Music : Who We Are

Music : Who We Are

Who We Are

by: Lifehouse



Who We Are
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Average Rating:  out of 5 stars
Sales Rank: 306







Binding: Audio CD
EAN: 0602517359055
Label: Geffen Records
Manufacturer: Geffen Records
Number Of Discs: 1
Publisher: Geffen Records
Release Date: June 19, 2007
Sales Rank: 306
Studio: Geffen Records









Editorial Review:

Album Description:
Lifehouse is singer-guitarist Jason Wade, drummer Rick Woolstenhulme and bassist-singer Bryce Soderberg. These three guys are a hit making machine!

Jason Wade proved himself a gifted songwriter with Lifehouse's first record, 2000's multiplatinum No Name Face, which spawned the #1 hit 'Hanging by a Moment.' Calling that song a hit, however, is a bit of an understatement as 'Hanging by a Moment' was the most-played song of 2001.

Stanley Climbfall, the band's Top 10 follow-up, was released in 2002.

2005 saw the release of their third album simply titled Lifehouse which included the undeniable hit #1 multi-format hit 'You And Me' and kept the band out on the road touring for over a year.

With Who We Are, Lifehouse takes another evolutionary step making an upbeat album full of potential hits sure to please fans and make new ones.

Amazon.com:
Who We Are is another set of rousing anthems from this reflective trio. On their fourth full-length, the Los Angeles three-piece sets the template for a harder-rocking effort with dynamic opener 'Disarray,' in which singer/guitarist Jason Wade admits he doesn't know where he's going, but 'wouldn't have it any other way.' The band rocks even harder on album highlight 'The Joke,' a song inspired by a real-life suicide. It's a risk that pays off, although the lyrics almost make the subject seem more defiant than regretful. Throughout the record, Rick Woolstenhulme's drums sound like they're cranked up to 11--not that there's anything wrong with that (Bryce Soderberg holds his own on bass). In other words, the music isn't shy (or subtle), but Wade's words read more like questions than answers. Granted, closing number 'Storm,' with Rocco DeLuca on organ, brings things to a gentle close, but most tracks follow in the over-sized footsteps of post-grunge precursors, like Live and Stone Temple Pilots. Then again, as Abigail Van Buren used to say, 'If it ain't broke, don't fix it.' If Lifehouse ever find what they're looking for, to paraphrase yet another sage, they may as well pack it in. --Kathleen C. Fennessy









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Customer Reviews
Average Rating:  out of 5 stars

Rating: 5 out of 5 stars - * Landmark Lifehouse Release! ...
I'll admit that I got hooked by "Hanging By A Moment" like the rest of us in 2000. In some ways it seems like the band is so defined by that song that some don't really give a full appraisal of their body of work. As much as I enjoyed the first 3 releases, in my opinion "Who We Are" is the landmark Lifehouse release. It has standout songs like "First Time" and "Broken". I also love "Whatever It Takes", "Disarray", and "Storm". Unlike the other releases which were a step down from "No Name Face", "Who We Are" is solid from beginning to end and in my opinion is their best overall.



Rating: 5 out of 5 stars - * Amazing CD, Very Worthy of a Listen and Another! ...
This CD has not left my vehicle since first play. I listen to this CD over and over again. With tracks that reminisce, tracks that yearn and tracks that tear your heart out, this CD is a lyrical wonder. Only one track (#6) gets skipped and I really couldn't tell you why...it just isn't like the others. So buy it for the singles if you must, but listen to the whole wonderful heart wrenching journey and feel the emotion.



Rating: 5 out of 5 stars - * Awesome CD ...
I am big Lifehouse fan and this is one of there best CD's yet.



Rating: 5 out of 5 stars - * Lifehouse's Best to Date ...
It sounds like more time & effort was put into this album that the other ones. Most of the tracks sound like they REALLY invested lots of time composing the lyrics and music

It is a very cohesive and well put together Album.



Rating: 3 out of 5 stars - * pretty good ...
pretty good listening, my wife likes it better than i of course i am an 80s freak



