U2 - No Line on the Horizon CD

No Line on the Horizon buy CD music Those who find the pairing of '70s rock god Robert Plant with contemporary bluegrass queen Alison Krauss unlikely have probably not been paying attention to Plant's latter-day work, which is full of intimate, acoustic-flavored balladry. While the organic-sounding, low-key Plant/Krauss collaboration, RAISING SAND, is a far cry from Led Zeppelin's stadium rock, it offers up some hauntingly moody textures that should appeal to "Battle of Evermore" admirers. Consisting mostly of sagely chosen cover tunes, the album finds Plant and Krauss bringing their warm-but-eerie harmonies to everything from Townes Van Zandt's nihilistic folk poetry ("Nothin'") to the crumbled beauty of latter-day Tom Waits ("Trampled Rose"). Determined not to rest on their laurels or cater to expectations, the 59-year-old icon and his junior partner craft a subtle and intriguing sound built on their shared love of folk forms and gift for interpretation, bringing to light esoteric gems by late Byrds visionary ...

No Line on the Horizon CD music It doesn't take much listening to Amy Winehouse's 1960s pop period piece to realize that this is a tribute with an edge--nice girls back then didn't sing about boozing and rehab. Since her 2003 debut album, FRANK, Winehouse has been a frequent presence on the gossip pages of the U.K. tabloids, and her songwriting here candidly reflects her experiences with drinking, sex, and drugs. BACK TO BLACK's production is an artful blend of sophisticated '60s R&B and 21st-century stylistic poaching, with "Tears Dry on Their Own" incorporating elements of Marvin Gaye and Tammi Terrell's "Ain't No Mountain High Enough," and Winehouse sounding like Billie Holiday fronting a reggae band on the old-fashioned cheating song "Just Friends." Densely packed with musical history and often conjuring a dark, Portishead-esque atmosphere, BACK TO BLACK is a sumptuous-sounding collection freighted with blunt confessionals of a lush life. Recording information: Allido Studios; Chung King Studios; Daptone Studios; Instrument Zoo, Miami, FL; metropolis Studios, London, England; Rapking Studios. Photographer: Harry "Rockbarry" Benson. Arrangers: Mark Ronson; Gabriel Roth. Personnel: Amy Winehouse (guitar, background vocals); Vincent Henry (guitar, flute, clarinet, bass clarinet, saxophone, alto saxophone, tenor saxophone, baritone saxophone, piano, celesta); Salaam Remi (guitar, piano, upright bass, bass guitar, drums); Binky Griptite, Thomas Brenneck (guitar); Steve Sidwell (harp, trumpet); Helen Tunstall (harp); Perry Mason, Chris Tombling, Pigott Smith, Tom, Warren Zielinski, Liz Edwards, Mark Berrow, Peter Hanson , Peter G. Hanson, Boguslaw Kostecki, Everton Nelson, Johnathan Rees (violin); Jon Thorne, Kate Wilkinson, Rachel Bolt, Bruce White (viola); John Heley, Joely Koos, Anthony Pleeth (cello); Andrew MacKintosh, Chris Davies (alto saxophone); Jamie Talbot, Mike Smith , Neal Sugarman (tenor saxophone); Ian Hendrickson-Smith, Cochemea Gastelum, Dave Bishop (baritone saxophone); Bruce Purse (trumpet, bass trumpet, flugelhorn); Dave Guy (trumpet); Richard Edwards (tenor trombone); Victor Axelrod (piano, Wurlitzer organ, hand claps); John Adams (Fender Rhodes piano); Nick Movshon (bass guitar); Troy Auxilly-Wilson, Homer Steinweiss (drums); Mark Ronson (tambourine, hand claps); Vaughan Merrick (hand claps); Sam Koppelman, Frank Ricotti (percussion). Audio Mixer: Tom Elmhirst.

No Line on the Horizon songs Much in the manner of their previous album, ALL THAT YOU CAN'T LEAVE BEHIND, U2 largely strips down the stadium-sized approach of years past on the provocatively titled HOW TO DISMANTLE AN ATOMIC BOMB. Whether they were inspired by the garage-rock revival that took place in between the two records, or just felt like making some visceral rock & roll, this 2004 release has as much unbridled energy as such early U2 benchmarks as BOY or WAR. The album starts with a bang, courtesy of the charging, angular "Vertigo," whose driving bass line and shouted vocals announce the band's intentions in no uncertain terms. The bluesy "Love and Peace or Else," and the fuzz-guitar-fueled "All Because of You" follow suit in a similarly high-energy manner. That's not to say that this is a mere rockfest from start to finish, though. There are an equal number of reflective, mid-tempo tunes whose direct emotional impact recalls the more elegiac tracks on OCTOBER, giving the whole album a dynamic depth of field. Whether rocking like madmen or getting in touch with their inner selves, though, the band sounds totally committed throughout ATOMIC BOMB, which has always been the first requirement for a great U2 album. Audio Mixers: Chris Lillywhite; Flood; Greg Collins ; Nellee Hooper; Simon Gogerly; Simon Osborne; Carl Glanville. Recording information: HQ (11/2003-08/2004); South Of France (11/2003-08/2004). Photographers: Joe Edwards; Anton Corbijn. U2: The Edge, Adam Clayton, Larry Mullen, Jr., Bono . Personnel: Bono (vocals, guitar, background vocals); The Edge (guitar, piano, keyboards, synthesizer, percussion, background vocals); Daniel Lanois (mandolin, shaker); Carl Glanville (synthesizer, percussion); Jacknife Lee (synthesizer, programming); Adam Clayton (bass guitar); Larry Mullen, Jr. (drums, percussion, background vocals); Fabien Waltman (programming).

