The Banshee – Your Nice Habits (2008)

FrontCover1.jpgThe Banshee fomed in Genova (Italy) in 2001, while the guys were still teenagers.
“Public Talks”, their first album, was released in Italy on Suiteside Oct. 2006, and then distributed in Nov. 2007 by Fading Ways Music in UK , Canada and Benelux.
The album got an enthusiast quote in the NME Breaking Bands column, airplay on Radio 1 and BBC6 by Steve Lamacq and Tom Robinson, two successful UK tours and Belgium gigs.
The Banshee appeal lies in their cool fucked-up attitude, in the apparently carelessness they jump in throwing the songs on stage. It’s the charm of not average indie pop-hooks people can relate easily to.
With lots of new ideas The Banshee entered Red House Studio in Senigallia (Ancona, Italy) to record their second album – titled “Your Nice Habits”, with the production of Luke Smith (ex-Clor, already producer for Shit Disco, To My Boy, Theoretical Girl, frYars). It was February 2008, then Luke Smith mixed the ten tracks in March in his London home studio.
Mastering has been done at Optimum Mastering Ltd in Bristol by Luke and Shawn Joseph.
“Your Nice Habits” shows the band at its best, with clean songwriting and memorable hooks matching groovy wave beats, electro burst and undeceived lyrics.
With an increasing amount of blogs and webzines around the world spreading the word about The Banshee, “Your Nice Habits” has been released in Italy in September ’08 and then in Europe (G/A/S – Benelux) on Fading Ways January 30, 2009 (distribution Sonic Rendez-Vous / Alive! PR gordon@tomlab), with a one month european tour following in February.
End of March ’09 the Oxford based label Shifty Disco (Young Knives, Elf Power, King of Spain..) released in the UK the “People Around DLEP”, taking The Banshee to new levels on Uk venues and on XFM, while BBC6’s Tom Robinson topped “Your Nice Habits” as “Best Album of the Year 2008”. (suiteside.wordpress.com)

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Leave it to the Italians. 2008 will, ifsuiteside.wordpress.com) nothing else go down as the year of 80s electro pop/punk/new wave revival. We’ve had the faux fourth world africanisms of Vampire Weekend, and the fizzy electronic Devo-lution of Hot Chip, but if you really want to recreate the heady rush of early Wire or XTC (when they still had Barry Andrews punching the organ) then look no further than Genova’s The Banshee. In the same way that our Mediterranean cousins keep the flame of prog burning brighter than it did in 1973, so they also manage to have produced new wave that’s more art school bonkers than it was in 1979.

You know what we mean: hi-hats rattle, jerky snares snap, synths bleep and guitars bark. The vaguely militaristic rhythms beat out a robotic two-step and it’s all you can do not to rush out and get yourself some skin tight jeans and an assymetrical barnet-job. The vaguely flanged, bleaty vocals can remind one of Gary Numan, but really, they have more to do with the (far cooler) Colin Newman (yes, there’s no trace of a Latin accent here). And there’s another reason why you should spend your hard earned paper round money on these boys – they were produced by Luke Smith of the much-missed Clor: another outfit who wouldn’t have looked out of place on the same bill as the Gang Of Four.

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While Your Nice Habits never really lets up in terms of energy, spunk and verve, it can pall a little in its relentless angularity. For lovers of art rock this won’t really be a problem, but you can’t help thinking that this makes them a tad unsexy. Still, such enthusiasm can only be applauded. They should have called it Bandierina Rosa. (Chris Jones )

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Personnel:
Fish (bass)
Jago (vocals, guitar, keyboards synthesizer)
Nico (guitar, vocals, samples)
Patrick (drums)

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Tracklist:
01. Cut Me Clear 3.15
02. Kicks Up 3.41
03. 3rd 3.30
04 Face 3.45
05. Russia 3.46
06. Electric 2.52
07. Believe The Master 3.43
08. Evening Dress 3.08
09. People Around 4.10
10. C.older 4.13

