| | Luna Pop ...Squerez? CD Luna Pop Discography of CDs
Italian pop/rock band Luna Pop started playing under the name of Senza Filtro in 1997, changing its name two years later. Luna Pop made its live debut at San Marino's festival, performing a song called 'Qualcosa di Grande' & soon signing up to Universal International, releasing '50 Special,' followed by 'Un Giorno Migliore.' Later, the group had the opportunity to participate in the prestigious San Remos festival with 'Mary Sedutta In Un Pub.' On December 3, 1999, Luna Pop's ...Squerez? was released, climbing to the local Top Ten in March of 2000. A year later, the band achieved four Italian Music Awards. Warner. 2003. Luna Pop ...Squerez? Songs | 1. | Qualcosa di Grande |
| 2. | Un Giorno Migliore - (Italian) |
| 3. | 50 Special - (Italian) |
| 4. | Resta con Me - (Italian) |
| 5. | Vorrei - (Italian) |
| 6. | Se Ci Sarai - (Italian) |
| 7. | Metro' - (Italian) |
| 8. | Niente di Piu' - (Italian) |
| 9. | Cara Maggie - (Italian) |
| 10. | Zapping - (Italian) |
| 11. | Questo Pianoforte - (Italian) |
| 12. | Silvia Stai Dormendo - (Italian) |
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...Squerez? Review
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| | Glee Cast Glee: The Music, Vol. 2 CD (2009) (Import) Original Soundtrack; United Kingdom
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The second Glee soundtrack throws a bone to the show's supporting characters, with Jenna Ushkowitz (the faux-stuttering Tina) singing her first solo and Amber Riley (Mercedes) receiving a larger chunk of airtime. Lea Michele and Matthew Morrison continue to steal the show, though; Morrison delivers one of the album's most inventive songs with a mash-up of "Don't Stand So Close to Me" and "Young Girl," while Michele sings the absolute pants off of everything the producers give her. The album sometimes strays away from choral arrangements and focuses on individual actors, but it's hard not to sing along with a song like "Jump," where the cast replaces Eddie Van Halen's keyboard riff with bright choral harmonies. ~ Andrew Leahey
The second Glee soundtrack feels a bit rushed, arriving no less than four weeks after Vol. 1's release and featuring songs from half as many episodes. Returning fans will still find a lot to enjoy here, though, as Jenna Ushkowitz (the faux-stuttering Tina) gets her first solo and supporting characters ...
| | Bob Mould CD (1996)
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After dissolving his second power trio, Sugar, Bob Mould wrote and recorded BOB MOULD (a self-titled release sometimes referred to as HUBCAB, due to its cover art). The credits even proclaim "Bob Mould is Bob Mould," and "This one is for me." The fact that the album was written and performed by one man, however, does not mean that this is a low-fi aberration--rather, it's a sonically dense but extremely controlled excursion, and the next logical step in his career.
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About as "proggy" as progressive rock gets, Chronicles I is a keyboard satiated compilation from Germany's Eloy, and is a sparkling album from beginning to end. With barely any vocals at all, frontmen Frank Borneman on guitar and Michael Gerlach on synthesizer create atmosphere through sheer electronic mastery on each and every track. Pure keyboard work, at times uninterrupted for minutes, sets the precedent for some ...
| | Beau Brummels Live! CD (2000)
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This is a very alluring and also a somewhat misleading CD. On the plus side, just to dispel any doubts, it is live, and it does feature the five-man Beau Brummels (Sal Valentino, Ron Elliott, Ron Meagher, Dec Mulligan, and John Petersen). And this is a good, professional recording. The rub is that it does date from their reunion in 1974, appearing live at the Shire Road Pub in Fair Oaks Village near Sacramento, CA; although the sound is fine, the playing is precise (and occasionally flashy), and the singing is very pretty, they just weren't a very exciting band at this point -- definitely not the same band they'd been in 1965-1966, despite the fact that they were probably better musicians. A byproduct of the group's short-lived reunion (which also yielded a complete studio album on Warner Bros.), this live set is nothing to be overlooked by any completist fan of folk-rock or mid-'60s pop/rock, but neither is it as compelling as one would hope. It may have been the fact that they were in their 30s instead of their 20s, past the excitement that went with touring regularly, cutting a new single every three or four months, and getting press coverage alongside the likes of the Byrds et al., but there's little urgency in most of the music-making here, pretty and professional though it is.
"Turn Around/Singing Cowboy" is a case in point: a beautiful jam that melds two songs together in a surprising fashion at its conclusion, its attractiveness is more languid than compelling. And poignant and well-written though it is, "Gate of Hearts" is more a solo spot for Ron Elliott as a singer/songwriter than a real Beau Brummels number. And some of the material here, such as "Music Speaks Louder," is just plain flaccid country rock of the kind that gave the music a bad name for many listeners. Amazingly, it is the Dec Mulligan co-authored "Lisa" that at least tries for a revival of the group's mid-'60s sound, with multi-layered guitars and an edgy vocal. This side of their sound doesn't manifest ...
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THE NIPPLES take you on a ride through the eyes of America's disgruntled youth. Albeit these guys are not necessarily youth's anymore. The relentless attack of Nipples songs can be felt on such soon to be classics like "Numb", "Social Elite", "Exurbia", and the upcoming title track "Weekend Toys". Having grown ...
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