| | Yellowcard Paper Walls CD Yellowcard Discography of CDs
 (4 Customer Reviews)
On their fifth full-length, PAPER WALLS, Yellowcard prove again that they are one of the more likeable and substantive bands on the punk-pop scene. In addition to the fact that they are the only punk-pop act with a violin player, Yellowcard set themselves apart from their peers by penning catchy tunes and rocking hard, but doing both with a sense of confidence born of true authenticity.
Powered by strong material and clean, muscular performances, PAPER WALLS is the sound of a young band hitting their stride. Like most pop-punk albums Yellowcard occasionally dips into sappiness, or drops in a coy, nagging chorus, but on the whole there are fewer of such moments than average, and Yellowcard's stronger moments--like the opening rocker "Take Down" or the snaky, infectious "Shrink the World"-- shine brighter.
This deluxe package includes the making of the album and video footage, 2 exclusive live bonus tracks, extensive photo gallery, and PDF booklet.
1. Making Of The Album,
2. Making Of The Video,
3. 2 bonus Audio Tracks and
4. Photo gallery.
DVD Features:
DVD Includes:Spin (p.110) - 3 stars out of 5 -- "[T]his batch of songs is built around chugging power chords, instantly memorable choruses...[and] one of the finest violin solos you'll hear..."
Alternative Press (p.169) - 3 stars out of 5 -- "PAPER WALLS delivers on all key points: Soaring hooks; crunchy pogo riffs; emo-light counterpoint vocal melodies; circular/ascending guitar/violin motifs; and vaguely life-affirming lyrics..." Paper Walls Music Review Average Rating: (4.8 out of 5 stars)  you'll be listening to this album for a long time
this album has made me a yellowcard fan, it destroys lights and sounds, and is even better than the first album. EVERY SONG COULD BE A SINGLE, this is a very rare find, i actually believe that they could successfully release ANY song from this incredible album, 10/10.
Submitted by josh hext (Adelaide Australia)
Was This Review Helpful? Yes No 2 of 3 found this helpful. Better than the last...
This album has got to be Yellowcard's best album to date, definitely better than Lights and Sounds. All tracks except one are rockin with massive intensity and explosive feelings. If I could sum up this album in one word it would be "HUGE!"
A great buy for anyone that is a fan of any rock or pop-punk in general. 9 out of 10.
Submitted by ToWN (Perth, Western Australia)
Was This Review Helpful? Yes No 1 of 2 found this helpful. eat me
great cd
Submitted by james (california)
Was This Review Helpful? Yes No 1 of 2 found this helpful.  A Change For The Better
I have been a Yellowcard fan since their debut album , and this is their best CD to date. Ocean Avenue was a great CD , with a mix of soft and upbeat rock songs , Lights and Sounds being mostly softer stuff , but Paper Walls is an explosive album with more upbeat rock than their previous CD's. Here's to Yellowcard!
Submitted by Jake (U.S.A)
Was This Review Helpful? Yes No 1 of 2 found this helpful.
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Purchase Paper Walls CD To buy, Click on price to add to cart | Yellowcard Lights And Sounds CD (2006)
Paper Walls album
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On Lights and Sounds, Yellowcard sounds light years away from its One for the Kids/Where We Stand days. Granted, the band still trades in the immediate melodies and heart-on-sleeve lyrics that they've used since the beginning, but major-label success suits them well. Lights and Sounds is even slicker and more polished than their Capitol debut, Ocean Avenue, but Yellowcard ends up sounding self-assured instead of compromised in its big-budget surroundings. "Ocean Avenue" was a genuine breakthrough single that proved that the band had a way with connecting with listeners outside of its expected fan base; on this album, Yellowcard expands on its expected sound. Songs like the title track, "Rough Landing, Holly," and "Down on My Head" are tightly crafted, state-of-the-art examples of shiny, earnest punk-pop that sounds sunny even when it's sad, but "Two Weeks from Twenty" boasts downright jazzy guitars and whimsical lyrics reminiscent of Ben Folds, while "City of Devils" is a moody power ballad that continues the album's surprisingly grown-up feel. Indeed, ballads make up a big part of ...