All songs written by Fish – Jago – Nico and Patrick

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Teddy Thompson – A Piece Of What You Need (2008)

FrontCover1Called “one of the most gifted singer-songwriters of his generation,” by The New York Times, singer-songwriter Teddy Thompson is a native Englishman who has adopted New York City as his home; famously the son of singer-songwriters Richard and Linda Thompson, he emigrated to the States almost twenty years ago, barely out of his teens, to embark on a career of his own.
He was heavily influenced not by folk music but by such artists as Buddy Holly, Chuck Berry, Elvis Presley, and the Everly Brothers.  As NPR reported, “He has said he didn’t listen to any music made after 1959 until he was 16. As a kid, he listened to early rock ‘n’ roll and country music exclusively.”  This resulted in a unique voice that is at once rock and country, then pop and folk.
While music is in his DNA, Thompson sings with his own voice, a powerfully understated, emotional, echoey croon.  (The Guardian)

Since arriving in the United States, he has released five albums to critical acclaim and has contributed to many works, including his solo “I Don’t Want to Say Goodbye” and duet “King of the Road,” with Rufus Wainwright, from the soundtrack to the Golden Globe- and Bafta-winning film Brokeback Mountain.  He has also collaborated on projects with Rufus and Martha Wainwright, Jenni Muldaur, and others.  Thompson recorded two solo songs for the soundtrack to the Leonard Cohen tribute I’m Your Man:  “Tonight Will be Fine” and “The Future.”  He also contributed two songs to the album The Songs of Nick Drake: Way to Blue, a retrospective on the late singer.
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The Thompson Family

In 2015, Teddy and his family released the album Family, a collaborative project in which each member of the extended family wrote and recorded two songs–from wherever they live.  This meant that recording took place from Los Angeles to London, then the final product was produced by Teddy in New York.  It was released in early 2015 under the name Thompson.
Thompson is based out of New York City, where in his free time, he performs with his rockabilly cover band, Poundcake. (take from the Teddy Thompson Website)
A Piece of What You Need is the fourth studio album by singer-songwriter Teddy Thompson. The album contains all new Teddy originals and was produced by Marius De Vries, whom Teddy met while recording background vocals on Rufus Wainwright’s Want records in 2002. Included are new songs Teddy had been testing out live, such as “Turning the Gun On Myself”, “In My Arms” and “Can’t Sing Straight”.
The album debuted on the UK Albums Chart at #10. The first single from A Piece of What You Need is “In My Arms”. The music video features a cameo appearance by Rufus Wainwright dressed up as Elvis Presley. The song entered the UK Singles Chart at #107 (by wikipedia)

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The son of folk-rock titans Richard and Linda, Teddy Thompson hated his 2000 debut, but has described his fourth album as “close to the record I’ve always wanted to make”. Producer Marius de Vries (Rufus Wainwright/Björk) delivers a cinematic soundscape, but Thompson’s golden voice is always centre-stage. With hints of Roy Orbison and early Bruce Springsteen, the chugging rhythms and instantly memorable melodies conceal real emotional drive. Concerning loss, regret and bad decisions made at life’s crossroads, these are songs that radiate anguish but don’t sound too down about it. Indeed, several of them – especially the turbo-crooned Don’t Know What I Was Thinking – deserve to be sung from speeding cars. Thompson has emerged from his parents shadows to deliver one of this year’s best. (by theguardian.com)
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Teddy Thompson with his parents, Richard and Linda Thompson