No Line on the Horizon album for sale Initially issued in October 2007 with little prior notice, Radiohead's seventh full-length studio outing, IN RAINBOWS, took not only fans but the entire music industry by surprise. Released for a limited time only as an online download, the album was offered by the revered British rock group in a groundbreaking "pay what you want" format, allowing the listener to decide its digital value before an appearance in conventional CD form a few months later. Innovative business practices aside, IN RAINBOWS also garnered attention as Radiohead's most immediately engaging offering since its BENDS/OK COMPUTER days, returning to slightly more accessible pop/rock song structures, while never abandoning the arty experimentalism of subsequent albums. From the shuffling beats of "15 Step" to the amped-up energy of "Bodysnatchers" to the glorious gloom of "Videotape," RAINBOWS presents the full spectrum of Radiohead's artistry, while deftly avoiding vocal melodramatics or excessive technical noodling. When the record hits its peak with the restlessly beautiful "Weird Fishes/Arpeggi" and the emotive, keyboard-driven "All I Need," it's a thrilling reminder of why Thom Yorke, Jonny Greenwood, and the lads are one of the best bands on the planet, and it solidifies IN RAINBOWS as an indisputably great Radiohead album. Radiohead: Colin Greenwood , Ed O'Brien , Jonny Greenwood , Phil Selway, Thom Yorke. Additional personnel: The Milennia Ensemble.

No Line on the Horizon CD music On 2008's VIVA LA VIDA OR DEATH AND ALL HIS FRIENDS, Coldplay follows up X&Y's accessible anthems by tweaking its signature Britpop sound with the aid of renowned producer Brian Eno, celebrated not only for his own innovative ambient albums, but also for his behind-the-boards work with U2. Eno's contributions don't result in a ZOOROPA-like foray into dance-pop, however--VIVA LA VIDA sticks with Coldplay's knack for mid-tempo majesty, but expands these tracks with studio bells and whistles that pull the group out of its stadium-ready comfort zone. Though the pulsing instrumental opener, "Life in Technicolor," might make listeners think that they're accidentally playing the latest M83 album, VIVA asserts itself as a Coldplay outing with "Cemeteries of London," a dreamy tune that finds Martin singing in a comfortable middle register. Still, the group's quest for a different sound is exemplified by the three distinctly different parts of "42," which range from piano ballad to post-rock workout, while "Violet Hill" boasts uncharacteristically amped-up guitars and crashing percussion. VIVA LA VIDA isn't Coldplay's most consistent offering, but it's still more unpredictable than past outings, and surprisingly intriguing. Photographers: Dan Green; Guy Berryman. Personnel: Davide Rossi (strings). Audio Mixers: John O'Mahoney; Markus Dravs; Michael Brauer; Andy Wallace; Rik Simpson.

No Line on the Horizon buy CD music Overall, this is probably as close as The Boss gets to a pop album. While the somewhat anomalous "The Wrestler," the spare, acoustic-based theme from the celebrated film of the same name, is a trenchant look inside a troubled soul, a more light-hearted feel prevails throughout most of WORKING ON A DREAM. Muscular production emphasizes Springsteen's classic-rock leanings, but these simple songs of love and hope also bear bright pop hooks, and they wind up being nicely offset by a couple of raw, bluesy tunes before it's all over. This DVD/CD set includes Springsteen's new album, a collaboration with Brendan O'Brien. The album was recorded and mixed at Southern Tracks in Atlanta with additional Recording in New York City, Los Angeles, and New Jersey. The DVD includes 38 minutes of behind-the-scenes footage featuring Springsteen and the band recording in the studio. The CD includes a bonus track. Bruce Springsteen's not known for pumping out new material at a rapid clip, but he was seemingly so energized by his 2007 album, MAGIC, that he wrote and recorded the songs on WORKING ON A DREAM in a creative flurry and had it out 15 months after its predecessor. The feel of the album is accordingly urgent; there's little here that bears the epic qualities of his more deliberately wrought work, but that's not necessarily a bad thing. Recording information: Avatar Studios, New York, NY; Clifton Recording Studios, New York, NY; Henson Recording Studios, Hollywood, CA; Southern Tracks, Atlanta, GA; Thrill Hill Recording, NJ.