Free download codes:
Peter Dizozza - Denise Tape B (1979)
"If Robert Pollard demoed a musical."
#bandcampcodes #lofi #showtunes #albumorientedrock #broadway #music
#album-oriented-rock — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #album-oriented-rock, aggregated by home.social.
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Free download codes:
Peter Dizozza - Denise Tape B (1979)
"If Robert Pollard demoed a musical."
#bandcampcodes #lofi #showtunes #albumorientedrock #broadway #music
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Free download codes:
Peter Dizozza - Denise Tape B (1979)
"If Robert Pollard demoed a musical."
#bandcampcodes #lofi #showtunes #albumorientedrock #broadway #music
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Free download codes:
Peter Dizozza - Denise Tape B (1979)
"If Robert Pollard demoed a musical."
#bandcampcodes #lofi #showtunes #albumorientedrock #broadway #music
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The Night Flight Orchestra – Give Us The Moon Review
By Mystikus Hugebeard
As the youngest writer currently staffed at and embarrassing the great AMG lineage, I glean real pleasure at the irony of me reviewing The Night Flight Orchestra (NFO). I mean, NFO is basically “Hey the 80’s called, they want their music back” whereas I’m smack in the later part of “only 90’s kids remember this,” blessedly not part of the “skibidi” generation by a couple of years. Pimply little scamp though I might be, I fucking love NFO, which just goes to show that all ages are vulnerable to the raw magnetism of that slick, sexy 80’s sound. Pumping synths, dancing guitars, bodacious vocals, and big n’ burly mustaches; that’s what I’ve been comin’ to NFO for since 2017’s Amber Galactic, and I’m happy to say that in Give Us The Moon, NFO gives more of exactly what I want, and what all of you damn well should want.
Anyone who’s heard NFO before already knows what to expect on Give Us The Moon, but allow me to break it down for any newbies who, having never heard NFO, have probably never felt joy a day in their life: NFO plays extremely fun rock n’ roll pulled straight from the 80’s, characterized by infectious energy, memorable choruses, and the killer vocals by Bjorn “Speed” Strid.” An arbitrary but fun trend I’ve noticed in determining the quality of an NFO album lies in how hard a respective album’s third song goes. In the past we’ve had iconic jams like Amber Galactic’s “Gemini,” Sometimes The World Ain’t Enough’s “Paralyzed,” and Aeromantic’s “Divinyls.” Give Us The Moon earns its place alongside these albums with the instant classic “Like The Beating of a Heart” (since I don’t count the scene-setting intro song). The synth intro bursts into a deliriously funky synth/guitar line, leading into a verse where the drums maintain a momentum that keeps your head nodding like clockwork. Then the chorus explodes with an unforgettable melody, the kind where you can’t help but try and sing along despite not knowing a damn word. It’s fun, it’s exciting, it leaves me with a stupid grin; it’s NFO, baby!
The entirety of Give Us The Moon basically feels like a smorgasbord of the many hats (or aviators, I guess) NFO wears with extreme style. You’ve got tracks that ooze with romantic camp (“Paloma,” “Runaways,” “Way to Spend the Night”), straightforward rock n’ rollers (“Stratus,” “Melbourne, May I?”), or songs that dial up the funk to reach critical funk (“A Paris Point of View,” “Miraculous”). The album’s first single, “Shooting Velvet,” is a particularly kickass tune with a lethally catchy chorus and a tasty guitar solo I wish was about four times as long. “Paloma” is an instant winner as well, with a dramatic escalation of big guitar chords and synths sounding like the climactic catharsis of that scene in the romance movie where they finally smooch. The consistently high quality of Give Us The Moon’s tracklist makes it exceptionally easy to just throw on without a second thought and before you know it an hour has passed.
Speaking of an hour passing, if I were to complain about anything in Give Us The Moon, it’s that it does feel just a little long. Even though there’s never really a point in Give Us The Moon where I feel compelled to skip, I do struggle to retain some tracks like “Miraculous” or “Cosmic Tides” even after several listens. Furthermore, I’m a little torn on Give Us The Moon’s closer, “Stewardess, Empress, Hot Mess (and the Captain of Pain). In addition to it’s ultra tubular title, it’s a dynamic and adventurous track that unquestionably ends the album on a high note. But I find it lacks the staying power and hyper-catchy hooks that enamored me to practically any of NFO’s previous closing songs. But as basically anyone who’s reviewed NFO before me has expounded upon, NFO at their worst is still pretty damn good.
Give Us The Moon is everything I want from an NFO record, and was a blast of excitement after I was a little underwhelmed with Aeromantic II. Once Give Us The Moon is over, the only thing I’m thinking is a resounding “fuck yeah, dude.” It’s the product of a band who has nailed their sound and songwriting down to an extremely sexy science and is bound to contain a couple of favorite tunes for any NFO fan out there. And if this is your first NFO album, I’m glad to be the one to deliver joy unto you for the first time.
Rating: 3.5/5.0
DR: n/a | Format Reviewed: Stream
Label: Napalm Records
Websites: official | facebook | bandcamp
Releases Worldwide: January 31st, 2025#2025 #35 #Aeromantic #AeromanticII #AlbumOrientedRock #AmberGalactic #GiveUsTheMoon #HardRock #Jan25 #NapalmRecords #Review #Reviews #SometimesTheWorldAinTEnough #SwedishMetal #TheNightFlightOrchestra
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Free download codes:
Peter Dizozza - Denise Tape B (1979)
"If Robert Pollard demoed a musical."