“File under: Pop” a polite message reads on the back cover of Teddy Thompson’s fourth full-length album, A Piece of What You Need, and in this case no one can accuse the product of not living up to its billing. Thompson’s first two albums were beautiful collections of moody folk-leaning indie pop that confirmed it was possible to sound dour and passionate at the same time, and his third set, Upfront & Down Low, was a glorious celebration of heartache as portrayed in 11 classic country weepers, but A Piece of What You Need finds him sounding unexpectedly upbeat for a change, and the shift in attitude works remarkably well. “What’s this? What’s this? Am I happy or something?” Thompson asks on the disc’s second tune, and while much of the time he still seems to be having trouble in the eternal search for the woman of his dreams, with producer Marius de Vries behind the controls (who has previously worked with David Gray, Melanie C, Josh Groban, and Thompson’s pal Rufus Wainwright), most of these meditations on the joys and pitfalls of romance have a good beat and you can even dance to them. “What’s This?!!” and “In My Arms” sound like potential hit singles, complete with snappy beats and slick harmonies, but de Vries has also made the most of Thompson’s rich, strong voice, and the melodies are well served by the sweet but intelligent arrangements and production. And it’s clear de Vries hasn’t forced a more polished sound on Thompson against his will; “Where to Go from Here” and “Slippery Slope” would have sounded right at home on Thompson’s sadly overlooked debut, “Turning the Gun on Myself” is just as lovely and severe as it needs to be, and “Jonathan’s Book” could be “Paperback Writer” from the other side of the camera. Teddy Thompson has taken a more user-friendly approach on A Piece of What You Need, but he hasn’t sold his soul or lost what makes him special along the way, and this is a clever, adventurous, and thoroughly engaging exercise in smart pop that’s as thoughtful as it is pleasurable. (by Mark Deming)

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Personnel:
Jeff Hill (bass)
Matt Johnson (drums, percussion)
Jack Petruzzeli (guitar, mandolin)
Teddy Thompson (guitar, vocals, mandolin, ukulele)
Marius de Vries (keyboards, synthesizer, Percussion)
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Dave Lee (french horn on 04., 06., 09.)
Justin McDermid (trumpet on 04., 06., 09.)
David Powell (tuba on 04., 06.), 09.
Neil Sidwell (trombone on 04., 06., 09.)
Chris Storr (trumpet on 04., 06., 09.)
Richard Thompson (guitar on 05., 07.)
Fayyaz Virgi (trombone on 04., 06., 09.)
Phil Woods (french 0n 04., 06., 09.)
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background vocals:
Jenni Muldaur – Kamila Thompson – Jenn Turner

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Tracklist:
01. The Things I Do 3.44
02. What’s This?!! 3.23
03. In My Arms 3.14
04. Where To Go From Here 3.13
05. Don’t Know What I Was Thinking 3.53
06. Can’t Sing Straight 3.43
07. Slippery Slope (Easier) 4.13
08. Jonathan’s Book 4.40
09. One Of These Days 2.50
10  Turning The Gun On Myself 4.20
11. A Piece Of What You Need 5.01
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12. The Price Of Love (hidden track) 3.38

All Songs written by Teddy Thompson excact “The Price Of Love”, which was written by Don and Phil Everly (The Everly Brothers)
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Witchking – Hand Of Justice (2008)

FrontCover1Witchking are a heavy metal band from Poland, formed in 2003 as Steel Crown by Mateusz “Gajdek” Gajdzik (guitar), Marcin “Dziadek” Jungiewicz (drums) and Dariusz “Rambo” Bieniek (bass), all previously of the thrash metal band Rapid Fire.

In 2004 Witchking released a demo, Under The Siege, with their line-up completed by Kamil “Czamil” Łacina (vocals) and Tomasz “Hadra” Pater.

By the time of their self-titled debuts release in 2007, Kamil “Czamil” Łacina had been replaced by Tomasz “Tom The Storm” Twardowski and Dariusz “Rambo” Bieniek by Andrzej “Sado” Sadowski. Marcin “Dziadek” Jungiewicz was also later replaced by Krzysztof “Banan” Nowakowski before the release of the band’s 2008 album Hand of Justice.