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It always comes up when people are comparing their most traumatic movie experiences: "the death of Bambi's mother," a recollection that can bring a shudder to even the most jaded filmgoer. That primal separation (which is no less stunning for happening off-screen) is the centerpiece of Bambi, Walt Disney's 1942 animated classic, but it is by no means the only bold stroke in the film. In its swift but somehow leisurely 69 minutes, Bambi covers a year in the life of a young deer. But in a bigger way, it measures the life cycle itself, from birth to adulthood, from childhood's freedom to grown-up responsibility. All of this is rendered in cheeky, fleet-footed style--the movie doesn't lecture, or make you feel you're being fed something that's good for you. The animation is miraculous, a lush forest in which nature is a constantly unfolding miracle (even in a spectacular fire, or those dark moments when "man was in the forest"). There are probably easier animals to draw than a young deer, and the Disney animators set themselves a challenge with Bambi's wobbly glide across an ice-covered lake, his spindly legs akimbo; but the sequence is effortless and charming. If Bambi himself is just a bit dull--such is the fate of an Everydeer--his rabbit sidekick Thumper and a skunk named Flower more than make up for it. Many of the early Disney features have their share of lyrical moments and universal truths, but Bambi is so simple, so pure, it's almost transparent. You might borrow a phrase from Thumper and say it's downright twitterpated. --Robert Horton
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This well-acted drama won the Audience award at the 1996 Sundance Film Festival, causing a festival ruckus when several distributors entered a bidding war in response to the movie's positive buzz. When the movie was finally released, audience and critical response provided a sudden reality check: the movie's good to a point, but hardly worth the fuss it received at Sundance. Packing a miniseries' worth of melodrama into 117 minutes, the story centers on a young woman named Percy (Alison Elliott) who served prison time for manslaughter and arrives in a small town in Maine with hopes of beginning a new life. She works as a waitress in the Spitfire Grill, owned by Hannah (Ellen Burstyn), whose gruff exterior conceals a kind heart and precious little tolerance for the grill's regular customers, who cast their suspicions on Percy's mysterious past. The plot unfolds when Hannah holds a $100-per-entry essay contest to find a new owner for the grill. There's ample mystery surrounding the collected money, a local hermit who's really Hannah's shell-shocked Vietnam veteran son, and circumstances that lead the locals to adopt a lynch-mob mentality at Percy's expense. By the time Percy is nearly drowning in a raging river, The Spitfire Grill has taken its melodrama a few steps 'round the bend. Fine acting is the movie's saving grace, however, and newcomer Alison Elliott anchors The Spitfire Grill with a subtle, emotionally involving performance. Thanks to Elliott and Burstyn, you don't have to feel too guilty if you find yourself reaching for a Kleenex as the closing credits roll. --Jeff Shannon

by Martina Mcbride
$9.99

Average customer rating: 5.0 ISBN: 1577912187

by Various Cdcmh 8797

Average customer rating: ISBN: 6308344311
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Big news on the Harry Potter musical front: After scoring the first three installments in the series, John Williams has been replaced by Patrick Doyle. Still, Williams never feels far away. His main theme pops up here and there, and a track like "Voldemort," which eloquently illustrates the soul of a blacker-than-black wizard with thunderous cymbal crashes, shrieking horns, tumultuous strings, and a stately finish, firmly belongs in the Williams mode. Overall, Doyle acquits himself well. He can do light when needed ("The Quidditch World Cup," which starts out like some kind of jig), but mostly he's required to be ominous ("The Quidditch World Cup," which ends in martial war chants). Among the highlights are the aforementioned "Voldemort," but also the frantic, overpowering "The Dark Mark." Note that the CD concludes on a jarringly different note with three songs by the Weird Sisters, the group that performs at Hogwarts' Yule Ball. Led by Pulp frontman Jarvis Cocker, the ad hoc band also includes members of Radiohead and Cocker's side project Relaxed Muscle. "Do the Hippogriff" is a fast-paced rocker that somehow comes across like a grungy hybrid of Billy Idol's "White Wedding" and "Dancing with Myself." The other two songs--"This Is the Night" and "Magic Works"--are less obvious, and much better. Still, the contrast between these tracks and the instrumental score that precedes them may not be to everybody's taste. --Elisabeth Vincentelli
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You needn't see the film of Harry Potter and the Sorcerer's Stone to appreciate the wonder, magic, and fearful chills of J.K. Rowling's phenomenal bestseller in John Williams's outstanding score. Williams typically avoids the source material for the films he scores, but he reportedly derived great pleasure and inspiration from Rowling's first Harry Potter adventure, and created a perfect motif (fully expressed in "Hedwig's Theme") to dominate his score. It's first heard as a dreamy celesta waltz and embellished through myriad incarnations and moods, often with a sinister edge befitting the darker tones of Chris Columbus's direction. Evident are fantastical allusions to Saint-Saëns and Tchaikovsky (among others), and Williams's epic track is "Quidditch Match," a breathtaking frenzy to accompany the film's dazzling highlight. And while Williams occasionally flirts with self-plagiarism (with inevitable variants of his Hook and Star Wars themes), this is nevertheless a richly regal score that brilliantly evokes the mystery and magic of Harry Potter's world. --Jeff Shannon

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