| | Rammstein Liebe Ist Fur Alle Da CDs (2009) Bonus Tracks; Deluxe Edition; Digipak
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Anyone familiar with the industrial-metal band's dark sense of irony should take one look at the title of Rammstein's 2009 album LIEBE IST FUR ALLE DA ("Love Is There For Everyone") and conclude that this one is a mean monster. Combining the tightness and punch of their 1998 album SEHNSUCHT with the musicianship and elaborate textures of their later work, LIEBE IST is a grand achievement, skillfully dividing its time between razor sharp metal rockers like "B********" or the opening theme song "Rammlied" and nostalgic, cabaret pieces that conjure the spirits of Weil and Brecht at a goth club. Best of the latter is the naked and haunting closer "Roter Sand" but little touches of a sinister yesteryear are everywhere, like the fake vaudeville music in "Haifisch" or the soundtrack strings of "Wiener Blut" which are eventually overcome by a guitar crunching juggernaut. This strange mix of styles is more effective here than it has been for about a decade, and there's no threat of the album becoming ponderous either as the economical tracklist and purposeful songs wipe away the sins of their previous ...
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| | Judas Priest Concert Classics CD (2009) Reissue
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There was a time when British Steel was the hottest, hardest, and most awesome substance on the planet. On Judas Priest "Concert Classics", here it is, in its most appropriate circumstances: live, on stage. Judas Priest re-invented heavy metal. ...
| | Rod Stewart Soulbook CD (2009)
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Continuing his stroll through pop's backpages, Rod Stewart moves on from "The Great Rock Classics of Our Time" and dives into the SOULBOOK, shorthand for all the great Motown and soul songs that still are in heavy rotation on oldies radio ...
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| | James Hall Pleasure Club CD (1996) (Import) Hong Kong
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Rocker James Hall released PLEASURE CLUB, his major label debut, in 1996. The album contains 14 tracks.
On his major label debut, former Mary My Hope frontman James Hall proves himself a musical chameleon influenced by legends like Jim Morrison and David Bowie. Over the course of Pleasure Club's 13 tracks, the singer moves from howling blues demon (the title track) to Led Zeppelin-esque wails, from soulful Jeff Buckley-like ...
| | Slipknot Vol. 3: Subliminal Verses CDs (2004) Bonus CD; Special Edition
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Far removed from their rap-metal roots, these masked men of extreme metal show no signs of relenting with VOL. 3: (THE SUBLIMINAL VERSES). For this brutal chapter of the Slipknot story, the jagged sound of fierce heaviness and moody melodicism is executed deftly, as Slipknot ducks crossover cliches and nu-metal formula. Esteemed studio guru Rick Rubin captures the group's raw intensity with sonic reverence, a feat not easily achieved with bands of this style. VOL. 3 delivers all the elements that Slipknot fans have come to expect and demand. From solid, catchy choruses ("Duality") to fearsome blasts of noise and percussive gymnastics ("Three Nil," "Welcome"), and borderline balladry ("Vermilion Pt. 2"), unsettling emotions and images are vividly depicted for the listener by this notorious Iowan ensemble.
Slipknot set out to construct the ultimate metal music flamethrower, ever since their genesis in a Des Moines, IA, basement. But they also deployed an agitprop campaign of masks, smocks, and bar codes that helped scare parents (like good metal should) and transform Slipknot fans into faithful "maggots." The Midwestern origin of all this craziness is genius, as the band's marrow-draining metal and twisted, fibrous mythology is antithetical to the region's milquetoast rep. Still, after the gothic nausea of 2001's Iowa, Slipknot's vitality dissipated in clouds of gaseous hype and individual indulgence. Had they grown fat on their thrones? Probably. But the layoff only makes Vol. 3: The Subliminal Verses scream louder. Working with famously bearded helmer Rick Rubin -- aka He Who Smites Bullsh*t -- Slipknot pour the shrill accessibility of their self-titled debut down Iowa's dark sieve, and the result is flinty, angry, and rewardingly restless. Vol. 3 shares its lyrical themes of anger, disaffection, and psychosis with most of Slipknot's nu-metal peers. Lines like "I've screamed until my veins collapsed" and "Push my fingers into my eyes/It's the only thing that slowly stops the ache" (from the otherwise strong "Duality") aren't unique to this cult. But unlike so many, the band's sound rarely disassembles into genre building blocks: riff + glowering vocal + throaty chorus = Ozzfest acceptance. What makes Vol. 3 tick is the dedication to making it a Slipknot album, and not just another flashy alt-metal billboard. The seething anger and preoccupation with pain is valid because it's componential to the group's uniquely branded havoc. "Blister Exists," "Three Nil," and "Opium of the People" are all standouts, strafing soft underbellies with rhythmic (occasionally melodic) vocals, stuttering, quadruple-helix ...
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