In 2009 Tomasz “Tom The Storm” Twardowski departed Witching. He was replaced by Michal Zaczek, however Witching have yet to record with the new vocalist and are considered to be on hold as of 2010. (by metalmusicarchives.com)

Every now and then you stumble across something that just blows away everything else you have been listening too. Well that is the case with Witchking’s second album Hand of Justice. Out on Insanity Records from Poland, where Witchking reside as well. The thing that makes this album so damn good is its straight ahead pure Heavy Metal approach. Think classic Metal Church, Annihilator or Vicious Rumors and that’s a little of what you can expect. The guitar work is top notch from Hardo & Gajdek, from heavy chunky riffs to ear piercing solos. The very impressive vocals of Tom “The Storm” is the big thing for me on Hand Of Justice. Very good mid range and can hit them high notes with ease. Reminds me of Midnight from Crimson Glory in parts. But not as high. All this would not be at all possible if it was not for the engine room of Sado (Bass) & Banan (Drums) that keep the machine galloping along at a nice speed. Neck breaking at times, especially on M Impact WOOHOOO!!!!!!

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I can’t recommend Hand of Justice enough; there are 10 tracks of pure energy with no filler. No one track stands out because they are all so bloody good. The album artwork is even old school. “Love It” This is how I use to feel 20 years ago when I would race into my room and put on the latest record I just brought not knowing what to expect J If you are after some traditional pure Heavy Metal but with today’s technology production and a fresh sound. Then you MUST go and buy this today. Spread the word brothers of Metal. (by powerofmetal.dk)

Not my kind of music, but you know the message of this blog: Many fantastic colors …

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Personnel:
Mateusz Gajdzik (guitar)
Krzysztof Nowakowski (drums)
Tomasz Pater (guitar)
Andrzej Sadowski (bass)
Tomasz Twardowski (vocals)
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Tomasz Zalewski (acoustic guitar on 11.)

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Tracklist:
01. Intro instrumental 1.04
02. Magic Number 4.01
03. Greed and Fear 4.44
04. Hand of Justice 3.55
05. The Third One 4.58
06. Planet Is Burning 5.05
07. Choice of Masters 4.48
08. M Impact 5.34
09. Mental Trap 4.14
10. Metal Grail 4.31
11. Doomsday 4.15

Music + lyrics: Mateusz Gajdzik – Krzysztof Nowakowski – Tomasz Pater – Andrzej Sadowski – Tomasz Twardowski

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Vampire Weekend – Same (2008)

FrontCover1Vampire Weekend is the debut studio album by the American indie rock band Vampire Weekend, released in January 2008 on XL Recordings. The album was produced by band member Rostam Batmanglij, with mixing assistance from Jeff Curtin and Shane Stoneback.

In the United States, the album sold over 27,001 copies in the first week of its release, debuting at number 17 on the Billboard 200 and as of 20 January 2010, has sold nearly half a million copies. In the album’s 11th week in the UK chart, it peaked at number 15. The album also reached number 37 in Australia.

The album’s cover photo is a Polaroid picture from one of their early shows in Columbia University.

The first single, “Mansard Roof”, was released on October 28, 2007. The second single, “A-Punk”, was released in early 2008. The album was ranked as the 5th-best album of 2008 by Time, the 56th-best album of the decade by Rolling Stone and 51st on Pitchfork’s list of the Top 200 Albums of the 2000s. In 2012, Rolling Stone ranked the album number 430 on its list of “The 500 Greatest Albums of All Time”. The album was also ranked 24 on Rolling Stone’s list of 100 greatest debut albums of all time, citing them for having inspired a wave of indie bands with world music influences, despite largely criticising the album on its release.

Paul Simon has spoken out in favour of the album, responding to the derision of some for perceived similarities to Simon’s 1986 album Graceland.

The album was recorded in a variety of environments including; a basement where there was “a good set up for recording drums”; a barn; the apartments of two band members and Tree Fort studio in Brooklyn. The locations bore an effect on the sound that was produced, demonstrated by a session recorded early in 2007 at a barn, which resulted in “really echoey drums”.

