| | Hanoi Alive Rise CD Hanoi Alive Discography of CDs
electronic pop rock from switzerland... Rise Music | List Price | $9.00 (You save $1.81) | | Category | Rock/Pop Albums, Pop CDs | | Label | CD Baby | | CD Universe Part number | 7972031 | | Catalog number | 343586 | | Discs | 1 | | Release Date | Jun 23, 2009 |
Hanoi Alive Rise Songs | 1. | Rise |
| 2. | Better Me |
| 3. | Let Me In |
| 4. | Lost and Found |
| 5. | Move On |
| 6. | All One |
| 7. | Riding the Wave |
| 8. | Always Here |
| 9. | Falling |
| 10. | Hurt |
| 11. | She's Like the Wind |
| 12. | Magic Of Music vs. Magic of Music (Remix) (feat. Analog Elevator) |
| 13. | Lost and Found (Remix) (feat. Analog Elevator) |
| Rise Review
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Purchase Rise CD To buy, Click on price to add to cart | Them Crooked Vultures CD (2009)
Rise album
$11.19 Often, supergroups wind up dominated by one particular personality - think Eric Clapton in Derek & the Dominos, Jack White in the Raconteurs -- which makes the egalitarianism of Them Crooked Vultures all the more remarkable. Of course, when it comes down to it, it's a group of three natural-born collaborators: John Paul Jones, the old studio pro who gravitated toward provocative partners after Led Zeppelin's demise, teaming up with R.E.M. as easily as he did with avant-queen Diamanda Galas and nu-folkster Sara Watkins; Dave Grohl, who hopped into an empty drummer's chair whenever the opportunity presented itself; and Josh Homme, who set up a mini-empire based entirely on jam sessions. If Them Crooked Vultures brings to mind Homme's projects more than Grohl's or Jones', it's largely due to his role as lead vocalist and how guitar can push a rhythm section as powerful as this to the side, dominating with its grinding riffs and solos. Homme's predilection for precision does reign supreme -- when the group stretches out, even wallowing in the murk on "Interlude with Ludes," there's the sense that, like a great improv troupe, the trio freaked out then retained the best moments, trimming away the indulgence and experiments, leaving behind intrinsically, grippingly musical hard rock, where power is secondary to interplay. And while there are melodies and hooks that certainly dig into the skull, what impresses is chemistry, how the three ...
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Rise music CDs
$14.45 After the dark and chilling themes of 2006's BLACK CADILLAC, which saw Rosanne Cash dealing with the deaths of her mother, Vivian Liberto, her father, Johnny Cash, and her stepmother, June Carter Cash -- all of whom passed within a two-year span -- one might assume that her next project would move into an even deeper level of bleakness, but with THE LIST, it's immediately clear that she has instead found a more measured place to stand. It's a lovely and redemptive outing that looks back to go forward. When Cash turned 18, her father, alarmed that his daughter only knew the songs that were getting played on the radio, gave her a list of what he considered 100 essential American songs; Cash kept that list, and now she's drawn on it for this wonderfully nuanced outing that brims with a kind of redemptive timelessness. THE LIST is a renewal and a testament to life, and it belongs to her father as much as it belongs to her, a beautiful restatement of her father's passions, only now, they've become his daughter's treasures, as well. It's an affirming story, but that's all it would be if Cash didn't sing her heart out here. The opener, a version of Jimmie Rodgers' "Miss the Mississippi and You," is full of comfortable grace and sentiment, and Cash keeps that fine emotional tone throughout this set. Songs like the folk classic "500 Miles" feel at once both lovingly rendered and reborn for a new century in Cash's hands. There's also her fine rendering of Bob Dylan's "Girl from the North Country," a nice turn at Harlan Howard's "Heartaches by the Number" (which features Elvis Costello), a calm but still spooky duet with Jeff Tweedy on the faux-murder ballad "Long Black Veil," and a duet with Bruce Springsteen ...
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$12.59 When Layne Staley died from a drug overdose in 2002, it had already been several years since most Alice in Chains fans stopped hoping for a new album. The singer had become a recluse since the late-`90s, and there was little indication that AIC would ever again produce much in the way of new music. As a result, when the remaining members reunited to release BLACK GIVES WAY TO BLUE in 2009, expectations were low. To the delight of all however, the album proved to be perhaps the Seattle combo's most energetic and consistent effort since its masterpiece DIRT. Perhaps the most surprising element of the new record was how much it sounded exactly like Alice in Chains. While new singer William DuVall was not an exact Staley soundalike, he managed to evoke both the unique timbre and sense of deep angst that were the late vocalist's trademarks. Throughout, the ...
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