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Rockbird [Musikkassette] Import

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Produktinformation

  • Hörkassette (1. Juni 1997)
  • Format: Import
  • Label: Geffen
  • ASIN: B000000OYH
  • Weitere Ausgaben: Audio CD  |  Hörkassette  |  Vinyl  |  MP3-Download
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5.0 von 5 Sternen Don't Mess With This Rockbird!!! 13. Mai 2012
Von Ralex - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Wow... I was left mind-blown by this piece of art from the aviary side of Ms. Deborah Harry!! What a great album!! It was Debbie and Blondie's shortest, and should of included, "Feel The Spin", but that's okay. These songs are VERY 1986. With the very huge success of it's singles, "Rockbird", I never knew why this album sucked horribly in the charts... I think it's because this was released on a completely different record label than what Debbie and Blondie have released records on in the past and future. Anyways, this album is spectacular!!

"I Want You" - The single that needed to happen... This track could easily be an outtake from Blondie's, "Plastic Letters". This track could also be an early version of, "Def, Dumb, & Blonde"'s, "I Want That Man". Very creative, but it is one of the tracks on this album that I would accuse of piano-abuse. Very much a theatrical song, and is worth a listen.

"French Kissin' In The U.S.A." - Humorously written by Chuck Lorre, this track was very epic. Bubbly, sexy, and very fitting music video aside, this track was another one of Debbie's #2 solo hits. Great composition, and very 80's. Love it!!!

"Buckle Up" - WOW!!! Debbie's first attempt to date to create a song that has influences of bluegrass music!!! This song makes me wanna dance. I loved this track so much, I like to play it often.

"In Love With Love" - Music influenced by the Egyptians!!! This is Debbie's only solo single to actually reach #1. Very fun song to sing and dance to, and is emotionally jarring to listen to.

"You Got Me In Trouble" - One thing, I LOVVVE THIS SONGGGGGG!!!!! Surely my favorite track from the album. Funky, amusing, 80's, LOVE IT!! Initiate standing novation!!!!

"Free To Fall" - This is a track, that would go well in a movie. Only a Top 40 track, unfortunately, it made a mockery of the album, and was sluggish in the critics attemps to make it sound like a horrible song... I loved it.. I hate critics...

"Rockbird" - A 60's inspired jive track... Very great!! I love how it could be a single, too. But, it wasn't... Worth a listen!!! Don't skip this track!!!

"Secret Life" - Eerie and creepy in a good way... Sounds like a song that No Doubt would create. It sounds like their hit, "Spiderwebs". I loved the song, and appreciate how Debbie let me know about her, "Secret Life".

"Beyond The Limit" - This is like a Twisted Sister song. Very punk, and rock!!! Great track!!

Please get this album!!! It is very fun, and exciting!! Enjoy!!!
5.0 von 5 Sternen Must have for Debbie fans!!! 5. August 2015
Von lickenhaffenfillypassenbeck - Veröffentlicht auf Amazon.com
Verifizierter Kauf
I loved the first solo for many years, and her most recent. I put off buying this one for a long time. I wish I had known just how glamorous new wave Deb that this was, because I would have never put it off. Rockbird is Fabulous!
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A solid quality album 12. August 2001
Von Teapot Tales - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
This album is one of my favorites. I own ALL albums recorded by Debbie Harry and "Rockbird" is one of the best. It reveals Debbie's matured talent and voice like no previous album does. "Rockbird" is a real classic. It is terribly underrated, too. If you like Debbie, you MUST buy this album.
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Debbie Does It Beyond The Limit 21. Juni 2012
Von Andre S. Grindle - Veröffentlicht auf Amazon.com
Format: Audio CD
By this time it was long official: Blondie was on...shall we say semi permanent hiatus after the commercial failure of their album The Hunter. It was probably exactly the right time. Debbie herself had already released the excellent and funky Chic produced solo recording Koo Koo a year before hand anyway. So time had come for her to get on with her solo career. Actually seen this album around a lot. Heard some things about it that led me to believe that it was a little on the weak side. But everyone has their own opinion right? Following her first solo recording and latter work with Blondie,Debbie was branching out of the new wave rock sound and into interests in funk,dance and even jazz. What direction would her solo career continue to take? Where would it go? Well this is Debbie Harry and the best one can do with her is join her on her wild musical rides.

One thing this is not is a rock album. In fact guitars play a very minimal part in this music. In fact only the bubblegum pop sounding "I Want You" and the title song have much to do with rock n roll or Blondie's sound at all. And they are pretty good little pop tunes actually. And quite inventive. "French Kissin" is a strong highlight,with kind of a stop/start jazzy pop rhythm and a very intricate melody. The jumpy "Buckle Up","You Got Me In Trouble","In Love With Love" and "Secret Life" are all equally excellent songs,taking a somewhat quirky and almost Prince-like approaching of fusing 80's dance revival with elements of new wave rock. Nothing Minneapolis here though-even those songs come from a very New York state of mind. "Free To Fall" is the one slow song here. Rather a heartland pop/rock type number with a great melody and some insightful lyrics. The final track is my own favorite. In keeping with Duran Duran of the time,"Beyond The Limit" has some powerful bass/guitar interaction and is deeply in the groove. It's a strong continuation of the sound of her debut.

Overall this is a wonderful album. Not a bad track to be heard from this vantage point. It's filled with melodic peppiness,superb instrumental arrangements and song craft. Not only that but Debbie and her band,including the sympathetic Uptown Horns actually craft a sound that's soulful,funky and dance worthy for the era. This s a good example of how even 80's haters would have to admit music did indeed become more powerful from the mid to end of that decade. People such as Debbie Harry on this album had managed to find a way in which to use a combination of electronic and standard instruments to focus attention on the songs and the music rather than the sound of them. So the grooves are tough,the melodic ideas are sharp as could be and even the rhythmic combinations used are very inventive. People such as myself who heard this album was a generic throwaway and was "extremely corporate" (one never knows what genuine phrase will become tomorrows buzz words,do we>),they would be well advised to give this album a chance. There's nothing but good music to be found here.
1 von 1 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Average poppy Deborah 29. Mai 2010
Von B. S. Marlay - Veröffentlicht auf Amazon.com
Format: Audio CD
Four years after the demise of Blondie, Deborah Harry finally returned with her second solo album. `Rock Bird' is a slick pop piece that largely abandons the facets of Harry's long-established, enigmatic personal style in favour of commercial gloss. Producer, Seth Justman, who played keyboards for the J. Geils Band (`Centrefold', `Freeze Frame'), opts for frothy (at the time) contemporary style over substance, which ends up leaving Harry sounding like one of the pack instead of the leader she had always been.

Everything here is catchy and infectious, with probably the most interesting track being the single, `French Kissin'. Harry and long-time partner and Blondie guitarist, Chris Stein, contribute three songs (`In Love With Love', `Rockbird' and `Secret Life'), with their rocky and amusing title track being the best (and biggest departure) on the album. Harry penned the others mostly with Justman. And the closing partnership with Nile Rodgers, `Beyond the Limit', sounds like a leftover from her dire first solo album, `Koo Koo', though with better production.

It is hard to shake the feeling that Justman's slick, bubble-gummy, of-the-moment production robs Harry of the authority she needs to really shine, though to a far lesser extent than Nile Rodgers and Bernard Edwards did on `Koo Koo'. Generally, the songs tend to run too long, which also detracts from a sense of quality. It also tends to indicate that Harry needs a producer who really understands her, as Mike Chapman did when she was in Blondie. But in a post-Blondie world, at least she was recording again, even if it was as a shadow of her former self. Definitely one for the bargain bin.
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