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In October 2007, the lead singer Ezra Koenig, said that the band had “some of the tracks […] for a long time”, so they were aware of how the album would sound but that it was “just a matter of tightening it up and remixing it a little”. Koenig also said that the band was “really excited” and “psyched” about two songs in particular, which were recorded around September 2007, called “I Stand Corrected” and “M79”. (by wikipedia)

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With the Internet able to build up or tear down artists almost as soon as they start practicing, the advance word and intense scrutiny doesn’t always do a band any favors. By the time they’ve got a full-length album ready to go, the trend-spotters are already several Hot New Bands past them. Vampire Weekend started generating buzz in 2006 — not long after they formed — but their self-titled debut album didn’t arrive until early 2008. Vampire Weekend also has just a handful of songs that haven’t been floating around the ‘Net, which may disappoint the kind of people who like to post “First!” on message boards. This doesn’t make those songs any less charming, however — in fact, the band has spent the last year and a half making them even more charming, perfecting the culture collision of indie-, chamber-, and Afro-pop they call “Upper West Side Soweto” by making that unique hybrid of sounds feel completely effortless. So, Vampire Weekend ends up being a more or less official validation of the long-building buzz around the band, served up in packaging that uses the Futura typeface almost as stylishly as Wes Anderson. At times, the album sounds like someone trying to turn a Wes Anderson movie back into music (it’s no surprise that the band’s keyboardist also writes film scores); there’s a similarly precious yet adventurous feel here, as well as a kindred eye and ear for detail. Everything is concise, concentrated, distilled, vivid; Vampire Weekend’s world is extremely specific and meticulously crafted, and Vampire Weekend often feels like a concept album about preppy guys who grew up with classical music and recently got really into world music.

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Amazingly, instead of being alienating, the band’s quirks are utterly winning. Scholarly grammar (“Oxford Comma”) and architecture (“Mansard Roof”) are springboards for songs with impulsive melodies, tricky rhythms, and syncopated basslines. Strings and harpsichords brush up against African-inspired chants on “M79,” and lilting Afro-pop guitars and a skanking beat give way to Mellotrons on “A-Punk.” It’s a given that a band that’s this high concept has hyper-literate lyrics: the singer’s name is the very writerly Ezra Koenig, and you almost expect to see footnotes in the album’s liner notes. Once again, though, Vampire Weekend’s words are evocative instead of gimmicky. The irresistible “Cape Cod Kwassa Kwassa” rhymes “Louis Vuitton” with “reggaeton” and “Benneton” and name-drops Peter Gabriel (though it’s clear the band spent more time with Paul Simon’s Graceland) without feeling contrived. “Campus” is another standout, with lines like “I see you walking across the campus…how am I supposed to pretend I never want to see you again?” throwing listeners into college life no matter what their age. Koenig has a boyish, hopeful quality to his voice that completes Vampire Weekend, especially on bittersweet but irrepressible songs like “I Stand Corrected” and album closer “The Kids Don’t Stand a Chance.” Fully realized debut albums like Vampire Weekend come along once in a great while, and these songs show that this band is smart, but not too smart for their own good. (by Heather Phares)

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Personnel:
Chris Baio (bass)
Rostam Batmanglij (keyboards,  chamberlin, harpsichord, guitar, background vocals, drum and synth programming)
Ezra Koenig (vocals, guitar, piano, percussion)
Christopher Tomson (drums, guitar)
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Hamilton Berry (cello)
Jonathan Chu (violin, viola)
Jeff Curtin (percussion)
Wesley Miles (vocals)
Jessica Pavone (violin, viola)
Joey Roth (percussion)

