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Who Are U? - David Fonseca - Promotional Compilation (CDr) download full album zip cd mp3 vinyl flac

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Lost and Found: B-Sides and Rareties, a Compilation of songs by David Fonseca. Released 24 July Genres: Singer/Songwriter/5(1). Puro acústico, a Various Artists Compilation. Released in May on Farol (catalog no. FAR ; CD). Listen online to David Fonseca - Rocket Man (I Think It's Going To Be A Long, Long Time) and see which albums it appears on. Scrobble songs and get recommendations on other tracks and artists.

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Dreams Boot CD Uefi v4 OphCrack Live CD. Parted Magic Live CD Ultimate Boot CD 5. Ultimate Boot CD v. WiFiSlax 4. Partner: Songtexte Wallpaper. It certainly checks off a lot of boxes in terms of glam rock sound, pronounced guitar, and Bowie copping an attitude as the persona in the song. Bowie only played 4 dates inthe biggie being headlining the Glastonbury Festival in front ofpeople. Old faithful Earl Slick came back for the shows after a 17 year hiatus. He would stick around for the remaining Bowie tours and albums up through The Next Day.

Oh no, love, Who Are U? - David Fonseca - Promotional Compilation (CDr), you're not alone. You're wonderful. A song that deserves to be higher up the list, but it generally makes me sad and depressed. The closing number to one of the all time great albums. It's hard to listen to this song and walk away feeling happy and refreshed.

The live version was when he killed off Ziggy Stardust forever, thrusting the proverbial dagger into the hearts of millions of Bowie fans. The version was tweaked to be more of a soul song. The version is one of the last time he performed it live and how he closed shows on the last leg of the tour. The version is so rare, I did not even know it existed. Bowie was preparing to play on the Today show.

When they were getting ready for their soundcheck, a fan shouts out Rock 'N' Roll Suicide. First time in 12 years and the last time it was ever played. Completely unrehearsed. The song was one of the last songs recorded for the Ziggy Stardust album. With the record label desperate to get something from Bowie out on the market, the song was released as a single two years later. Even with most Bowie fans already owners of the ZS album, the song hit 21 on the British singles chart. A return of the Velvets.

Rating based on the radio broadcast version. Mick Ronson is on fire on this one. Why Bowie ever veered away from playing the song in that style is one of life's great mysteries. You can hear the first seeds of the future Ziggy Stardust being planted. The version is much closer to the VU version. The version sounds a lot like disco. The version starts out closer to the VU original version, but IMO the Reeves Gabrels style Who Are U?

- David Fonseca - Promotional Compilation (CDr) shredding guitar doesn't mesh as well with a 60's song. They are all decent, but the version is my favorite of them all by a decent amount. In that 21 year stretch in the middle, he played it twice in for good measure. It took me over 40 years to find out Bowie didn't write it and it was a Who Are U?

- David Fonseca - Promotional Compilation (CDr). It's amazing how good a Ziggified song can sound. The crunching guitar in the chorus makes this one. Way more rocking than the original by Ron Davies. Bowie only played it live that one time inwhich was less refined compared to the slicked back presentation on Ziggy Stardust.

I am not sure who else is singing on the live version. As crazy as it sounds, I could listen to this Who Are U? - David Fonseca - Promotional Compilation (CDr) more frequently than say Lady Stardust or Rock 'N' Roll Suicide, even though both of those songs are better written and better performed. Bowie "borrowed" the guitar riff and the backdrop from Eddie Cochrane's Three Steps To Heaven pretty much note for note.

Solid rhythm, drum beat, guitar fills, and an overall fun song. It's easy to envision cruising the streets somewhere and relating to the song. At no point is the title mentioned in the lyrics. The song has appeared as a B-Side a couple of times over the years and has been used in multiple movies and was one of the songs included in the video game Rock Band.

