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25 Years On The Road, Vol. 2 : Live
Fred Chapellier
Blues - Released September 25, 2020 | Dixiefrog
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Walking On A Dream
Empire Of The Sun
Alternative & Indie - Released October 3, 2008 | EMI Recorded Music Australia Pty Ltd
Empire of the Sun's debut offering of experimental electro-pop and dance-rock is very well-timed, hitting the market just as the buzz surrounding MGMT's Oracular Spectacular has started to recede. Like those similarly colorful Americans, Empire of the Sun's two members embrace the glam lifestyle in spirit and song, wearing festive costumes in concert and festooning their music with oddball flourishes, androgynous lyrics, and a general sense of theatricality that borders on schizophrenia. Walking on a Dream runs an interesting gamut, sampling equally from hip-hop ("Swordfish Hotkiss Night"), arty synth pop ("Standing on the Shore"), and all the stops in between. With its programmed percussion and futuristic keyboards, the music sounds slightly more indebted to Pnau than the Sleepy Jackson; nevertheless, Luke Steele (the brains behind the latter band) takes center stage on the bulk of these songs, speak-singing in a childish tenor one minute and cooing like a lovestruck female the next. The aforementioned MGMT followed a similar path with their own debut -- a fact that simply cannot be emphasized enough, given the vast similarities between both records -- but while MGMT took cues from the likes of David Bowie and Prince, Empire of the Sun's fusion is more reminiscent of worldbeat and fantasy movie soundtracks. The outlandish cover art follows suit, as Steele and Nick Littlemore (dressed up in bizarre Star Wars-styled regalia) are flanked by a decorative elephant, a tiger, and what appears to be the skyline of Atlantis. Like the music it promotes, the cover art is purposely ludicrous, but listeners who have a palette for such whimsy should walk away happy.© Andrew Leahey /TiVo
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Come On Come On
Mary Chapin Carpenter
Country - Released January 1, 1992 | Columbia
Come On Come On proved that even with two previous hit albums under her belt, Mary Chapin Carpenter was still as hot as could be. This album serves as one of the signposts that contemporary country would not only aspire to, but actually become in the 21st century. One need only to stack this slab up against 2006 recordings by Little Big Town and Sugarland to see the roots of Carpenter's blend of sophisticated pop, folk, and soft rock with country. This disc climbed all the way to number six on the country charts, yielding an astonishing seven hit singles, fully revealing Carpenter's meld of aesthetics, skill, and marketing savvy, and she established herself not only as one of her chosen genre's top artists, but crossed over into the then-burgeoning Americana and AAA radio formats as well. With friends such as Rosanne Cash, Joe Diffie, Shawn Colvin, and the Indigo Girls lending a hand, there's a full range of country, folk, and pop-styled songs strewn across the album, helping it and Carpenter herself gain enormous recognition from other audiences outside of country music. "He Thinks He'll Keep Her," a title keeping with country music's tradition of double entendres, became Carpenter's first number one hit, while the confident "I Feel Lucky" peaked at number four and netted her another Grammy. Lucinda Williams' "Passionate Kisses," with its beautiful guitar arrangements, also made it to number four, and Carpenter's vocal enthusiasm makes Dire Straits' "The Bug" one of the album's most spirited efforts. These songs, along with the title track's compelling folk essence, gave Come on Come On a well-rounded sound and exposed her talent for reaching slightly beyond the genre's long-established niches. Not only is Carpenter's music extendable, but her writing rescues country music from its familiar themes of "love 'em and leave 'em" conventionality while still managing to portray maturely the perils of romance and heartbreak from a female perspective. Carpenter repeated much of Come On Come On's full-ranged charm for 1994's Stones in the Road release, which garnered her yet a third Grammy in as many albums.© Mike DeGagne & Thom Jurek /TiVo
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Remixes 2: 81-11 (Deluxe)
Depeche Mode
Pop/Rock - Released June 6, 2011 | Venusnote Ltd.