#bandcampcodes #lofi #showtunes #albumorientedrock #broadway #music
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Free download codes:
Peter Dizozza - Denise Tape B (1979)
"If Robert Pollard demoed a musical."
#bandcampcodes #lofi #showtunes #albumorientedrock #broadway #music #yumcodes #bandcamp
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Free download codes:
Peter Dizozza - Denise Tape B (1979)
"If Robert Pollard demoed a musical."
#bandcampcodes #lofi #showtunes #albumorientedrock #broadway #music #yumcodes #bandcamp
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Free download codes:
Peter Dizozza - Denise Tape B (1979)
"If Robert Pollard demoed a musical."
#bandcampcodes #lofi #showtunes #albumorientedrock #broadway #music #yumcodes #bandcamp
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There were a couple tunes off this album I’d work into my air shift at KPNY/Alliance, Nebraska (where, as I discovered recently Democratic VP candidate Tim Walz worked at the high school in the early 90s a few years after my departure), this being one.
#MusicOfMastodon
#AlbumOrientedRock
#Arcangel -
Something from another Aussie band that got some airplay in the mid 80s. Especially with me doing the airshift at yonder western Nebraska radio station years ago. Or here on deck now. 😉
#MusicOfMastodon
#AltRock
#AlbumOrientedRock
#DieselAndDustMining companies
Pastoral companies
Uranium companies
Collected companies
Got more right than people
Got more say than peopleForty thousand years can make a difference to the state of things
The Dead Heart lives here -
Lionheart – The Grace of a Dragonfly Review
By El Cuervo
Lionheart has tracked an unusual course. Beginning in the 80s as one of the next-in-line groups to follow the big AOR bands of the day, things stalled and they disappeared into the annals of time with just one full-length release under their belt. The 2010s saw a quiet return with Second Nature and latterly The Reality of Miracles, both being rose-tinted if middling summaries of a sound from nearly 40 years prior. 2024 sees the third record of Lionheart 2.0, entitled The Grace of a Dragonfly. A distinctly British WW2 concept album, Dragonfly promised something a little more poignant with an anti-war message while commemorating historical sacrifices made.
Anyone already familiar with the most popular, debatably metal bands of the 80s (Def Leppard, Whitesnake) will understand what’s going on with Lionheart. Big power chords in the verses, big vocals in the choruses, crunchy but accessible riffs, and an overly of keyboards that sometimes take the form of a piano and sometimes something synthier. Dragonfly largely makes for an upbeat, easy-going sort of listen. Anyone also already familiar with the work of Lee Small will understand that his vocals are the buttery-smooth gel holding everything together. His simple, clear style which can also deploy dramatic flair where necessary is a coup for a band like this. It’s this that makes the general preoccupation with gang vocals in the choruses – immaculate Leppard harmonies these ain’t – so baffling. The more time spent with Small, and the less time with other vocals, the better. Music like this thrives on catchy melodies, so the best moments are those with memorable vocals and guitars. The guitar lick bridging the end of the chorus on “This Is a Woman’s War” is marvelous, and the urgent lead carrying “The Longest Night” likewise excels.
However, these moments otherwise prove the rule that Dragonfly is marked more by competence than excellence. There’s very little essentially wrong here, from the solid riffs to solid melodies to solid songwriting. It’s remarkably consistent as a coherent group of songs orienting around their concept in four-five minute segments. But it lacks much that’s outstanding other than Small’s vocals which do a lot of heavy-lifting. Its predecessor had higher highs (“Overdrive”, which remains a certified banger) and also lower lows (“The First Man”) but also greater variety in its integration of different sounds as I described in my previous review. Dragonfly is more consistent but less exciting and varied.
The brevity and pace of the songs progress the album briskly. But the back half travels through a low ebb as “Little Ships” and “Just a Man” lose my interest. They do nothing that isn’t done elsewhere and better; here, the record’s tonal and stylistic consistency is detrimental as I question the presence of these tracks. By contrast, the two tracks beyond this contain some of the best material, so Dragonfly would improve with some of the fattier meat trimmed. I also query the inclusion of the introductory sequence on the opener (“Declaration”) and the brief closer (“Remembrance, Praying for World Peace”). Each stands separate from the songs they’re a part of or next to. I understand their value to the record’s concept, but musically they’re extraneous and should have been integrated better. In particular, the closer would have been better served as a full track because what’s here rushes too many ideas into a space that’s too small, including an interesting orchestral edge.
I’m left with a sense of talent that hasn’t yet been fully realized in Lionheart’s modern era. While Dragonfly benefits from repeated listens as some of the initially unremarkable melodies sink deeper over time, it nonetheless struggles to push beyond just average. Despite Small’s big voice and the occasionally great guitar hooks, I can’t warmly recommend Dragonfly. It’s an adequate album of adequate songs with adequate melodies. Fans of the 80s could do much worse but also much better.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Metalville
Websites: lionheart-music.com | facebook.com/lionheart
Releases worldwide: March 15th, 2024#25 #2024 #AlbumOrientedRock #DefLeppard #EnglishMetal #Feb24 #HardRock #Lionheart #Review #Reviews #Skyscraper #TheGraceOfADragonfly #Whitesnake
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"#FM (No Static at All)" is a song by American #jazzrock band #SteelyDan, the title theme for the 1978 film FM. It made the US #Top40 that year when released as a single, a success relative to the film. Musically, it is a complex jazz-rock composition driven by its bass, guitar and piano parts, typical of the band's sound from this period; its lyrics look askance at the #albumorientedRock format of many FM radio stations at that time.
https://youtu.be/HV3zWSawJiw