The record label was clearly out to lunch, as they only released one single from Ziggy Stardust how dumb was that? It became a B-Side in several other countries. The song was recorded in the Ziggy timeframe. Someone had the idea to re-record the song in with a different mix with saxophone added. This mix is softer and more diffused, the vocals are clearer, but it feels antiseptic and distant.

It also loses the Ziggy feel IMO. Not sure why they re-recorded the song a year after they released it as a single. But they did, and they released the new version as a single with the same catalog number as the first single so fans and stores were confused by which version they were actually getting. John, I'm Only Dancing eventually made it to the Changesonebowie compilation inand to confuse things even further, some copies had the version while others had the version.

My vinyl copy has the version, but all the CD releases have the version. As if that wasn't bad enough, the record label probably fired the first guy involved with re-recording the song. It sounds like The Bee Gees. Not knowing what to do with this version, it sat in storage for 5 years when they finally decided to release it as a single in after all singles from Lodger had come out.

That version ended up on Changestwobowie. Mick Ronson provides his usually flash and finesse. It would have fit perfectly on ZS. The song was performed throughout andwith the wretched disco version adapted for the Diamond Dogs soul travelcade. I will probably get slack for this one, but a song that I like but have always thought was a bit overrated.

There isn't much to it beyond Bowie's vocals and a sax solo that continues throughout the entire song. Sure, the sax and Bowie's vocals are stellar, but the instrumentation I always found a little boring and repetitive. But what do I know? InRolling Stone ranked it at in their Top songs of all time. Bowie actually performed the song on his Diamond Dogs tour the Young Americans album came out in The single reached 28 on the Billboard Top While DB played saxophone on many other songs over his career, David Sanborn is the sax player on this one.

The medley with Cher is worth watching for the curiosity factor. It is as cringe worthy as one might imagine. Worth it for Cher's hair alone. I find the version a little more interesting than the original, as the sax part was replaced with Adrian Belew on guitar instead. Oddly, Bowie did not play this one on his 76 or 78 tours.

At least for this particular song, he wasn't lying. I kind of agree. I wouldn't say over-rated but I doubt I'd even have it this high. It's still a great song of course. I view this one similarly as I do Young Americans. There isn't a lot to the song, and the chorus gets repeated over and over to drag out the song. The guitar part is pretty much the same four bars repeated throughout the song. Sure, it's kind of catchy and toe-tappy and easy on the ears.

It's a textbook definition of a song I will enjoy if I haven't heard it in a long time. But not something I would listen to very regularly. The song hit 10 on the U. Like Young Americans, Bowie chose not to perform it early on. The song was recorded in and was the first track recorded for the Station To Station album, but it was only performed twice on his tour.

It was passed over completely on his tour but was a mainstay for the Serious Moonlight tour. It was played intermittently in that version seemed pretty bland and not all that inspired to be honest. Golden Years got played only twice after that both times in I might actually cry if you put it at number 1. There has been scuttlebutt that this was an attempt by Bowie to sound like David Byrne of the Talking Heads.

Adrian Belew plays lead guitar, and his guitar was recorded in separate takes and tracks and then all mixed together. I played this as my first ever songs to start my high school and college stints as a D.

I always enjoyed the rolling guitar in the background leading up to the guitar solo, which goes off in a variety of directions.

The single barely cracked the Top 30 in Great Britain and did not chart at all in the States. Not sure why that is, as on the surface it doesn't appear that there would be technical reasons not to play and it doesn't have such a unique sound that the musicians would struggle with it.

Only 37 songs to go. Not sure if we are going to be able to match krista4 and her pages counting down the Beatles songs. This one started out as a song recorded by Bowie's brief side project, a band called Arnold Corns. The band only recorded a half dozen songs. The song is a juicy blend of glam, rock, and rockabilly with an infectious guitar riff and backing bass line. The early versions are played at a frenetic pace and border on punk. The mix and feel are a lot harder and edgier.