Remixes 2: 81-11, an inevitable sequel, contains a handful of early remixes not contained on Remixes 81-04, as well as a dozen selections from the Playing the Angel (2005) and Sounds of the Universe (2009) singles, and is filled out with 14 newly commissioned remixes. Among the older highlights are Francois Kevorkian's percussive “Dub in My Eyes” mix of “World in My Eyes” (which also resembles a muscular version of Kraftwerk’s “The Telephone Call,” a track he happened to mix four years prior) and the Tim Simenon/Mark Saunders mix of “Strangelove” (a radical overhaul that nonetheless sticks to the original’s core elements). For the Angel and Universe singles, the group held up its reputation of seeking diverse and cutting-edge producers, from Stuart Price (as Jacques Lu Cont) to Efdemin, for remix duties. Most of these later mixes can be polarizing for DM fans, as they reflect the course taken by “remix culture” throughout the 2000s; they are less like true remixes and more like brand-new productions with heavily treated snatches of Dave Gahan's vocals. This remains all the more true for the 2011 mixes, granted by the loved-or-hated likes of Eric Prydz (of Steve Winwood-sampling “Call on Me” fame) and international pop-chart overlords Stargate. More likely to keep the fans’ ears perked: new mixes from ex-members Vince Clarke and Alan Wilder. Clarke’s “Behind the Wheel” is wonderfully sleek and slightly ominous, while Wilder’s “In Chains” is all dark ambience until the three-minute mark, when it gradually ascends into a meticulously layered grind. Once again, the compilation was offered on CD in three-disc and one-disc sets. The latter is more like a sampler with no discernible method to the selection process, and those who take that option will miss out on the Clarke and Wilder mixes, as well as numerous highlights.© Andy Kellman /TiVo
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Walking On A Dream
Empire Of The Sun
Pop - Released February 18, 2009 | CAPITOL
Empire of the Sun's debut offering of experimental electro-pop and dance-rock is very well-timed, hitting the market just as the buzz surrounding MGMT's Oracular Spectacular has started to recede. Like those similarly colorful Americans, Empire of the Sun's two members embrace the glam lifestyle in spirit and song, wearing festive costumes in concert and festooning their music with oddball flourishes, androgynous lyrics, and a general sense of theatricality that borders on schizophrenia. Walking on a Dream runs an interesting gamut, sampling equally from hip-hop ("Swordfish Hotkiss Night"), arty synth pop ("Standing on the Shore"), and all the stops in between. With its programmed percussion and futuristic keyboards, the music sounds slightly more indebted to Pnau than the Sleepy Jackson; nevertheless, Luke Steele (the brains behind the latter band) takes center stage on the bulk of these songs, speak-singing in a childish tenor one minute and cooing like a lovestruck female the next. The aforementioned MGMT followed a similar path with their own debut -- a fact that simply cannot be emphasized enough, given the vast similarities between both records -- but while MGMT took cues from the likes of David Bowie and Prince, Empire of the Sun's fusion is more reminiscent of worldbeat and fantasy movie soundtracks. The outlandish cover art follows suit, as Steele and Nick Littlemore (dressed up in bizarre Star Wars-styled regalia) are flanked by a decorative elephant, a tiger, and what appears to be the skyline of Atlantis. Like the music it promotes, the cover art is purposely ludicrous, but listeners who have a palette for such whimsy should walk away happy.© Andrew Leahey /TiVo
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Walking On A Dream
Empire Of The Sun
Alternative & Indie - Released October 3, 2008 | Capitol Records
