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Bread CD

 Bread Discography of CDs

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Bread's self-titled 1969 debut is somewhat atypical, compared to its later albums. Beginning with 1970's ON THE WATERS, David Gates, Robb Royer and James Griffin (with new addition Mike Botts, who doesn't appear on this album) created a smoothly commercial blend of harmonies, folk-rock gentility, and slick studio arrangements that resulted in a seemingly endless string of hit singles.

BREAD is reminiscent of the chamber-folk sound Elektra Records pioneered in the '60s--think of Judy Collins' Joshua Rifkin period--mixed with a tinge of Buffalo Springfield-style country-pop. Flute, violin, viola, and recorder are integral to the band's arrangements, and songs such as "Dismal Day" and "You Can't Measure the Cost," while effective, don't have the shiny-smooth pop surfaces of later hits like "Make it With You." BREAD is an interesting debut, particularly for those who want to hear how the band changed on its way to the charts.

Recorded at Elektra Sound Recorders, Los Angeles, California. Originally released on Elektra (74044). Includes liner notes by Barry Alfonso.

Bread: David Gates (vocals, guitar, violin, viola, acoustic & electric piano, organ, Moog synthesizer, bass, percussion); Robb Royer (vocals, guitar, flute, recorder, acoustic & electric pianos, bass, percussion), James Griffin (vocals, guitar, percussion).

Additional personnel: Jim Gordon (drums).

Bread Music


Detailed Bread Music Information



List Price $9.99 (You save $0.30)
Category Rock/Pop Albums, Pop CDs, Rock
Label Wounded Bird
Orig Year 1969
All Time Sales Rank   30687  
CD Universe Part number 7373280
Catalog number 7404
Discs 1
Release Date Mar 13, 2007
Studio/Live Studio
Mono/Stereo Stereo
Producer Bread
Engineer Bruce Botnick
Personnel David Gates - vocals, guitar, violin, viola, acoustic & electric piano, organ, Moog synthesizer, bass, percussion
James Griffin - vocals, guitar, percussion
Robb Royer - vocals, guitar, flute, recorder, acoustic & electric pianos, bass, percussion

Also: Jim Gordon
Bread Songs


Bread Album Track Listing



Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample1.Dismal Day  $0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample2.London Bridge  $0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample3.Could I  $0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample4.Look at Me  $0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample5.Last Time, The  $1.29
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample6.Any Way You Want Me$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample7.Move Over$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample8.Don't Shut Me Out$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample9.You Can't Measure the Cost$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample10.Family Doctor$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample11.It Don't Matter to Me  $1.29
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample12.Friends and Lovers  $1.29

Bread Review


Bread Music Reviews



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Guitar Man
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Bread Guitar Man CD  (1972)

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CD $5.95  5 stars Audio Samples Definitive Album
Bread's GUITAR MAN was not one of its most commercially successful albums--the album's only chart single was the title track--but it's a finely-crafted, well-constructed soft rock album which shows the group at its best. Bandleader David Gates first made his name as a session producer and songwriter in mid-'60s L.A.; the Monkees' hard-pop "Saturday's Child" is one of his best and best-known efforts. He clearly learned at the feet of such icons as Brian Wilson and Phil Spector, as even the weaker songs here are sublimely arranged, with crystalline production. The best songs, such as "Welcome to the Music" or "I Didn't Even Know Her Name," are comparable to the best of the Carpenters' singles being released at the same ...
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Bread Baby I'm-A Want You CD  (1972)

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Bread's fourth album, 1972's BABY I'M-A WANT YOU, is the band's commercial high point and one of its finest albums. Besides the title track, inescapable on AM radio that year and which has taken up permanent residence on the playlists of soft rock radio stations in the decades ever since, BABY I'M-A WANT YOU contains two other big chart hits, "Diary" and the oft-covered "Everything I Own," which may well be Bread's best single ever. Besides those three David Gates-penned gems, the album includes nine other soft rock favorites, including James Griffin's ...
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Bread Lost Without Your Love CD  (1977)

