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Wretched Ones - We Don't Belong To Nobody CD Cover Art
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Wretched Ones We Don't Belong To Nobody CD

 Wretched Ones Discography of CDs

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We Don't Belong To Nobody Music


Detailed We Don't Belong To Nobody Music Information



Category Rock/Pop Albums, Rock CDs
Label CD Baby
CD Universe Part number 7381250
Catalog number 118056
Discs 1
Release Date Jan 16, 2007
Wretched Ones We Don't Belong To Nobody Songs


Wretched Ones We Don't Belong To Nobody Album Track Listing



1.Overtime
2.Bicycle Jack
3.Welcome To The East Coast
4.Know It All
5.This Place Is Huge
6.Big Block Ford
7.Rules
8.Drinking Beer And Rock And Roll
9.Oi! Mode
10.Leave The Old Man Alone$0.99
11.We Don't Belong To Nobdy
12.Where I Won't Be
13.Dead Man Working
We Don't Belong To Nobody Review


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Susan Boyle's grand unveiling on Britain's Got Talent was with a song from Les Miserables - the very song that lends this album its title -- and if she could become an international sensation based on a show tune standard, there's no reason for her to change her approach on her debut, since that's the sound that made her a star. Plus, a large part of Boyle's appeal is that she's a middle-aged woman recalling a bygone era when there were singers that appealed to an adult audience by offering soft, stately versions of pop hits and standards. That time was the late `60s and early `70s, and apart from a rather faithful version of Madonna's "You'll See," I Dreamed a Dream could ...
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With a sludgy, chainsaw guitar sound that owes as much to early Black Sabbath as to Kurt Cobain's heroes The Melvins, whose drummer puts in an appearance here, Nirvana emerges from Seattle's underground scene as standard-bearers of a style that embraces the anger and energy of punk alongside the thick, muddy sonic attack favored by early '70s proto-metal bands. Cobain's lyrics are fueled by outrage and self-loathing, combining literary flair with a direct, visceral quality that makes him a viable candidate for the John-Lennon-of-Gen X award. Nirvana's debut album showcases what sounds more like a force of nature than a rock band. The unrelenting fervor with which the group delivers these 13 tunes is almost frightening. There is also a strong melodic flair that leavens the ferocity occasionally, hinting at the scope ...
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Pink's insistently hooky, attitude-filled pop-rock has kept the singer a fixture on the radio and on singles charts since the early 2000s. The artist's fifth effort, FUNHOUSE, doesn't tamper with the formula: Pink's powerhouse vocals and in-your-face approach, backed by stadium-sized production, are in full effect on all 12 tracks. Even though the album deals primarily with aftermath of her divorce and ...
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Presets Beams CD  (2005) Import

We Don't Belong To Nobody music CDs
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Australian electro-clash duo the Presets debut with 2005's BEAMS, featuring "Steamworks" and "Are You the One?" The Presets' first full-length record differs slightly from their more happy-go-lucky Aussie dance compatriots, mostly for aesthetic reasons. The detached nature of Beams is more about subtle darkness and underlying sinister intentions, as evidenced on the slow-building opener, "Steamworks" -- which begins with the bassline from "Billie Jean" and moves into much more explosive sonic territory (and a rave horn for good measure). Beams represents a uneasy yet unforgettable combination of '80s gaudy pop flair and dark, propulsive rave beats, all with an unsubtle sense of humor. Borrowing nothing from their timid Blow Up EP (most of the songs from that release have been since adapted in live shows to sound more similar to Beams), the Presets have an impulsive, almost primitive charm to their dance music. With heavy bass throughout, keyboardist/vocalist Julian Hamilton experiments with heavy distortion and vocal alterations. On the wild electro-pop treat "Down Down Down," the group keeps to the song's namesake and effortlessly weaves in and out of looped tambourine percussion and dirty synth beats. The middle section is surprisingly experimental given the concise pop of "Are You the One?," "Down Down Down," and the minimalist, winsome cool of "The Girl and the Sea" (it's the only time Hamilton shows some true restraint in his singing, and it gives the song a mysterious edge throughout). "Worms" plods along to a wince-inducing squelching keyboard loop and doesn't feel like anything more than an unrealized experiment. "Kitty in the Middle" contains more hyper-sexual lyrics and whip sounds, and is saved by its simple and funky bassline. The best ...
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Additional Tracks
Telegraph Avenue
Telegraph Avenue CD  (1997) (Import) United Kingdom

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The liner notes are frustratingly vague on the origins of these 16 tracks. But because the first eight songs feature the lineup that played on their first album and the next eight songs feature the lineup that played on their second album, it seems reasonable to assume that this compiles most or all of the material from Telegraph Avenue's two LPs. It's pleasant if not engaging listening, and sometimes pretty easy to tell where the influence is coming from. "Lauralie" sounds like a variation of Tommy James' "Crystal Blue Persuasion," for instance, while "Happy" has enough late-Beatles pop ambience to please fans of Badfinger or the Nazz; "Sometimes in Winter" has some traits of Santana. Some slight South American folk elements cruise in on tracks like "Sungaligali." The final eight cuts, presumably taken from the ...
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Mozart: Essential Symphonies, Vol. 4
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