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Up All Night Extra tracks


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Music

Image of album by Razorlight

Photos

Image of Razorlight

Biography

Sometimes you need to get away from it all, even when your life succeeds beyond your wildest dreams. Just ask Razorlight songwriter, lead singer and guitarist Johnny Borrell, who secreted away on an island off Scotland to write the British band’s third CD, the melodic, musically adventurous “Slipway Fires.”
“I wanted to process my feelings about a few things because ... Read more in Amazon's Razorlight Store

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for 44 albums, 7 photos, discussions, and more.

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Product details

  • Audio CD (5 Sep 2005)
  • Number of Discs: 1
  • Format: Extra tracks
  • Label: Mercury Records Ltd (London)
  • ASIN: B0009353JQ
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (94 customer reviews)
  • Amazon Bestsellers Rank: 5,787 in Music (See Top 100 in Music)

1. Leave Me Alone
2. Rock'n'Roll Lies
3. Vice
4. Up All Night
5. Which Way Is Out
6. Rip It Up
7. Dalston
8. Golden Touch
9. Stumble & Fall
10. Get It And Go
11. In The City
12. Hang By, Hang By
13. To The Sea
14. Somewhere Else (Bonus Track)

Product Description

Product Description

Debut album from the London based sleaze-rock quartet. Released under two years into their formation the Anglo- -Swedish group rode into fame via the NME launced nu-rock movement along with UK counterparts such as The Libertines and Bloc Party. Comparisons with the New York scene pre and of the bands time are evident with the sounds evoked of The Velvet Underground, The Stooges, The Strokes as well as UK acts such as The Cure. The album includes the single Golden Touch. Vertigo. 2005.

Amazon.co.uk

This Special Tour Edition version includes the single "Somewhere Else" as a bonus track. Up All Night might be Razorlight's debut album, but we've heard their like before: from Oasis's Gallagher brothers, whose wilful arrogance is echoed in frontman Johnny Borrell's proclamations of his own songwriting genius, or The Libertines, who share Razorlight's romantic vision of London as a city of boozy rock & roll dreams. And while those two touchstones are probably a pretty good encapsulation of the Razorlight sound--holler-along choruses, presented with a slightly greasy leather-jacket sense of urchin cool—there's certainly more to Razorlight than such a simple equation can spell. Sure, there's nothing especially original about Borrell's tales of hot clubs and pretty girls, but his delivery is passionate in all the right places: see the startling "In The City", which finds him bursting with enthusiasm, words spewing out of his mouth like a teenage Dylan. The title track is the album's highlight, a graceful number about walking the streets through 'til dawn. But the irrepressible "Rip It Up" proves Razorlight can spit out the odd party number, thieving the guitar sound direct from 70s punk pioneers Television's Marquee Moon and fleshing it out into a rabble-rousing indie-club stomper. --Louis Pattison

Customer Reviews

4.1 out of 5 stars

Most Helpful Customer Reviews

14 of 14 people found the following review helpful By "sereneminduk" on 2 July 2004
Format: Audio CD
Despite the music press hyperbole and self-proclaimed greatness (if I had a penny for every comparison to the Gallaghers...), this album is actually very good, its only short coming being its slight lack of variation. Borrell's lip curling vocal echoes Lou Reed and Tom Verlaine, and the group have clearly been hanging around in their local record store's 'post-punk' section. The album starts blindingly, losing its way a little at the midpoint before being resurrected by shoe-in singles 'Golden Touch' and 'Stumble and Fall' and then the excellent 'To The Sea'. Much has been said about Borrell's 'grown-up' songwriting, but it seems that his lyricism, while at times highly accomplished (although Dylan-esque is perhaps too strong), is frequently lazy and repetitive. His 'falling' imagery, for instance, grates a little as it is not particularly original and is over-used. But these are only very small imperfections that marr this very promising debut. It seems to me that when Borell's songwriting does reach an artistic maturity, should their potential ephemeral 'great white hype' tag not bury them, then Razorlight will be a very important group indeed.
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7 of 7 people found the following review helpful By "seanpjc" on 11 July 2004
Format: Audio CD
from start to finish this album is full of quality songs, none that you can call weak.I heard of the band just before the release of their album and read about the hype surrounding them.for once the hype has been justified with this album and to make it even better, on the dvd you are able to see the band perform live tracks,worth the extra few pounds.without doubt the album of the year.what are you waiting for...BUY IT NOW!
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4 of 4 people found the following review helpful By O. Frawley on 25 July 2004
Format: Audio CD
Its best to review this album by putting Razorlight's singer/songwriter Johnny Borrell's confident/cocky remarks about his own songwriting excellence to the back of your mind. The short and short of it is that Up All Night is a very enjoyable album sure to brighten up your day and stay in your CD player for ages, but it is not the greatest thing since sliced bread as Borrell would like you to believe. There are some moments of brilliance in tracks like Rip It Up, which is impossible not to dance to, and Stumble And Fall which is the perfect song to represent how indie is supposed to sound. The real magic is in Golden Touch and Dalston, the former being one of the best singles of the year so far and the later being a moving message to Borrell's old mate Peter of The Libertines which is one of the albums stand out tracks with its plea "Don't go back to Dalston/Just come on back to me" showing that it can be the simple lines which turn a ballad into a touching anthem when complimented by Borrell's rasping vocal stretched to breaking point.
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4 of 4 people found the following review helpful By Shazzeth on 15 Aug 2006
Format: Audio CD
I won't lie, I think Razorlight are ok..but I expected this album to be something pretty darn good. People that I know who either own it, or have heard it said that it was brilliant; and yet when I got my hands on a copy I couldn't really see what all the fuss was about.

There's isn't much kick to be honest; I think that's the main problem with it. There is the odd absolutely cracking song - Golden Touch for example is wonderful - but the rest of it is a little samey.

This is something to listen to if you've got nothing better to do. It's ok if you want to chill out coz you don't really have to concetrate that much on what you're listening to. The music isn't technical...it's just there really. Not the triumph everyone made it out as.
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22 of 24 people found the following review helpful By Mr. W. P. Nightingale on 30 July 2006
Format: Audio CD
There are two things that really irritate me about the Indie/Rock music scene.

Firstly - the over-hyping of mediocre new bands by institutions like The NME and Radio 1. And Secondly, probably even moreso, the people who see this branch of music as purely a fashion accessory.

These jokers instantly take a disliking to a band once it receives too much hype and common folk start catching on. They will tell you the lyrics are not deep enough, the melodies are simple and the guitarist's rubbish - and then babble on about some new album 'not on general release' by a band you have never, and will never hear about. This all boils down to accessibility. If a band is accessible and some songs might actually be liked by your mum, it means they're going to get big - and our Indie fashion victims don't like that. You see, music can't be ultra popular and ultra trendy. If these guys were to admit they liked bands that have become mainstream, it would mock their belief that ordinary people can't be as highbrow as themselves when it comes to music appreciation - and we couldn't have that, could we?

This is Razorlight's problem, of course. They have become a little too mainstream - especially with the release and subsequent hype of their second album. Nevertheless, Up All Night is a really great album and certainly one of the best of this Millennium. It offers some true originality compared the other British offerings from this Genre, and more importantly, includes some fantastic songs. The title track, 'Up All Night' and 'Golden Touch' to name but two are fantastic tunes. Some will say too melodic, but what's wrong with a melody? Are The Beatles also to be marked down for the same reason?
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