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Carter, Chris - Voyager/Plex LP Cover Art
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Chris Carter Voyager/Plex Vinyl LP Record - Import

 Chris Carter Discography of CDs

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 Our Price: $8.55  Vinyl Record
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Voyager/Plex Music


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List Price $10.99 (You save $2.44)
Category Vinyl LP Record Albums
Label Phantom
CD Universe Part number 7664873
Catalog number 795242
Discs 1
Release Date Mar 25, 2008
Shipping Units 3
Chris Carter Voyager/Plex Songs


Chris Carter Voyager/Plex Album Track Listing



1.Voyager
2.Plex
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On THE BLUEPRINT 3, still unretired Jay-Z announces "the only rapper to rewrite history without a pen." It's a standard Jigga boast, but the Brooklyn icon has earned the bragging by backing it up, particularly on his gold-label, top-shelf BLUEPRINT series. Ever-ready for battle, Jay-Z takes on autotune, crossover radio, and many other hip-hop concerns with the gloriously jagged rap elan for which he's become known. When Jay-Z first made a series out of his best album, 2001's The Blueprint, it became a game of high expectations. The first volume saw Jay-Z as vital as he'd ever been, storming back to the hardcore after a few years of commercial success. THE BLUEPRINT 2 took a different tack, with guest shots to compliment his sinuous flows. BLUEPRINT 3 is somewhere between the two, closer to the vitality and energy of the original but not without the crossover bids and guest features of the latter. Kanye West is in the producer's chair for seven tracks, and it's clear he was reaching for the same energy level as the original. "What We Talkin' About" begins the album with a wave of surging, oppressive synth, while Jay-Z enumerates (with an intriguing lack of detail) what he's said and what's been said about him, ending with a nod not to the past but the future (and Barack Obama). There's plenty more lyrical violence to come, but most of the targets are much safer ...
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Additional personnel includes: Bluesy Hughie (harp); Jimmy Bain (bass). Recorded at Pathe Marconi Studios, Paris, France and Good Earth Studios, London, England. Producers include: Tony Visconti, Thin Lizzy, Phil Lynott. Black Rose: A Rock Legend would prove to be Thin Lizzy's last true classic album (and last produced by Tony Visconti). Guitarist Brian Robertson was replaced by Gary Moore prior to the album's recording. Moore had already been a member of the band in the early '70s and served as a tour fill-in for Robertson in 1977, and he fits in perfectly with Lizzy's heavy, dual-guitar attack. Black Rose also turned out to be the band's most musically varied, accomplished, and successful studio album, reaching number two on the U.K. album chart upon release. Lizzy leader Phil Lynott is again equipped with a fine set of originals, which the rest of the band shines on -- the percussion-driven opener "Do Anything You Want To," the pop hit "Waiting for an Alibi," and a gentle song for Lynott's newly born daughter, "Sarah." Not all the material is as upbeat, ...
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AUTOMATIC FOR THE PEOPLE was nominated for 1994 Grammy Awards for Album Of The Year and Best Alternative Music Album. AUTOMATIC FOR THE PEOPLE is a true classic of rock in the 1990s. Released shortly after the successful OUT OF TIME, it finds R.E.M. on a creative roll with no shortage of original ideas; yet it also shows the band embracing even further the darker aesthetic shadings hinted at on "Losing My Religion." Bold songs such as the ominous "Drive" and the empathetic "Everybody Hurts" demonstrated that the band were not reluctant to experiment, while "The Sidewinder Sleeps Tonite" and the elegiac Andy Kaufman tribute "Man On The Moon" displayed all of the intelligent pop savvy on which the band's reputation was first built. However, it ...
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From the opening blast of overdriven guitars and hyperkinetic drums it's apparent A Place to Bury Strangers, self-described "loudest band in New York," want to pummel you into submission with their unique take on white noise-derived guitar splendor, but then a hypnotic single-string riff takes over to briefly deliver a respite from the assault, recalling the classic era of shoegaze. The swirling atmosphere of guitar feedback and reverb-drenched vocals immediately bring to mind the most obvious comparison: vintage Jesus and Mary Chain. And while the Mary Chain circa Psychocandy evoked the Beach Boys on bad acid or the the Shirelles gigging poolside at the Manson family compound, A Place to Bury Strangers also evoke a host of noisy early-'90s British bands like My Bloody Valentine, Swervedriver, Ride, Chapterhouse, Pale Saints, and the Catherine Wheel without sounding exactly like any of them. These bands knew how to cloak their essentially straightforward and anthemic rock songs in layers upon layers of guitar effects to lend an air of psychedelia and psychosis to what without that noisy dressing would strip down to candy-coated pop confections. And what A Place to Bury Strangers indeed do is write pop songs, with simple, traditional arrangements, primarily in slightly menacing minor keys, and saturated with their own unique brand of sonic mayhem. This is facilitated by the fact that their guitarist/singer designs his own effects pedals at his day job, allowing for a trademark-able and wide variety of signature bombastic sounds (he also does custom work for illustrious members of other similarly minded space rockers). Many songs, like the obvious single "To Fix the Gash in Your Head," feature a pile-driving drum machine enhancement which adds to the multiple layers and recalls ...
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