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CD $10.49  4.9 stars
This was the end of the line for Bread. David Gates reunited one last time with James Griffin after a four-year hiatus spawned by a power dispute between the two lead songwriters. The band returned to form pretty well intact, with the Gates power ballad "Lost Without Your Love" cracking the Top Ten. It would be their last hit single. By 1977, the Bread formula was starting to sound dated, but despite the unevenness, completists and heartier Bread fans should seek and find this record. There's plenty of filler, but a couple of the Gates ballads stand out: "Hooked on You" and "Belonging" are trademark honey sweet singer/songwriter pop. James Griffin co-wrote three cuts with original Bread member Robb Royer, and their work, like "She's the Only One," has a somewhat grittier country rock feel that is lacking in the more pop-centric work of Gates. "Hold Tight" is the album's only true embarrassment -- an abortive attempt at disco-rock. Casual listeners can safely stick with the best-of ...
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Bread On The Waters CD  (1970)

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CD $9.69  5 stars
Bread's second album was its commercial breakthrough, and for good reason. The Los Angeles foursome created its signature commercially accessible sound with this album and refined it over its next several releases. Starting with ON THE WATERS, Bread became Crosby, Stills, Nash and Young without the rough edges. The commercial brilliance of this subtle shift is obvious; Bread was one of the first bands with some rock credibility to be acceptable to the emerging adult-pop demographic that made the Carpenters megastars. ON THE WATERS contains the breakthrough hit "Make it With You," possibly the group's best ...
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Bread Manna CD  (1971)

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Bread's third album, 1971's MANNA, is in many ways similar to its predecessor, ON THE WATERS. Same production team, same Crosby Stills Nash and Young-meet-the Association musical style, even a similar bread-related pun for the title; in other words, if it ain't broke, don't fix it. David Gates, James Griffin, Robb Royer and Mike Botts had, by this point in their career, come up with a brilliant amalgam of folk-rock, Carpenters-style soft pop and glossy production that is a textbook example of the sort of soft rock which ruled the charts on the early-to-mid-'70s. MANNA's biggest hit, Gates' "If," is a classic of the style and one of the group's trademark songs. The rest of this solidly engaging record is equally enticing for those into this sort of thing, especially the opening "Let Your Love Go" and Griffiths' wistful "She Was My Lady." lso ...
If You Saw Thro' My Eyes
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Iain Matthews If You Saw Thro' My Eyes CD  (1971)

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IF YOU SAW THRO' MY EYES is the 1971 solo album from Ian Matthews, who was once a member of the bands Fairport Convention, Plainsong, and Matthews Southern Comfort. This limited-edition Japanese CD is a digitally remastered reissue with a replica of the album's original artwork. One-time Fairport Convention member and leader of the short-lived Matthews' Southern Comfort, singer-songwriter Ian Matthews released this album, his official solo debut, in 1971. Though Matthews is from the U.K. and cut his teeth in that most English of folk-rock acts mentioned above, his own work has much more in common with the twangy, laid-back country-rock (see the Gene Clark-esque opening track, "Desert Inn") of the Laurel Canyon scene than it does with the traveling minstrel jams in which his fellow Englishmen were indulging at the same time. Interestingly, although he was ultimately booted from the band, Matthews gets some help here from Fairport Conventioneers Richard Thompson and Sandy Denny. The stellar California-based label Water reissued the album in 2007. One of the founding members of Fairport Convention, Ian Matthews left that group in 1969 (during the recording of Unhalfbricking) to pursue a solo career. Originally released on Vertigo, 1971's If You Saw Thro' My Eyes ...
Hybrid Beat
Kombinat M Hybrid Beat CD  (1991)

