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Metalium - Nothing To Undo CD Cover Art
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Metalium Nothing To Undo CD - Import

 Metalium Discography of CDs

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 Our Price: $39.39  CD
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List Price $40.98 (You save $1.59)
Category Rock/Pop Albums, Rock CDs, Heavy Metal
Label King Japan
CD Universe Part number 7383181
Catalog number 1219
Discs 1
Release Date Feb 19, 2007
Additional Info Bonus Track; Japan
Metalium Nothing To Undo Songs


Metalium Nothing To Undo Album Track Listing



1.Spineless Scum
2.Spirits
3.Mindless
4.Straight Into Hell
5.Mental Blindness
6.Heroes Failed
7.Way Home
8.Dare
9.Follow The Sign
10.Way Home Orchestral
11.Show Must Go On (Bonus Track)
Nothing To Undo Music


Nothing To Undo Other Versions



Metalium
Nothing To Undo  Import
CD$20.99
Metalium
Nothing To Undo  Import; Limited Edition
CD$25.09
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Lyricist: John Dyer Baizley.
Personnel: John Dyer Baizley (vocals, guitar, piano); Pete Adams (vocals, guitar); Allen Blickle (drums).
Audio Mixer: John Congleton.
Recording information: Elmwood Studio, Dallas, TX (05/2009-06/2009); The Track Studio, Plano, TX (05/2009-06/2009).
Author: Hermann Hesse.
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The 1998 reissue of FREE JAZZ contains all the original tracks and liner notes, plus additional tracks and rare photos.
Ornette Coleman Double Quartet: Ornette Coleman (alto saxophone); Freddie Hubbard (trumpet); Don Cherry (pocket trumpet); Eric Dolphy (bass clarinet); Scott LaFaro, Charlie Haden (bass); Billy Higgins, Ed Blackwell (drums).
Producer: Nesuhi Ertegun.
Reissue producer: Bob Carlton, Patrick Milligan.
Recorded at A&R Studios, New York, New York on December 21, 1960. Originally released on Atlantic (1364). Includes liner notes by Martin Williams and Gunther Schuller.
Digitally remastered by Bill Inglot and Dan Hersch (DigiPrep).
Personnel: Ornette Coleman (alto saxophone); Eric Dolphy (bass clarinet); Don Cherry, Freddie Hubbard (trumpet); Charlie Haden, Scott LaFaro (bass); Billy Higgins, Ed Blackwell (drums).
Recorded in 1960.
As jazz's first extended, continuous free improvisation LP, Free Jazz practically defies superlatives in its historical importance. Ornette Coleman's music had already been tagged "free," but this album took the term to a whole new level. Aside from a predetermined order of featured soloists and several brief transition signals cued by Coleman, the ...

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Three Times Seven On A
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Graduation
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Personnel: Connie Mitchell, Tanya Herron (vocals); Young Jeezy (rap vocals); Mike Dean (guitars); Gloria Justen, Luigi Mazzocchi, Eric Gorfain, Igor Szwec, Daphne Chen, Emma Kummrow, Olga Konopelsky, Charles Parker (violin); Alexandra Leem, Peter Nocella, Leah Katz, Alma Fernandez (viola); Richard Dodd, John Krovoza (cello); Wired Strings (strings); Omar Edwards (Fender Rhodes piano); La Mar 'Mars' Edwards, Andy Chatterly, Darryl Beaton, Jon Brion, Chris Rob (keyboards); Tim Resler, Vincent 'Biggs' James (bass guitar); Timbaland (programming); Jehireh Williams, Jalil Williams, John Legend, Ne-Yo (background vocals); Eric Hudson, Tony 'Penafire' Williams, Jay-Z, Jennie Lorenzo, Section Quartet.
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Given the remarkable critical and commercial success of 2005's LATE REGISTRATION, Kanye West's rich, rewarding sophomore release, expectations were high for 2007's GRADUATION. Ever savvy, West flouts those expectations by delivering a record that delivers curveballs while staying true to his sharply sculpted, commercially minded m.o. West's rapping, never his greatest strength, is still entertaining. He delivers witty, smart, sometimes absurd rhymes (he seems to take more lyrical chances on GRADUATION) that fit nicely with the overall feel of his tracks.
As usual, it's West's productions that stand out. While there are examples of his style-defining use of classic R&B samples and background choirs (as on the feel-good highlight "I Wonder"), West streamlines his sound to center on synth-driven lines, giving many of the tracks a retro-electro new wave feel. "Stronger," for example, another standout, is powered by a vocoder-drenched vocal sample courtesy of French dance superstars Daft Punk, which finds West again more comfortable in hip-hop's uncharted waters. The overall results make for a fun, inventive album that offers proof that West still has tricks up his sleeve.
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