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  1. #11
    be0wulf is offline Senior Member Community Builder
    Join Date
    Jun 2006
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    Nirvana - Nevermind



    1. "Smells Like Teen Spirit" – 5:01
    2. "In Bloom" – 4:14
    3. "Come as You Are" – 3:39
    4. "Breed" – 3:03
    5. "Lithium" – 4:17
    6. "Polly" – 2:57
    7. "Territorial Pissings" – 2:22
    8. "Drain You" – 3:43
    9. "Lounge Act" – 2:36
    10. "Stay Away" – 3:32
    11. "On a Plain" – 3:16
    12. "Something in the Way" – 3:50


    http://www.chunlikickedme.com

  2. #12
    Kashim is offline Senior Member Regular
    Join Date
    Nov 2006
    Location
    Mars
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    I got it at least the most wanted album:
    Minutes To Midnight
    Band: Linkin Park
    Style: Nu-Metal
    Year:2007
    Cover:


    Track Listing:
    1.Wake
    2.Given Up
    3.Leave Out All the Rest
    4.Bleed It Out
    5.Shadow of the Day
    6.What I've Done
    7.Hands Held High
    8.No More Sorrow
    9.Valentine's Day
    10.In Between
    11.In Pieces
    12.The Little Things Give You Away

    Song Summaries:
    1.Wake - The opening track, is an ominous-sounding instrumental that kicks off with the aforementioned needle crackling, picks up a fog of spacey keyboards, then slowly builds steam before erupting into the band's near-trademark guitar crunch. The din quickly fades away into a series of handclaps and the multi-tracked sound of keys jingling, an impromptu backbeat that signifies the beginning of next song.

    2.Given Up - Which showcases Bennington's newfound lung capacity (wailing "What the fuck is wrong with me?!?!") and the capable guitar work of Brad Delson, who summons a firing squad's worth of machine-gun guitars.

    3.Leave Out All the Rest - Is a big-boned ballad, all dreamy electronics and heavy-hearted cello, with Bennington's falsetto floating above it all.

    4.Bleed It Out - The album's first "WTF?" moment, beginning with the sound of MC Mike Shinoda descending a flight of stairs, then entering a raucous live room and beginning to spit lyrics. The room sounds (various laughing and trash-talking) are slowly drowned out by a juke-joint piano line and the cadence of handclaps, all of which raves up to the chorus — Bennington snarling "I bleed it out!" — and then continues to build into a genuine stomper."It's a song that rides the line of what you might expect from us," Bennington said of "Bleed." "It's got rapping on it and a real big chorus, but it's also got these great Motown drums and a real party vibe to it. So it's something different too. It's fun."

    5.Shadow of the Day - Another nü-ballad, kicking off with heart-pumping electronic drums and fuzzy bass, throwing in a wave of shoe-gazing guitars and then bending into a keyboard outro that sounds like something out of "2001: A Space Odyssey" (or Coldplay's X&Y).

    6.What I've Done - The bombastic first single picking up from a series of synth stabs straight out of the "Halloween" movies and then rocketing off on Linkin Park's electro-guitar frippery.

    7.Hands Held High - And then, just as you're starting to wonder where the heck Shinoda is in all this, "Hands Held High," a somber track highlighted by a rattling drum cadence and a creaky pipe organ, comes in. Sonically, it's unlike pretty much anything the band has done before, and lyrically, it's one of the most upfront statements LP have ever made: a full-blown attack on GW Bush, complete with Shinoda decrying the state of the country — gas is too expensive! — and mocking Bush's "stuttering and mumbling for the nightly news to display."

    8.No More Sorrow - Bennington raging against "hyp-o-critsssssss!

    9.Valentine's Day - Seems to hint at Bennington's 2005 divorce.

    10.In Between - Another melancholy track featuring Shinoda belting over a cello line and a big blossom of a chorus.

    11.In Pieces - Starts with steel drums, then wobbles a bit on some electronic boom-blip and heats up thanks to a face-melting solo courtesy of Delson.

    12.The Little Things Give You Away - Midnight closes with "The Little Things Give You Away," which Bennington singled out as "the pinnacle of what we can achieve as a band" (see "Linkin Park Finish Apocalyptic Album, Revive Projekt Revolution Tour"). And rightfully so. Full of mentions of "water gray through the windows" and "levees ... breaking," the song is clearly a condemnation of the government's reaction in the wake of Hurricane Katrina ("Generations disappear/ Washed away/ As a nation simply stares"). But in perhaps the biggest display of maturity on an album full of mature moments, Linkin Park don't ever let the song morph into a full-blown assault, instead letting its subtler moments — a gently strummed acoustic guitar line, a rippling drum-and-bass exercise midway through and a disarmingly affecting vocal harmony at the end — speak volumes that no amount of power chords can.

    Bleed It Out is definetly the best song on this album that remineds of the old Linkin Park.

 

 
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