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Tracklist:
01. Mansard Roof (Baio/Batmanglij/Koenig/Tomson) 2.07
02. Oxford Comma (Baio/Batmanglij/Koenig/Tomson) 3.15
03. A-Punk (Baio/Batmanglij/Koenig/Tomson) 2.17
04. Cape Cod Kwassa Kwassa (Baio/Batmanglij/Koenig/Tomson) 3.34
05. M79 (Baio/Batmanglij/Koenig/Tomson) 4.15
06. Campus (Batmanglij/Koenig) 2.56
07. Bryn (Baio/Batmanglij/Koenig/Tomson) 2.13
08. One (Blake’s Got a New Face) (contains elements of “Obeah Wedding” Slinger Francisco) (Baio/Batmanglij/Koenig/Tomson) 3.13
09. I Stand Corrected (Baio/Batmanglij/Koenig/Tomson) 2.39
10. Walcott (Baio/Batmanglij/Koenig/Tomson) 3.41
11. The Kids Don’t Stand A Chance (Baio/Batmanglij/Koenig/Tomson) 4.03

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Dido – Safe Trip Home (2008)

FrontCover1Safe Trip Home is the third studio album by Dido (Armstrong). It was released in the United Kingdom on 17 November 2008. The album features collaborations and production with Jon Brion, her brother Rollo Armstrong, Brian Eno, Mick Fleetwood, Citizen Cope and Questlove. The album was the 44th best-selling album worldwide of 2008, according to IFPI and has sold 1 million of copies since then. The album was nominated for a Grammy Award in the category Best Engineered Album, Non-Classical.

The album’s cover artwork and track listing were revealed by Dido’s official website on 5 September 2008. The album was originally due to be released on 3 November, but was delayed for two weeks due to manufacturing delays. In the UK, the album launch was heralded with a special listening party, which fans can win an invitation to through the Nectar loyalty card points scheme.

The album cover features a photograph of astronaut Bruce McCandless II during a spacewalk, as part of space shuttle mission STS-41-B. McCandless later sued Dido, Sony Music Entertainment and Getty Images over violating his publicity rights. The case was settled under undisclosed terms on 14 January 2011. An August 2005 Smithsonian magazine article about the photo quoted McCandless saying that the subject’s anonymity is its best feature. “I have the sun visor down, so you can’t see my face, and that means it could be anybody in there. It’s sort of a representation not of Bruce McCandless, but mankind.”

Booklet03AOn 27 October 2008, it was announced that eleven short films were being produced to accompany the tracks on the album, based around the theme of home.

The album received very positive reviews. Metacritic rates the album at 74 out of a 100. Stephanie Merritt from The Guardian wrote “This album is a mature and thoughtful collection of songs and a fine memorial to her father, who would have been right to be proud.” While Chris Willman from Entertainment Weekly said “The emotion in these sad, subtle songs seems inherent enough, though you may still find yourself wishing she’d allowed the slightest hint of it to creep into her voice.” Will Hermes of Rolling Stone said: “Dido’s voice is so comforting, you almost miss the blues it conceals.”

Sal Cinquemani of Slant Magazine gave a more critical review: “The album might be Dido’s least adventurous to date, [with] her brand of vanilla soul going down like a warm cup of milk on tracks like the lead single “Don’t Believe in Love” and “Quiet Times”, the lyrics of which pretty much capture her overall state of mind: “My home is home and I’m settled now/I’ve made it through the restless phase.” Though he noted that there was a “timeless quality to the songwriting and production.” Elizabeth Goodman of Blender was also more critical. “The songs are ostensibly sad but [they are] as pleasant as a pile of warm, unfolded laundry. …Dido should let her socks go unsorted for a while; genuine sorrow sounds good on her.” Regardless of the album’s late release in the year, it was ranked No. 50 in Q’s 50 Best Albums of the Year 2008. In 2010, the album was nominated for the Grammy Award for Best Engineered Album, Non-Classical.

