| | Astronauts Movin' CD - Import Astronauts Discography of CDs
Remastered Japanese reissue of Japanese-only 22track retrospective for this '60s surf/ garage act: 'Movin''(mono version), 'Hot Doggin'', 'Firewater', 'Surf Party','The Hearse', 'El Aguila', 'Baja', 'Pipeline', 'Let's GoTrippin'', 'Misirlou', 'Batman', 'Banzai Pipeline', 'Surf-er's Stomp', 'Gouch', 'Quiet Village', 'Devil Driver'sThemes', 'Chevy Scarfer', 'Pyramid Stomp', 'Snap It', 'MainTitle From 'Ride The Wild Surf'', 'Che Che Che' and 'Movin''(stereo version). NOTE: the first four tracks listed are inmono; the rest are in stereo. First released in 1990. Astronauts Movin' Songs | 1. | Movin' |
| 2. | Hot-Dogin' |
| 3. | Firewater |
| 4. | Surf Party |
| 5. | Hearse, The |
| 6. | El Aguila |
| 7. | Baja |
| 8. | Pipeline |
| 9. | Let's Go Trippin' |
| 10. | Misirlou |
| 11. | Batman |
| 12. | Banzai Pipeline |
| 13. | Chevy Scarfer |
| 14. | Pyramid Stomp |
| 15. | Snap It |
| 16. | Main Title From 'Ride the Wild Surf' |
| 17. | Che Che Che |
| 18. | Movin' |
| 19. | Surfer's Stomp |
| 20. | Gouch |
| 21. | Quiet Village |
| 22. | Devil Driver's Themes |
|
Movin' Review
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Purchase Movin' CD To buy, Click on price to add to cart | Alice In Chains Black Gives Way To Blue CD (2009) Limited Edition; Digipak
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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 sound is heavier ...
| | Rosanne Cash List CD (2009)
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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 ...
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R.E.M.'s five-night residency at Dublin's Olympia in the summer of 2007
"This is not a show," murmurs Michael Stipe at the start of LIVE AT THE OLYMPIA and it's not quite misdirection. R.E.M.'s five-night residency at Dublin's Olympia in the summer of 2007 functioned as working rehearsals for their fourteenth album ACCELERATE, with the band testing out each of the songs, exploring arrangements, finding breaking points, and pairing them with older songs that informed their back-to-basics move. As rehearsal, it paid off splendidly -- road-testing the material made it stronger, resulting in their best album in years -- but the audience was in for a real treat, with the band digging deep into their back catalog to play some of their best non-hit songs. Just as importantly, the band sounds completely engaged with the material, enjoying playing the songs again. And that is what R.E.M. is here ...
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Principally recorded at Real World, Box, England; Air Lyndhurst, England; and
"The Barry Williams Show" was nominated for the 2003 Grammy Awards for Best Male Rock Vocal Performance.
Though much effort has obviously been put into the sonic details of UP's production, and to fine effect, the album seems to represent not so much a new direction for Peter Gabriel, but rather a consolidation of the styles he's mined in preceding years. For instance, the opening track "Darkness" combines the dark, tension-filled paranoia of Gabriel's third self-titled album with the positive, seemingly therapy-derived lyrical direction of US's "Digging in the Dirt." Similarly, the heartworn emotionality of "No Way Out" brings to mind US's "Red Rain," but adds some slinky spy-movie guitar lines.
With a decade passing since his last album of new songs, Gabriel clearly has much to say, and accordingly most tracks hover around the seven-minute mark and are filled with sophisticated, enticing touches in an agreeable electronic/organic blend. With nothing to prove anymore, Gabriel sounds appropriately unconcerned about commerciality, as the only thing that comes within shouting distance of an "accessible" track is the TV-sensationalism parody "The Barry Williams Show," whose length and gritty lyrics make it an unlikely candidate for the top 40. In the end, UP is the sound of a mature artist pursuing the perfection of his craft, giving little thought to anything but the realization of his distinctive artistic vision.
Hype Studios, Singapore.
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