Bread music CDs
CD $15.59  Audio Samples
Hybrid Beat is the only full-length album the Austrian avant prog quintet Kombinat M left to posterity. The lineup of two guitars, violin, saxophone, bass, and drums was not very common back in the early '90s and helped give the group a fresh chamber rock sound, but in the following years better groups with similar instrumentation popped up (Boud Deun and Interférence Sardines are only two of them). Although resolutely rock, thanks to Lukas Ligeti's powerful drumming, the music sounds often overtly complex in terms of time signatures and structures, yet disarmingly hollow. Below the pyrotechnic riffs, the different sections of the longer pieces appear badly stitched together and the shorter tracks turn out repetitive. Walter Hollinetz is a good blower with a raspy sound; Andreas Heidu and Erwin Redl play mean guitars, often aiming at a Branca-esque wall of sound without the sloppiness -- all good points that should account for a good album. Sadly, the writing is poor, especially when compared to similar groups like Doctor Nerve, Forever Einstein, or Henry Kaiser and Virgil Moorefield's rock bands. That said, there are redeeming moments -- a guitar solo in "Virus," "Trottel Lustig" -- and avant prog collectors and fans of the label Cuneiform's sound should enjoy. But followers of the Siaseme Stepbrothers' drummer will find Hybrid Beat lacks bite and originality. ~ François Couture Unknown Contributor ...
Experiment On A Flat Plane
Soulhat Experiment On A Flat Plane CD  (2000)

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CD $10.69  Audio Samples
Not surprisingly, there are a few changes in the six-year interim between Soulhat's last album and this one. Most obviously, co-founder, singer/songwriter Bill Cassis has departed, replaced by Mac McNabb who doesn't contribute tunes or vocals. That leaves the songwriting onus almost entirely on Kevin McKinney, who although capable, tends to arrange all the tracks with a similar, slightly funky, midtempo bounce, and he's now the only singer. The band's predominantly acoustic style incorporates touches of blues, country, rock, funk, pop, folk, and even reggae in a congenial, bubbly, often contagious mix. When the lyrics jump out as they do on the hot-dog, double-time, bluegrass-propelled, basketball double entendre "WNBA" ("she's got a lovely little lay-up"), the energy and unbridled enthusiasm that has kept the Texas band a big club draw during the '90s is evident. Legendary rock/funk drummer Frosty Smith sits in on drums. ~ Hal Horowitz Not surprisingly there are a few changes in the six-year interim between Soulhat's last album and this one. Most obviously, co-founder, singer/songwriter Bill Cassis has departed, replaced by Mac McNabb who doesn't contribute tunes or vocals. That leaves the songwriting onus almost entirely on Kevin McKinney, who although capable, tends to arrange all the tracks with a similar slightly funky, mid-tempo bounce. He's now the only singer, and while his grainy, soulful approach is adequate, it isn't strong or distinctive enough to support an entire album. The band's predominantly acoustic style incorporates touches of blues, country, rock, funk, pop, folk, and even reggae in a congenial, bubbly, often contagious mix that is inoffensive, but hardly inspiring. The band tries, but the disc meanders through its 12 tracks without breaking a sweat. Only when the lyrics jump out as they do on the hot-dog, double-time, bluegrass-propelled, basketball double-entendre "WNBA" ("she's got a lovely little lay-up") does anything jump out with the energy and unbridled enthusiasm that has kept the Texas band a big club draw during the '90s. Even legendary rock/funk drummer B.E. "Frosty" Smith doesn't inject enough electricity here to maintain interest throughout the album's 40-minute playing time. On a hot night these songs could bring a crowded club to its feet, but on album there's a spark and energy missing that leaves Experiment on a Flat Plane as level and even ...
Right Between The Promises
Freedy Johnston Right Between The Promises CD  (2001)