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Two singles were released from the album. On 22 August 2008, the day that the album’s title was announced, the track “Look No Further” was released as a free digital download through her official website. The first official single from Safe Trip Home, “Don’t Believe in Love”, was released on 27 October 2008. It was also made available on iTunes stores internationally from 29 October. The second single, “Quiet Times”, was released in February 2009. (by wikipedia)

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Perhaps even Dido realized that the chief criticism lodged against her first two albums was that they were a bit too placid, so she decided to change things, albeit subtly, on her third, Safe Trip Home. This album appears five years after 2003’s Life for Rent, which is only a year longer than the gap between No Angel and Life, yet it feels like it had a longer gestation: Dido’s songs are subtler and richer, and so is the production, largely a collaboration with Jon Brion but also featuring Brian Eno on “Grafton Street.” These are two of an impressive lineup of guests who range from Mick Fleetwood to Citizen Cope and ?uestlove from the Roots, but don’t be mistaken in thinking that this is a dramatic break from Dido’s elegant, shimmering past: it’s a deepening, adding layers and textures, both musical and emotional, that are apparent upon the first listen but reveal themselves more with repeat spins. This is less about the surface — something that Life for Rent could sometimes seem to be all about — than what’s underneath, as Dido’s songs here gently hook their way into the subconscious on. There are melancholic edges, but it’s not haunting, it’s comforting, reassuring music that’s quietly powerful, music that Dido hinted at before but never quite made. (by Stephen Thomas Erlewine)

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Personnel:
Dido Armstrong (vocals, drums, guitar, omnichord, recorders, bells, keyboards)
Mark Bates (programming, keyboards)
Jon Brion (keyboards, guitar, bass, brass, strings, percussion)
Lenny Castro (percussion)
Matt Chamberlain (drums, percussion)
Brian Eno (keyboards, ambience)
Mick Fleetwood (drums)
Clarence Greenwood (vocals, drums, guitar)
Justin Meldal-Johnsen (bass)
Jim Scott (drums)
Joel Shearer (guitar)
Sister Bliss (keyboards, bass, programming)
Sebastian Steinberg (bass)
?uestlove (drums)

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Tracklist:
01. Don’t Believe In Love (D.Armstrong/Brion/R.Armstrong) 3.53
02. Quiet Times (D. Armstrong) 3.17
03. Never Want To Say It’s Love (D.Armstrong/Brion/R.Armstrong) 3.35
04. Grafton Street (D. Armstrong/R. Armstrong/Eno 5.59
05. It Comes And It Goes (D.Armstrong/Brion/R.Armstrong) 3.28
06. Look No Further (D.Armstrong/Brion/R.Armstrong) 3.14
07. Us 2 Little Gods (D. Armstrong/R. Armstrong/Gough/Nowels 4.49
08. The Day Before The Day (D. Armstrong/R. Armstrong) 4.13
09. Let’s Do The Things We Normally Do (D. Armstrong/Brion) 4.10
10. Burnin Love (with Citizen Cope) (D. Armstrong/Greenwood) 4.12
11. Northern Skies (D. Armstrong/R. Armstrong) 8.57

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Unknown Artists – Christmas Music – Sax Instrumentals (2008)

FrontCover1This entry is dedicated to all the unknown studio musicians who give es so much joy … like on this album.

And … this entry is dedicated to the most important meaning of christmas … PEACE !

And here´s a story about peace on christmas:

Christmas Truce of 1914

During World War I, on and around Christmas Day 1914, the sounds of rifles firing and shells exploding faded in a number of places along the Western Front in favor of holiday celebrations in the trenches and gestures of goodwill between enemies.

On Christmas Eve, many German and British troops sang Christmas carols to each other across the lines, and at certain points the Allied soldiers even heard brass bands joining the Germans in their joyous singing.

At the first light of dawn on Christmas Day, some German soldiers emerged from their trenches and approached the Allied lines across no-man’s-land, calling out “Merry Christmas” in their enemies’ native tongues. At first, the Allied soldiers feared it was a trick, but seeing the Germans unarmed they climbed out of their trenches and shook hands with the enemy soldiers. The men exchanged presents of cigarettes and plum puddings and sang carols and songs. There was even a documented case of soldiers from opposing sides playing a good-natured game of soccer.

