Bruce Springsteen - Wrecking Ball CD

Wrecking Ball songs Adele's 2009 debut album, 19, was a Grammy-winning smash hit that revealed the British singer/songwriter's knack for bittersweet soul and folk-infused love songs that brought to mind an infectious mix of Dusty Springfield and Terry Callier. The album earned her a ton of fans, and interest was high for the inevitable follow-up. In many ways, her sophomore album, the similarly age-appropriate-titled 21, is a continuation of the sounds and themes Adele was working with on 19. She is still the bluesy pop diva with a singer/songwriter's soul and seemingly bottomless capacity for heartbreak. The best thing the album does is to showcase Adele's titanic vocal ability, which -- more than a few times on 21 -- is simply spine-tingling. Last time around we got the gauzy, Callier-esque folk-soul ballad "Daydreamer" to slowly draw us into the album; here, Adele immediately injects us with the propulsive gospel fever-blues anthem "Rolling in the Deep." While the track certainly owes a heavy debt to the punk-blues of Beth Ditto and the Gossip, it is also ridiculously sexy and one of the best singles of any decade. Elsewhere, we get tracks like the blues-inflected Ryan Tedder co-write "Rumour Has It" and the old-school-style soul cut "He Won't Go," which are terrifically catchy, booty-shaking numbers and exactly the kind of songs you want and expect from Adele. Similarly enthralling is the centerpiece of the album, the mega-ballad showstopper "Take It All." Co-written by her "Chasing Pavements" partner Francis White, the song begins with Adele proclaiming "Didn't I give it all?" Delivered starkly at first with Adele set against simple piano accompaniment and later backed by a gospel choir, it's an instant-classic sort of song in the tradition of "The Rose," "And I Am Telling You I Am Not Going," and "All by Myself" that could stand over the years as a career landmark for the singer and a cathartic moment for fans who identify with their idol's Pyrrhic lovelorn persona. Ultimately, Adele does give us her all on 21, and for now that is enough. ~ Matt Collar Editor: Dana Nielsen. Photographer: Lauren Dukoff. Personnel: Adele (vocals). Recording information: AirStudios, London, England; Angel Studios, London, England; Eastcote Studios, London, England; Harmony Studios, West Hollywood, CA; metropolis ...

Wrecking Ball 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 Gene Clark and the Everly Brothers along the way as well.

Wrecking Ball album for sale Following up two folk-flavored albums, MAGIC finds Bruce Springsteen laying down his acoustic guitar to reclaim his rock-hero crown. He's assisted in this endeavor by producer Brendan O'Brien, best-known for big-time '90s hard rock, but the results have little in common with O'Brien's grungy past. Instead, MAGIC's sonic blueprint is more in line with Bruce's last stadium-rock statement, 2002's THE RISING. The album is front-loaded with hard-charging, heavy-riffing tunes ("Radio Nowhere," "You'll Be Comin' Down") that benefit from the sure-fire attack of the E Street Band. In fact, "Livin' in the Future" harks back to the band's vintage '70s work. MAGIC isn't all back-to-basics rockers, though; evocative ballads that employ atmospheric string arrangements indicate that Springsteen is content neither with standing still nor with looking backwards. One of the most rewarding aspects of the album is the fact that after the relative tunelessness of 2005's DEVILS & DUST, Bruce seemingly learned from the folk gems he covered on his Pete Seeger homage a year later, and started writing arresting melodies again. Any way you look at it, those who may have been put off by Springsteen's previous stylistic diversions will have a welcome feeling for MAGIC. Audio Mixer: Brendan O'Brien . Recording information: Henson Recording Studios, Hollywood, CA; Southern Track Recording Studio, Atlanta, GA; Thrill Hill Recording, NJ. Photographers: Mark Seliger; Danny Clinch. Unknown Contributor Role: Harry McCarthy. Personnel: Bruce Springsteen (vocals, guitar, harmonica, pump organ, synthesizer, glockenspiel, percussion, background vocals); Bruce Springsteen (guitars); Nils Lofgren (guitar, guitars, background vocals); Little Steven (guitars, mandolin, background vocals); William Pu, Sheela Lyengar, Olga Shpitko, Justin Burns, Christopher Pulgram, Jay Christy, John Meisner, Soozie Tyrell (violin); Amy Chang, Tania Maxwell Clements, Lachlan McBane (viola); Karen Freer, Charae Krueger, Daniel Laufer (cello); Patrick Warren (tack piano, chamberlin); Jeremy Chatzky (upright bass); Garry Tallent (bass guitar); Clarence Clemons (saxophone, background vocals); Roy Bittan (piano, organ); Danny Federici (organ, keyboards); Max Weinberg (drums); Patti Scialfa (background vocals). Additional personnel: Jay Christy, Kenn Wagner, Justin Bruns, John Meisner (violin); Lachlan McBane (viola); Charae Kruege (cello); Amy Chang, Tania Maxwell Clements, William Pu, Karen Freer, Sheela Lyengar, Olga Shpitko, Christopher Pulgram, Patrick Warren, Soozie Tyrell, Daniel Laufer, Jeremy Chatzky.

Wrecking Ball CD music Bonnie Raitt stepped back from her career as a musician following 2005's Souls Alike as she dealt with the passing of her parents, her brother, and her best friend in succession, but she's now returned renewed and focused with her first studio album in seven years, Slipstream, released on her own new Redwing label imprint. Recording information: Ocean Way Studios, Hollywood, CA (2010-2011); The Garfield House Studio, South Pasadena, CA (2010-2011); Ocean Way Studios, Hollywood, CA (2011); The Garfield House Studio, South Pasadena, CA (2011). Photographers: Norman Moore; Matt Mindlin. Personnel: Manny Alvarez. Audio Mixer: Ryan Freeland.

Wrecking Ball 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.

Wrecking Ball songs Released in 2011, Meat Loaf's 12th studio album, Hell in a Handbasket, somewhat reduces the bombast of his previous efforts. The record, which the singer regards as his most personal album to date, was produced by guitarist Paul Crook (with some input by Rob Cavallo), and apart from the first single "All of Me" and the heavy "40 Days," the songs feature an earthier rock sound (just like its predecessor, Hang Cool Teddy Bear, the album does not include any songs by Meat Loaf's former collaborator Jim Steinman). Rapper Chuck D guests on a cover of Tom Cochrane's "Mad Mad World," while Patti Russo appears on "Our Love and Our Souls" and a cover of the Mamas & the Papas' "California Dreamin'." "Stand in the Storm" features guest appearances by rapper Lil Jon, Sugar Ray singer Mark McGrath, country singer John Rich (on the Australian and German versions of the album), and country singer Trace Adkins (on the North American and European versions). ~ Christian Genzel Recording information: Lightning Sound Studios, Hidden Hills, CA; NRK Studios, Northridge, CA; Sound Check Studio, New York, NY; Stagg Street Studios, Los Angeles, CA; The Record Shop, Nashville, TN; The Village Recorder, Santa Monica, CA. Photographer: P.R. Brown. Personnel: Patti Russo (vocals, background vocals); Paul Crook (acoustic guitar, electric guitar, keyboards, synthesizer); Randy Flowers (acoustic guitar, electric guitar, background vocals); David Luther (saxophone, background vocals); Justin Avery (piano, organ, keyboards, synthesizer, background vocals); Danny Miranda (upright bass, electric bass); John Miceli (drums, percussion). Audio Mixer: Chris Lord-Alge.