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This is a Hyper CD which contains regular audio tracks and a link to the artist's website with the help of a web browser. Right Between the Promises comes across as simultaneously the flip side of, and a companion piece to, 1999's Blue Days Black Nights. Where that album's songs flowed with an ominous energy barely concealed by the moody, hushed tones of their surface, Promises forces those same emotions out into the light -- a cathartic, rocked-out release to Nights' endless tension. The result? Smart, darkly ambiguous songs that nevertheless seem built for high-volume, summertime play on a car stereo. Promises continues the slant toward vague, impressionistic character studies, and away from narrative Johnston started on that previous album. In a way, though, it's telling that his sole cover here is an unabashedly straight version of Edison Lighthouse's '70s bubblegum hit "Love Grows (Where My Rosemary Goes)" -- and more telling that he does it so well. Even the strangest stuff here has a certain accessibility: The chunky, harmonically fractured blues "Back to My Machine" holds attention despite its overly ambitious, science fiction-themed lyrics. The few tunes that hark back to the subdued quality of Nights have a new aura of poppiness, too; the gentle guitar hook in "Arriving on a Train" sounds breezy rather than just forebodingly delicate, and not even the prominent cellos and violins seem mournful. The disc includes the first studio appearance of "Radio for Heartache," previewed on Johnston's 2000 live record Live at 33 1/3. Right Between the Promises may not be as richly nuanced as his very best work, but it's still a fine example of his idiosyncratic brand of intelligent, radio-friendly folk-rock. ~ Kenneth Bays Personnel: Freedy Johnston (vocals, guitar); Cameron Greider (guitar, piano, bass, percussion, background vocals); Mark Haines (guitar, tambourine); John Vriesacker (violin); Karl Lavine (cello); Tina Kakuske (flute); Jay Moran (piano, background vocals); Graham Maby, Paul Eske, Phil Lyons (bass); Alan Bezozi, Butch Vig, Bon Hamlet (drums); Tom Williams (tambourine); James "Pie" Cowan (percussion); Mary Gaines, Christine Gatti (background vocals). Engineers include: Juan Garcia, ...
Colour And The Shape
Foo Fighters Colour And The Shape CD  (1997) Import; Reissued

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THE COLOUR & THE SHAPE was nominated for a 1998 Grammy for Best Rock Album. "Monkey Wrench" was nominated for a 1998 Grammy Award for Best Hard Rock Performance. Now that Dave Grohl has gotten through the intense scrutiny leveled at the Foo Fighters' debut, this follow-up finds him flexing his creative muscles a little easier. Forgoing the autocratic approach of FOO FIGHTERS, THE COLOUR & SHAPE allows the other members of the band a greater amount of influence, which quickly becomes evident. The punk-pop nuggets outnumber the thrashier moments on this record. Nevertheless, Grohl's time on the D.C. hardcore scene is never far from the creative process, whether it's the first squeals and squawks that pop up around the hooks and screaming vocals of "Hey, Johnny Park" and "My Poor Brain" or the alternating, Nirvana-like dynamics of "Enough Space." Elsewhere, the dreamy pop of "Walking After You" (recorded in one take by Grohl at Washington, D.C. radio station WGNS) and "Up In Arms" rubs shoulders with the Catherine Wheelish sheets of guitar flowing through "My Hero." Recorded at Grand Master Studios, Hollywood, California; Bear Creek, Woodinville, Washington and WGNS Studios, Washington, D.C. Personnel: Dave Grohl (vocals, guitar, drums); Pat Smear (guitar); William Goldsmith (drums, hand claps); Lance Bangs, Chris Bilheimer, Ryan ...
Constant Weight Of Zero
Ultraman Constant Weight Of Zero CD  (2004)

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Coming a full 13 years after their second album, 1991's Non-Existence, the third album by this St. Louis hardcore band sounds as if no time whatsoever had passed in between, which can be taken either as a measure of stylistic integrity, or near-total creative stasis. It depends on the listener's tolerance for by-the-numbers '80s-style hardcore. Ultraman's key component is singer Tim Jamison, who has a far better than average voice for this style of music, adding a melodic edge to the standard hoarse shouting in much the same way that Peter Searcy did in Squirrel Bait. With a less distinctive and talented singer, Ultraman would be completely boring, and even with Jamison's help, it's hard not to feel like you've heard this kind of metal-tinged thrash before. The CD also includes an ...
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We Are Scientists Crap Attack (Pal/Region 0) CD  (2006) (Import)

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Scott Goldstone N.Y.C. Bodily CD  (2009)

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