| | Sed Lex De Viris CD - Import Sed Lex Discography of CDs
Composed of old chaps of the heavy-metal scene from the French region Rh“ne-Alpes, SED LEX was created in december 1998 around Jean-Luc MAZA (Guitar & vocals), Philippe FAUGIER (Drums), Jean-Marc LAFAYE (Keyboards) and Bruno JAMES (Bass & vocals). One year and a half later, their first demo was released under the title "Harvests Of Disorder". In July 2002, the group opens the Mƒcon festival in front of six thousand people, who came above all for DOLLY and INDOCHINE... A little bit doubtful about their participation to such a big festival, the musicians soon forgot everything about that: they received a frank and big success ! Finally released in August 2002 on the Brennus label, "De Viris" (2003) is a first very original album influenced various musical trends of the Seventies and Eighties. Not to be missed ! De Viris Music | List Price | $22.99 (You save $2.00) | | Category | Rock/Pop Albums, Rock CDs | | Label | Phantom | | CD Universe Part number | 7501370 | | Catalog number | 10375 | | Discs | 1 | | Release Date | May 31, 2006 |
Sed Lex De Viris Songs | 1. | Eye of the Moon |
| 2. | Dog's bite |
| 3. | Fear of the dark |
| 4. | Whispers in the air |
| 5. | Harvest of discord |
| 6. | Dust'n'bones |
| 7. | Murderers' tea |
| 8. | Blank destination |
| 9. | Foundation of a dream |
| 10. | Dream of Escape |
| 11. | Carroussel |
|
De Viris Review
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Purchase De Viris CD To buy, Click on price to add to cart | Susan Boyle I Dreamed A Dream CD (2009)
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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 very well have been released all those years ago, as it mixes up the show tunes, gospel, and Christmas carols with covers of Skeeter Davis' "The End of the World," the Rolling Stones' "Wild Horses," and a version of "Daydream Believer" that is easily ...
| | Paul McCartney Good Evening New York City CDs (2009) With DVD; Digipak
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Unlike its 2002 predecessor Back in the U.S., Good Evening New York City doesn't cherrypick highlights from a tour, it commemorates a specific event: the inauguration of Citi Field -- the replacement for the now-defunct Shea Stadium, where the Beatles played a legendary show in 1965 -- in the summer of 2009. The circumstances may be different -- different enough to lead to a Billy Joel cameo on "I Saw Her Standing There," the piano man returning a favor from Paul, who played at Billy's Shea-closing shows in 2008 -- and McCartney might have two strong albums of new material to draw upon, but as an album, Good Evening New York City plays a lot like Back in the U.S. with a whopping 17 of its 35 tracks shared between the two titles. More importantly, the vibe is the same, with Macca delivering an expertly balanced and sequenced set with all the skill of the old pro that he is. Apart from the inclusion of "Mrs. Vanderbilt" and "I'm Down," there are no surprises, ...
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Initially planned solely as a standard double-disc reissue in the wake of the blockbuster success of The Fame, Lady Gaga decided to release the new material as a separate EP called The Fame Monster in addition to the standard two-CD set, where it's tacked onto a now standardized version of her debut. It's a nice move for fans, plus it helps emphasize the new material, which does act as a bridge from the debut to a forthcoming full-length. Everything on The Fame Monster bears a galvanized Eurotrash finish, ...
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A poet of popular music, November 1, 2005 Emile Pandolfi plays show tunes, movie music, and the Great American Song Book, like no one else. He even includes the occasional classical selection, which is inevitable, as he is a classically trained artist in the traditional sense. Pandolfi's dexterity at the keyboard is highly polished; yet one hardly notices. One does notice his gorgeous tone, which seemingly knows no depth; his pianissimo playing, which I can tell you, reaches all the way to the back of the hall; his massive fortissimos, which always leave the impression that he has more to give; his melting legato touch, which makes the piano sound like anything but a percussive instrument; and his seemingly limitless imagination. Once you've heard Pandolfi's presentation of a song, it will be difficult for you to imagine it any other way. Partly, this results from his own imagination: he is able to listen to music and lyrics with such freshness, even to the punctuation of lyrics, that he understands what many of us pass over. Then, he brings the resources of his technique, his sound-all his musical training and experience-to bear on the story in his mind. But not just the story: the character of the story, the atmosphere of the story. The result is nothing short of a recreation of each song Emile Pandolfi plays, and that result is often very powerful. John PendleyAbout the Artist Critics call Emile Pandolfi's music "luxurious arrangements with an ethereal quality;" that he plays in a "free-flowing, emotional manner that seems to go to the music's very soul." (Stereophile Magazine) While keeping the melody uppermost, this solo pianist applies his classical technique to Broadway and Popular Music alike, all in addition to his classical performance. This unique mixture of passion and elegance has resulted in making ...
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