| | U2 Under A Blood Red Sky CD U2 Discography of CDs
 (2 Customer Reviews)
By the time of this 1983 live EP, U2 had emerged as the socio-politically conscious, self-determined saviors of rock & roll, their passion, musical power and sheer youthful exuberance making them rock idols to countless young (and some not-so-young) fans. This live document shows the ability of the band (particulary the zealous, proselytic Bono) to fire up a crowd with their earnest, anthemic approach. Early U2 classics like "Gloria," "I Will Follow" and the rabble-rousing terrorism protest "Sunday Bloody Sunday" are neighbored with fun obscurities like "Party GIrl" (complete with endearingly awkward guitar solo) and the moody "The Electric Co." As a final gesture of solidarity with his audience/congregation, rock & roll preacher Bono engages them in a spiritually tinged singalong on "40."
Recorded live in Denver, Boston and West Germany on the 1983 "War" tour.
U2: The Edge (vocals, guitar, piano); Bono (vocals); Adam Clayton (bass); Larry Mullen, Jr. (drums).
CMJ (1/5/04, p.17) - Ranked #1 in CMJ's "Top 20 Most-Played Albums of 1984"
Mojo (Publisher) (p.126) - 4 stars out of 5 -- "[T]his is the thrills-aplenty source of U2's world domination." Under A Blood Red Sky Music U2 Under A Blood Red Sky Songs | 1. | Gloria |
| 2. | 11 O'Clock Tick Tock |
| 3. | I Will Follow |
| 4. | Party Girl |
| 5. | Sunday Bloody Sunday |
| 6. | Electric Co., The |
| 7. | New Year's Day |
| 8. | 40 |
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Under A Blood Red Sky Music Review Buy Under A Blood Red Sky CD Purchase Under A Blood Red Sky CD To buy, Click on price to add to cart | Rod Stewart Soulbook CD (2009)
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| | Mariah Carey Merry Christmas CD (1994)
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At this stage of her career Mariah Carey does not need to prove herself, but her voice is so powerful that with each new recording she, once again, reminds you: "Listen to what I can do." Vocal gymnastics and Christmas songs are not often thought of as a compatible combination, but on MERRY CHRISTMAS Mariah jumps, climbs, crawls, twirls and dashes her way through both traditional fare and original Christmas songs.
She shifts through styles, offering fans from all musical camps a gift of their own. Her "Silent Night" shows off a studied vocalization where liquid phrasing is key. "Miss You Most (At Christmas Time)" shows off a dynamic voice that is hard to match. She has fun with the Phil Spector goodie "Christmas (Baby Please Come Home)," a song straight out of '60s girl-group heaven. There is even a "Joy To The World" medley mixing the old and the new--the traditional Christmas song and the Three Dog Night hit. And, as usual, her gospel-voiced background singers are out ...
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Anyone familiar with the industrial-metal band's dark sense of irony should take one look at the title of Rammstein's 2009 album LIEBE IST FUR ALLE DA ("Love Is There For Everyone") and conclude that this one is a mean monster. Combining the tightness and punch of their 1998 album SEHNSUCHT with the musicianship and elaborate textures of their later work, LIEBE IST is a grand achievement, skillfully dividing its time between razor sharp metal rockers like "B********" or the opening theme song "Rammlied" and nostalgic, cabaret pieces that conjure the spirits of Weil and Brecht at a goth club. Best of the latter is the naked and haunting closer "Roter Sand" but little touches of a sinister yesteryear are everywhere, like the fake vaudeville music in "Haifisch" or the soundtrack strings of "Wiener Blut" which are eventually overcome by a guitar crunching juggernaut. This strange mix of styles is more effective here than it has been for about a decade, and there's no threat of the album becoming ...
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Initially planned solely as a standard double-disc reissue in the wake of the blockbuster success of The Fame, Lady Gaga decided to release the new material as a separate EP called The Fame Monster in addition to the standard two-CD set, where it's tacked onto a now standardized version of her debut. It's a nice move for fans, plus it helps emphasize the new material, which does act as a bridge from the debut to a forthcoming full-length. ...
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It's been interesting to listen through the recording career of Apoptygma Berzerk (aka Stephan Grothesk and his evolving cast). This time out members include Geir Bratland, Angel, Anders Odden, and Fredrik Brarud as Apoptygma Berzerk's has mutated further from the cold, Norwegian industrial music of the early 2000s to the more melodic textures of 2002's Harmonizer and now this set, You and Me Against the World. Sure it's still got Grothesk's signature brand of electronic body music (EBM), but the jackboot-textured beats and neo-gothic approach to songwriting of old seems to be giving way to serious craft. Take the first two tracks on this set for example. "Tuning in Again" feels more like a big, modern rock anthem than an industrial or EBM one. Then there's "You Keep Me From Breaking Apart," which feels like an outtake from Depeche Mode's Playing the Angel than it does anything Grothesk has written before -- especially given the prominent placement of guitars in the electronic mix. Moving to the fourth track, "Love to Blame," ...
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2640 
bad album
