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Defend Moscow - Die Tonight LP Cover Art
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Defend Moscow Die Tonight Vinyl LP Record - Import

 Defend Moscow Discography of CDs

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 Our Price: $7.15  Vinyl Record
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Die Tonight Music


Detailed Die Tonight Music Information



List Price $7.99 (You save $0.84)
Category Vinyl LP Record Albums
Label Phantom
CD Universe Part number 7966619
Catalog number 1537415
Discs 1
Release Date Jul 07, 2009
Shipping Units 3
Defend Moscow Die Tonight Songs


Defend Moscow Die Tonight Album Track Listing



1.Die Tonight (Album Version)
2.Sign of Life (Album Version)
3.Die Tonight [One Night Stand Remix]
4.Die Tonight [Frenchman Project Remix]
5.Die Tonight [Pixie Mix]
6.Die Tonight [Lenny Picko Remix]
7.Sign of Life [Sunset Mix]
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BY A THREAD is Gov't Mule's first studio album since HIGH & MIGHTY was issued in 2006. Since that time, bassist Andy Hess has been replaced by Jorgen Carlsson, though Hess appears on two tracks at the end of the album. Carlsson's playing style is much more aggressive than Hess', and is therefore closer - in spirit anyway - to Gov't Mule's original bassist, the late Allen Woody, though he possesses an adventurous sense of time and is harmonically more colorful than either Woody or Hess. Carlsson and drummer Matt Abst are a solid match, since Abst is a drummer used to shifting time signatures and allowing the unexpected in while still driving a band. The band's keyboardist and rhythm guitarist, Danny Louis, is a shape-shifter, playing to whatever is needed in a given track. His manner of coloring sounds inside and around a particular tune's framework is a large part of what makes Gov't Mule's sound so fresh here - despite the fact that they don't stray far from what they do best. Warren Haynes and his guitar are, as usual, front and center, his guitar screaming, his big throaty growl hammering down lyrics like a Southern fire-and-brimstone preacher with earthshaking soul. The material on this set is tight; there is less jamming but Gordie Johnson's production and mixing equalize everything at ten, making it feel like the disc is recorded live. The set opens with the pulsing bass throb of "Broke Down on the Brazos," just before Haynes and guest guitarist Billy Gibbons enter and let the tough, riff-laden blues snarl get in and slash it up a bit. The roar is wondrously deafening and the pace is fierce. Likewise, the slightly more tuneful "Steppin' Lightly" does anything but. With its funky big rock trio riff, it kicks up dust with Haynes playing some killer funk-laden ...
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The times were crying out for a pop star like Lady GaGa -- a self-styled, self-made shooting star, one who mocked the tabloid digital age while still wanting to wallow in it -- and one who's smart enough to pull it all off, too. That self-awareness and satire were absent in the pop of the new millennium, where even the best of the lot operated only on one level, which may be why Lady GaGa turned into such a sensation in 2009: everybody was thirsty for music like this, music for and about their lives, both real and virtual. To a certain extent, the reaction to The Fame may have been a little too enthusiastic, with GaGa turning inescapable sometime in the summer of 2009, when she appeared on countless magazine covers while both Weezer and DAUGHTRY covered "Pokerface," the rush to attention suggesting that she was the second coming of Madonna, a comparison GaGa cheerfully courts and one that's accurate if perhaps overextended. Like the marvelous Madge, Lady GaGa ushers the underground into the mainstream -- chiefly, a dose of diluted Peaches delivered via a burbling cauldron of electro-disco -- by taming it just enough so it's given the form of pop yet remains titillating. Sure, GaGa sings of disco sticks, bluffin' with her muffin, and rough sex, but her provocation doesn't derive solely from her words: this is music that sounds thickly sexy with its stainless steel synths and dark disco rhythms. Where GaGa excels, and why she crossed over, is how she doesn't leave all this as a collection of hooks and rhythms, she shapes them into full-blown pop songs, taking the time to let the album breathe with chillout ballads and percolating new wave, like the title track that echoes Gwen Stefani in dance diva mode. But where Gwen simply celebrates celeb consumer ...
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Metallica turned the metal world on its ear with their debut album, KILL 'EM ALL and then blew its mind with the follow-up, RIDE THE LIGHTNING. The riffs and arrangements are more intricate, the lyrics are more intelligent and biting and James Hetfield's growl is meaner. The set starts out with two tunes that would have been right at home on KILL 'EM ALL, but the next two are slower and more involved. "Ride The Lightning" is a slow (by Metallica's standards) dirge about the futility of war. "Fade To Black" is a ballad (!) that builds to an instrumental coda featuring the guitar melodies that the band would later base their sound around. It's also Hetfield's first attempt at singing in tune. The most ambitious song is a dense instrumental, "The Call Of Ktulu," that starts with a single arpeggiated guitar and slowly adds ...
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Velvet Underground's self-titled third album seemed like the debut of a new band. John Cale had left (replaced by Doug Yule) and the group became, for all intents and purposes, Lou Reed's back-up band. The songs actually sounded like rock music and John Cale's screeching musicality was reworked into songs that featured Sterling Morrison's most eloquent guitar accompaniment. Reed's songwriting moved beyond the armed-to-disarm approach of the previous two albums towards a spiritual level of empathy with the human race--a change that wouldn't go unnoticed. The man who once begged someone to "nullify [his] life" ("Heroin") was now asking "Jesus" to "help me find my proper place," and whooping his way through the equally inspiring "Beginning To See The Light." To this day, every song on VELVET UNDERGROUND sounds like a breakthrough. In short, VELVET UNDERGROUND showcased the human side of Lou Reed's songwriting. Unobstructed by walls of sonic noise, Reed's insight and genius was finally allowed to shine through. Brian Eno once said that only a hundred people bought Velvet Underground records when they first came out, but those hundred people all went out and formed their own bands. The rest, of course, is history; the Velvet Underground was the catalyst that helped spark punk rock, and began the growth of an alternative branch ...
Only By The Night
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With their raw, organic sound, Tennessee's Kings of Leon emerged in 2003 as Southern rock for the indie-garage set, sort of a Strokes for the South. While there were hints of a new direction on their third album, BECAUSE OF THE TIMES, its follow-up, ONLY BY THE NIGHT, follows ...
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Only King Selassie
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This California sextet is about as uncategorizable ...
News Of The World
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Vinyl Record $16.75  Top 500
Freddie Mercury indulges his cabaret fantasies with the supper club cha-cha of the Spanish guitar-laced "Who Needs You." Brian May sings the mournful, folkish piano ballad "All Dead, All Dead." Things get downright Cole Porter-ish on the jazzy torch song "My Melancholy Blues." Once again, Queen prove themselves to be capable of much more than the arena rock many take to be their stock in trade. In the tradition of 1975's A NIGHT AT THE OPERA, NEWS OF THE WORLD solidified Queen's position as '70s rock gods while expanding the group's vision through an eclectic batch of tunes. The album is primarily known for the anthemic medley "We Will Rock You/We Are the Champions," which would grace sporting events worldwide for decades to come. Like OPERA, though, there's more to this album than the blockbuster hit. The Roger Taylor-sung "Sheer Heart Attack" veers damn close to punk. "Get Down, Make Love" is ...
One More Chance
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Bloc Party release the brand new single One More Chance digitally on the 9th of August and on 7" and 12" on the 10th of August. The single will then be added to a new version of the Intimacy album to be released on the 24th ...
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