WordlWarIChristmas1914Some soldiers used this short-lived ceasefire for a more somber task: the retrieval of the bodies of fellow combatants who had fallen within the no-man’s land between the lines.

The so-called Christmas Truce of 1914 came only five months after the outbreak of war in Europe and was one of the last examples of the outdated notion of chivalry between enemies in warfare. It was never repeated—future attempts at holiday ceasefires were quashed by officers’ threats of disciplinary action—but it served as heartening proof, however brief, that beneath the brutal clash of weapons, the soldiers’ essential humanity endured.

During World War I, the soldiers on the Western Front did not expect to celebrate on the battlefield, but even a world war could not destroy the Christmas spirit.

Listen to this smooth jazz versions of christmas songs and remember, what christmas really means !

PeaceOnEarthTracklist:
01. Joy to the World 5.16
02. Do You Hear What I Hear?  6.21
03. Silent Night 4.45
04. O Come All Ye Faithful 4.55
05. As A Child 4.12
06. O Holy Night 5.17
07. God Rest Ye Merry Gentlemen 4.15
08. A Christmas Song 4.09
09. The Little Drummer Boy 4.50
10. God Rest Ye Merry Gentlemen (Reprise) 4.15
11. It Came Upon A Midnight Clear 4.41
12. Oh Christmas Tree 3.48
13. We Wish You A Merry Christmas 3.29

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The Ting Tings – We Started Nothing (2008)

FrontCover1In pop music, catchiness and obnoxiousness often go hand in hand, but on the Ting Tings’ debut album, We Started Nothing, they’re locked in a death grip. The duo’s new wave-worshiping mix of dance and indie pop — which grafts chugging guitar and bashed drums onto looping structures and proudly plastic keyboards — is polished, but far from polite. In fact, the way the Ting Tings repeat their cheap and cheerful hooks until their listeners’ ears are about to break often borders on annoying. Singer/guitarist Katie White’s snotty, singsong vocal delivery and flat rhymes are part cheerleader, part playground chant, and a tiny bit of punk snarl; “That’s Not My Name,” on which White sneers “Are you calling me darling? Are you calling me bird?,” even sounds a little like riot grrrl sloganeering filtered through a decade’s worth of pop. Even when White sings more melodically, as on “Traffic Light” and “We Walk,” the energy, attitude, and — above all — the repetition can still grate, even if you’re tapping your foot to the songs.

TheRingTings01However, the Ting Tings manage to stay on the catchy side with “Fruit Machine,” a Lily Allen-ish bit of cheeky bordering on vindictive pop, and on “Keep Your Head” and “Be the One,” which tone down the Ting Tings’ energy to more manageable but still lively levels. “Great DJ” and “Shut Up and Let Me Go” (which sounds like a Yeah Yeah Yeahs parody/tribute) are also standouts, and it’s no surprise they’ve been used in commercials — they’re so short and memorable, they feel like jingles waiting for products to endorse. Since they’ve got a real knack for writing songs that stick in your head whether you want them to or not, the Ting Tings’ songs are fun in very small doses. They’re a singles band at heart, though, and they wear out their welcome all too quickly on We Started Nothing. (by Heather Phares)

Booklet01APersonnel:
Jules De Martino (vocals, drums, guitar, bass, keyboards)
Katie White (vocals, guitar, keyboards)

Booklet03ATracklist:
01. Great DJ 3.23
02. That’s Not My Name 5.11
03. Fruit Machine 2.54
04. Traffic Light 2.59
05. Shut Up And Let Me Go 2.52
06. Keep Your Head 3.23
07. Be the One 2.58
08. We Walk 4.04
09. Impacilla Carpisung 3.41
10. We Started Nothing 6.22

All songs written and composed by Jules De Martino and Katie White

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FrontCover (Japan)Japanese frontcover