The backstory on this one goes something like this. Iggy described living through the race riots there. At a time of civil unrest, the National Guard and the Army were called in and the riots left 43 dead, 1, injured, 7, people arrested, and more than 2, buildings destroyed.

Somehow Bowie turned that story and that historical event into what has been described as a Salsa variation on a Bo Diddley beat and an extension of Martha and the Vandellas song Nowhere to Run. It would also later appear on expanded editions of Heathen in His solo to close out the song is top notch. Panic in Detroit is said to have been first performed live in Bowie waited almost a year before playing it again.

It was performed frequently on the 73, 74, 76, 90, and 97 tours and made a fair amount of appearances on the tour as well.

In case people missed it in the links, there is a minute long performance from the ChangesNowBowie released today. A recording Broadcast on the BBC - mostly acoustic versions of some of his catalogue. First let me say that I like Modern Love. Compared to most of Bowie's catalog, it's a ray of sunshine and happy go lucky by comparison. Omar Hakim's drums kick things off and the song takes off from there.

But I think there are better songs on the Let's Dance album. The lyrics don't make a whole lot of sense, the chorus is repeated over and over, and the music itself isn't exactly innovative or revolutionary.

Maybe it just strikes me as TOO poppy. When you've heard it 1, times, it gets pretty repetitive quickly. It's one of the few Bowie songs where I much prefer the studio version over any of the live versions. It kicked off the Let's Dance album, an album that only took 19 days to record from start to finish.

The B-Side was a live version of the song. IMO, they never got this one right when performed life. The guitar to kick off the track was never the same as the album version. Maybe the secret sauce on this one was SRV. The mix in general to me seemed off. On some performances, I thought they went a little overboard with the horn section. Bowie used to end his shows on those tours with Modern Love, which to me was a bit of a let down. It was also regularly performed on the tour and was in the mix a fair amount in and I can't believe how many times the song was covered.

There are plenty more. I just got tired of linking them people aren't realistically going to listen to them anyway. Plus pretty much for any song, I have more versions in my own collection that aren't on YouTube, and I don't really have the time or interest to post them somewhere.

There have been any number of Bowie tribute albums over the years which don't seem to have been uploaded anywhereand that could probably get us covers of any of the popular songs right there. I would have ranked it 1 overall but Ghost Rider would not allow it.

So it plummets all the way to 34 instead. Tough crowd. Bowie's first of two 1 songs to top the Billboard singles chart. The song was remixed a half dozen ways inone of which made it onto the soundtrack for Pretty Woman. This song definitely kept Carlos Alomar's bills paid. Easilt one of the most recognizable guitar riffs in rock history. Yes, it's this song has been played to death, but it still gets pretty regular airplay 45 years after it's release.

IMO, Young Americans the album was a bit of a disappointment compared to all the other Bowie albums in the 70's. Fame was the song Bowie performed the most over his career. It started getting performed in on TV and was in the set list almost every show if not every show until his final full performance at the Hurricane Festival in While I mostly like the original studio version, I like the live versions and newer. Bowie started changing up the arrangements, the performance, and the instrumentation from that point forward.

The Serious Moonlight version is a little harder and edgier. And for those wondering, no, this song was not going to be ranked 1 and it is still ranked in the same spot. That first line of covers isn't exactly chopped liver as far as artists go. I might have wept for you had that been the case. Same for Panic in Detroit, which I might have had a tough higher, but am fine with it in that spot.

I will gladly issue a full refund to anyone who disapproves of the rankings. Call it a double your money back guarantee. Out of nowhere, this song just appeared out of the heavens for digital download at the end of I don't know what I will be doing on my deathbed, but rest assured, it won't be recording a minute powerhouse song and filming a video to go along with it.

Or as one of the comments on YouTube reads. A true masterpiece. Hats off to producer Tony Visconti on this one, as he captured magic on tape. The original version was over 11 minutes long, but iTunes would not post singles over 10 minutes long so the song was edited.