Empire of the Sun's debut offering of experimental electro-pop and dance-rock is very well-timed, hitting the market just as the buzz surrounding MGMT's Oracular Spectacular has started to recede. Like those similarly colorful Americans, Empire of the Sun's two members embrace the glam lifestyle in spirit and song, wearing festive costumes in concert and festooning their music with oddball flourishes, androgynous lyrics, and a general sense of theatricality that borders on schizophrenia. Walking on a Dream runs an interesting gamut, sampling equally from hip-hop ("Swordfish Hotkiss Night"), arty synth pop ("Standing on the Shore"), and all the stops in between. With its programmed percussion and futuristic keyboards, the music sounds slightly more indebted to Pnau than the Sleepy Jackson; nevertheless, Luke Steele (the brains behind the latter band) takes center stage on the bulk of these songs, speak-singing in a childish tenor one minute and cooing like a lovestruck female the next. The aforementioned MGMT followed a similar path with their own debut -- a fact that simply cannot be emphasized enough, given the vast similarities between both records -- but while MGMT took cues from the likes of David Bowie and Prince, Empire of the Sun's fusion is more reminiscent of worldbeat and fantasy movie soundtracks. The outlandish cover art follows suit, as Steele and Nick Littlemore (dressed up in bizarre Star Wars-styled regalia) are flanked by a decorative elephant, a tiger, and what appears to be the skyline of Atlantis. Like the music it promotes, the cover art is purposely ludicrous, but listeners who have a palette for such whimsy should walk away happy.© Andrew Leahey /TiVo
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Walking On A Dream
Kevin McKay
House - Released February 16, 2024 | Glasgow Underground
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Dream On
Cover
Alternative & Indie - Released January 24, 2004 | Rhino
At first it may seem a novelty, a Belgian girls’ choir covering hits (mostly of the alternative rock variety) in a choral style. However, the re-imaginations on DREAM ON are both inventive and simply hypnotic. The title track is the latter-day Depeche Mode single as opposed to the 1970s Aerosmith classic rock standard, which is a hint as to the direction of the musical selection of the Kolacny Brothers (conductor/arranger Stijn and pianist Stephen). And even the timeworn hits like U2’s "With or Without You," Verve’s "Bittersweet Symphony," and particularly Lou Reed’s "Perfect Day," are imbued with a haunting dispassion, an oblong angle which finds new beauty in splendorous songs.© TiVo
Walking on a Dream
Elia Lo Monaco
New Age - Released September 2, 2022 | Aemeralds GmbH
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Walking On A Dream (arr. piano)
Sophie Hutchings
Classical - Released March 19, 2021 | Mercury KX
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Fake ID x Walking On A Dream - Remake Cover
renewwed
Pop - Released February 22, 2023 | Afterpeak Music Group
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Walking on a dream
Empire Of The Sun
Alternative & Indie - Released January 1, 2008 | Capitol Records
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Walking On A Dream
Empire Of The Sun
Alternative & Indie - Released January 1, 2008 | Capitol Records
Empire of the Sun's debut offering of experimental electro-pop and dance-rock is very well-timed, hitting the market just as the buzz surrounding MGMT's Oracular Spectacular has started to recede. Like those similarly colorful Americans, Empire of the Sun's two members embrace the glam lifestyle in spirit and song, wearing festive costumes in concert and festooning their music with oddball flourishes, androgynous lyrics, and a general sense of theatricality that borders on schizophrenia. Walking on a Dream runs an interesting gamut, sampling equally from hip-hop ("Swordfish Hotkiss Night"), arty synth pop ("Standing on the Shore"), and all the stops in between. With its programmed percussion and futuristic keyboards, the music sounds slightly more indebted to Pnau than the Sleepy Jackson; nevertheless, Luke Steele (the brains behind the latter band) takes center stage on the bulk of these songs, speak-singing in a childish tenor one minute and cooing like a lovestruck female the next. The aforementioned MGMT followed a similar path with their own debut -- a fact that simply cannot be emphasized enough, given the vast similarities between both records -- but while MGMT took cues from the likes of David Bowie and Prince, Empire of the Sun's fusion is more reminiscent of worldbeat and fantasy movie soundtracks. The outlandish cover art follows suit, as Steele and Nick Littlemore (dressed up in bizarre Star Wars-styled regalia) are flanked by a decorative elephant, a tiger, and what appears to be the skyline of Atlantis. Like the music it promotes, the cover art is purposely ludicrous, but listeners who have a palette for such whimsy should walk away happy.© Andrew Leahey /TiVo
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