between the two. Gahan's vocals get isolated at the start, leading into a heavy, crackling break and scratching which underpins the remainder of the take, even when other elements like the song's piano line return. The other remix comes courtesy of Danny Briottet, whose "Subsonic Legacy" mix is a quicker, louder revamp of the track with a fine beat that matches Gahan's vocal quite well. Meanwhile, hardcore fans will be pleased by the inclusion of not one but two wholly new B-sides. "Headstar" is a nicely messy instrumental, in that the guitar fuzz and feedback gets produced and arranged all over the low funk crawl of the beat just right. It's like a more active version of "Painkiller," the short track which concluded Ultra. "Surrender," meanwhile, starts with a bassline similar to the mood-setting start of "In Your Room," but then shifts to a darkly beautiful late-night jazzy feel not far off from "Only When I Lose Myself" itself, with a snaky guitar line at the center. Gahan's singing, meanwhile, turns the track into a grand ballad, barbed like many of such songs by Depeche are, but his new singing abilities take all the higher. Luke Slater pops up at the disc's end to contribute his own mix of "Headstar" -- as might be expected from him, it's a fast techno workout. ~ Ned Raggett
For the second of this song's accompanying remix EPs, center stage is taken by Icelandic avant-garde pop outfit Gus Gus. Given Depeche's long lyrical history of conflations of sex, religion, and death, combined with Gus Gus' own bemused regardings of same, such a matching up made sense on more than just musical levels. A "Shortplay" and "Longplay" mix were each contributed, the latter, unsurprisingly, a lengthier version of the former. As redone by Gus Gus, the song acquires that group's sense of quite deep synth-bass grooves and steady, straightforward beats. It's incredibly easy to imagine the band's own singers delivering something over it, but Gahan's vocals remain untouched, slotting into the new rhythms as if they had been the ...
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