Boo, hiss, catcalls! The album by this point has sold 2 million copies. It topped 28 album charts around the world. It was the only Bowie album to ever reach 1 on the U. Billboard album charts which is staggering in its own right. The album was recorded in secrecy. Bowie didn't even use his usual gang of bandmates to record it.

It was released on his 69th birthday. The album dropping shocked the worled. Bowie died two days later. That shocked the world even more. The Guardian ranks it at 24 on their Best Albums of the 21st Century list. It ranked 5th worldwide in album sales that year. The album was also awarded the British Album of the Year and Metacritic named it the most critically acclaimed album of the year by music publications.

At the time, the single was the longest song to ever hit the Billboard charts later broken by Tool's Fear Inoculum. The only reason I didn't rank it higher is it is difficult to sit through the entire song, and it's also not exactly one of the tried and true Bowie songs you want to throw on to get in a good mood and get your blood flowing. You erally have to be in the mood to listen to it. This one is some pretty heady, heavy stuff. Wonderful thread here Anarchy I like the songs from those more than most probably the Tin Machine cover of "If There Is Something" is awesome, sorry if that's spotlighting, I figured it wouldn't appear in your top Tonight has always been up there for me as well, far out of proportion with how most of the rest of the world views it I think.

I recognize its flaws and limitations, and I think it may be that I like it so much because it's an Omar Hakim album as much as a Bowie one. They let Omar lose much more than on Let's Dance. From the mystery, anguish, and pathos of Blackstar to the bubblegum, love song, syrup-y, can't-get-enough-of-the-sap known as Absolute Beginners.

I just want to bath in it and rub it all over. This one comes from a much different, happier, and innocent time of my life compared to whatever it is we all are living right now. Life was new, fun, and refreshing as a 19 year old without a care in the world. Back when I could eat out all the time and eat whatever I wanted.

Go to the beach, the movies every other day, concerts, and actually hang out with friends. When I would listen to this song on a Sony Walkman on a mix tape. When women were mysterious instead of the person you shelter-in-place with day after day. Compared to his 70's and 80's crew, this one had mostly new musicians. Bowie actually had a role in the film and had a couple other songs on the soundtrack album That's Motivation and Volare.

The title track of the song made more money than the film did at the box office. The director of the film had directed Bowie's Jazzin' For Blue Jean video and asked Bowie to write the song for the movie. Bowie agreed only if he could act in the film. It hit 1 in Ireland and Poland and was a Top 10 song in 10 countries. It peaked at only 53 in the U. This one was a regular on the Glass Spider tour. It was revived for the mini tour, as well as a few times in Blackstar is a great song, but I agree it can be a tough listen.

Definitely one of those songs you have to be in the right mood to fully enjoy. Bowie traded in his Ziggy Stardust persona to become Halloween Jack instead. The title track of the Diamond Dogs album was released as a single in the UK and hit 21 on the singles Who Are U?

- David Fonseca - Promotional Compilation (CDr) there. Singles were also pressed for release in the U. The B-Side was Holy Holy 47 on this list. Most of the songs on the album were recorded very quickly, with tracks recorded in three day increments.

Bowie was said to have been writing things as they went along. Some of the band thought the music and the album concept were weird, and at the time they were told it was going to be a George Orwell musical that eventually got scrubbed.

Bowie plays guitar himself on this one. I always liked the chords and progressions on this one. The song is a little odd. I also turn up the volume whenever I hear it. It was performed regularly on the and tours.

It returned on a limited basis in and

The Portuguese singer David Fonseca released his version of the song as a single in Portugal reaching #12 in the Portuguese Top The song, full title "Rocket Man (I Think It's Going To Be A Long, Long Time)", also appears on David Fonseca's third album Dreams in Colour released in and on the Dreams in Colour: Tour Edition released in Electric Wizard have returned with 'Time to Die', their first new album since Their astounding eighth album fizzes and crackles with the malevolent energy of a giant black sun blotting out the sky; this is their heaviest album since magnum opus 'Dope Throne' (), their most evil since fan favourite 'Come My Fanatics' (), and the most acidic and psychedelic of their career to date. Discover music on Discogs, the largest online music database. Buy and sell music with collectors in the Marketplace.

Label: 4AD - DAD CD,The Red Hot Organization - DAD CD • Format: 2x, CD Compilation • Country: US • Genre: Rock • Style: Indie Rock, Pop Rock.

'Til Tuesday / Voices Carry Жанр: Pop/Rock Носитель: CD Страна-производитель диска (релиза): USA Год издания: Издатель (лейбл): Epic Номер по каталогу: EK Страна исполнителя (группы): USA Аудиокодек: FLAC (*.flac) Тип. Label: 4AD - DAD CD,The Red Hot Organization - DAD CD • Format: 2x, CD Compilation • Country: US • Genre: Rock • Style: Indie Rock, Pop Rock.

Nom de l'Artiste(s): Un maxx de tubes volume 2 Titre de l'album: Un maxx de tubes volume 2 Genre de l'album: R&N&B, Groove Date de sortie: Nombre de disque(s): 02 CD1: Lykke Li - I Follow Rivers Michel Telo - Ai Se Eu Te Pego Lana Del Ray- Video Games Orelsan-la terre est ronde Shaka Ponk - My Name Is Stain Tal-Le sens de la vie Ed .

Nom de l'Artiste(s): Un maxx de tubes volume 2 Titre de l'album: Un maxx de tubes volume 2 Genre de l'album: R&N&B, Groove Date de sortie: Nombre de disque(s): 02 CD1: Lykke Li - I Follow Rivers Michel Telo - Ai Se Eu Te Pego Lana Del Ray- Video Games Orelsan-la terre est ronde Shaka Ponk - My Name Is Stain Tal-Le sens de la vie Ed . May 16,  · Cartaz das Festas do Concelho de Seia, entre 12 e 15 de Agosto, com GNR, David Fonseca e Amor Electro.

May 16,  · Cartaz das Festas do Concelho de Seia, entre 12 e 15 de Agosto, com GNR, David Fonseca e Amor Electro.


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8 Commments

  1. Dec 15,  · Now 22, a Various Artists Compilation. Released in June on EMI (catalog no. 6 2 5; CD). Genres: Pop/5(1).
  2. Lost and Found: B-Sides and Rareties, a Compilation of songs by David Fonseca. Released 24 July Genres: Singer/Songwriter/5(1).
  3. Puro acústico, a Various Artists Compilation. Released in May on Farol (catalog no. FAR ; CD).
  4. Listen online to David Fonseca - Rocket Man (I Think It's Going To Be A Long, Long Time) and see which albums it appears on. Scrobble songs and get recommendations on other tracks and artists.
  5. The Portuguese singer David Fonseca released his version of the song as a single in Portugal reaching #12 in the Portuguese Top The song, full title "Rocket Man (I Think It's Going To Be A Long, Long Time)", also appears on David Fonseca's third album Dreams in Colour released in and on the Dreams in Colour: Tour Edition released in
  6. Electric Wizard have returned with 'Time to Die', their first new album since Their astounding eighth album fizzes and crackles with the malevolent energy of a giant black sun blotting out the sky; this is their heaviest album since magnum opus 'Dope Throne' (), their most evil since fan favourite 'Come My Fanatics' (), and the most acidic and psychedelic of their career to date.
  7. Discover music on Discogs, the largest online music database. Buy and sell music with collectors in the Marketplace.
  8. 'Til Tuesday / Voices Carry Жанр: Pop/Rock Носитель: CD Страна-производитель диска (релиза): USA Год издания: Издатель (лейбл): Epic Номер по каталогу: EK Страна исполнителя (группы): USA Аудиокодек: FLAC (*.flac) Тип.