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Track List
01) Tonight We Have Stars
02) I Thought I'd Seen Everything
03) I Ain't Losin' the Fight
04) Oxygen
05) We Found What We Were Looking For
06) Broken Wings
07) Somethin' to Believe In
08) Mysterious Ways
09) She's Got a Way
10) Flowers Grown Wild
11) Walk on By
01) Tonight We Have Stars
02) I Thought I'd Seen Everything
03) I Ain't Losin' the Fight
04) Oxygen
05) We Found What We Were Looking For
06) Broken Wings
07) Somethin' to Believe In
08) Mysterious Ways
09) She's Got a Way
10) Flowers Grown Wild
11) Walk on By
4:06
5:06
3:56
3:35
3:37
3:36
4:00
4:28
4:41
3:53
2:54
Data Complete 80%
Total Rating
Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2008
Rock
Good Natured
Rock/Pop
---
Medium
Album
5,000,000 copies
Album Description
Available in:
„11“ ist das elfte Studioalbum des kanadischen Rockmusikers Bryan Adams, veröffentlicht am 17. März 2008 über Polydor/Universal Music, und markiert eine Rückkehr zu seinem klassischen, melodischen Rocksound, den er seit den 1980er-Jahren erfolgreich geprägt hat. Produziert von Bryan Adams gemeinsam mit Robert John „Mutt“ Lange und Jim Vallance, enthält das Album elf Tracks, darunter die Single „I Thought I'd Seen Everything“, die internationale Radiopräsenz erreichte. Musikalisch bleibt Adams seiner Linie treu, mit eingängigen Refrains, klaren Gitarrenriffs und einer unaufdringlichen Produktion, die seine raue Stimme in den Mittelpunkt stellt. Weitere Songs wie „Tonight We Have the Stars“, „She's Got a Way“ oder „Oxygen“ verbinden romantische Themen mit stadiontauglichem Pop-Rock, wobei der Fokus eher auf Atmosphäre als auf Innovation liegt. Die Aufnahmen entstanden während einer Welttournee in verschiedenen Hotelzimmern und Backstageräumen, was dem Album eine intime und direkte Klangästhetik verleiht. Kritiker reagierten gemischt: während Fans den vertrauten Sound und Adams' Beständigkeit schätzten, wurde die fehlende stilistische Weiterentwicklung vereinzelt kritisiert. „11“ erreichte Platz 1 in Kanada, Platz 6 im Vereinigten Königreich und Platz 80 in den USA, womit es Bryan Adams' internationale Präsenz bestätigte. Insgesamt bietet „11“ solides Songwriting, vertraute Klangwelten und den unverwechselbaren Charme eines etablierten Rockmusikers.
User Album Review
If it ain't broke, don't fix it. it's a perfectly fine philosophy and one that vegan, Canadian soft-rock icon, Bryan Adams obviously believes in. Those wondering if the slightly suspect dance experiments would make their reappearance here will be disappointed. The template of soaring slide guitar, grandiose piano and four-four 'rawk' stands him in good stead, coaxing the rasping throat to hit the spot time after time. And while most of the tracks here will remind aficionados of one or other of his former glories, his 11th studio album (hence the title) - delivered four charity-boosting and photography-filled years after Room Service - will undoubtedly still find a place in our hearts.
The truth is, this is power pop that only falls short of the kind of critical acclaim that we heap on people like Crowded House, because - let's face it - Adams has never dealt in clever wordplay. The tunes are here in abundance, along with the anthemic choruses that are every inch the equal of Neil Finn's Beatles homages. But subject-wise it's the usual fare of devoted declamations of the wonder of love for some unspecified woman, whether it's in the tones of a shy acoustic troubador as he marvels at its mysteries (Mysterious Ways) or as an air-punching rocker as he claims the love to be as necessary to his survival as oxygen (erm...Oxygen). It's a cliche-ridden ride but no less enjoyable for those that buy into the dream. For, if Bruce Springsteen can still sing of diners, darkness on the edge of town and blue collar travails and make them sound like he means it, why shouldn't we believe Bryan? It's all very fine as an accompaniment to that romantic date at the local football stadium or Earls Court. If there can be such a thing.
At times the toasted croak sounds a little dispassionate, as though Adams himself has been preaching this gospel of six-stringed love so long now (this is his 25th year as a megastar) that he's having trouble really believing it himself any more (She's Got A Way sounds a mite phoned-in and pushes the formula to its natural limit). Yet using the same band over the years means that what you lose in commitment you gain in aural comfort. These songs sound simultaneously lived-in and timeless (in that they could have been made at any point between 1985 and 2008). Fans needn't worry: The whole of 11 will sound great blasted out amongst his better-known numbers and, as we said, if it ain't broke...
External Album Reviews
None...
User Comments
Available in:
„11“ ist das elfte Studioalbum des kanadischen Rockmusikers Bryan Adams, veröffentlicht am 17. März 2008 über Polydor/Universal Music, und markiert eine Rückkehr zu seinem klassischen, melodischen Rocksound, den er seit den 1980er-Jahren erfolgreich geprägt hat. Produziert von Bryan Adams gemeinsam mit Robert John „Mutt“ Lange und Jim Vallance, enthält das Album elf Tracks, darunter die Single „I Thought I'd Seen Everything“, die internationale Radiopräsenz erreichte. Musikalisch bleibt Adams seiner Linie treu, mit eingängigen Refrains, klaren Gitarrenriffs und einer unaufdringlichen Produktion, die seine raue Stimme in den Mittelpunkt stellt. Weitere Songs wie „Tonight We Have the Stars“, „She's Got a Way“ oder „Oxygen“ verbinden romantische Themen mit stadiontauglichem Pop-Rock, wobei der Fokus eher auf Atmosphäre als auf Innovation liegt. Die Aufnahmen entstanden während einer Welttournee in verschiedenen Hotelzimmern und Backstageräumen, was dem Album eine intime und direkte Klangästhetik verleiht. Kritiker reagierten gemischt: während Fans den vertrauten Sound und Adams' Beständigkeit schätzten, wurde die fehlende stilistische Weiterentwicklung vereinzelt kritisiert. „11“ erreichte Platz 1 in Kanada, Platz 6 im Vereinigten Königreich und Platz 80 in den USA, womit es Bryan Adams' internationale Präsenz bestätigte. Insgesamt bietet „11“ solides Songwriting, vertraute Klangwelten und den unverwechselbaren Charme eines etablierten Rockmusikers.
User Album Review
If it ain't broke, don't fix it. it's a perfectly fine philosophy and one that vegan, Canadian soft-rock icon, Bryan Adams obviously believes in. Those wondering if the slightly suspect dance experiments would make their reappearance here will be disappointed. The template of soaring slide guitar, grandiose piano and four-four 'rawk' stands him in good stead, coaxing the rasping throat to hit the spot time after time. And while most of the tracks here will remind aficionados of one or other of his former glories, his 11th studio album (hence the title) - delivered four charity-boosting and photography-filled years after Room Service - will undoubtedly still find a place in our hearts.
The truth is, this is power pop that only falls short of the kind of critical acclaim that we heap on people like Crowded House, because - let's face it - Adams has never dealt in clever wordplay. The tunes are here in abundance, along with the anthemic choruses that are every inch the equal of Neil Finn's Beatles homages. But subject-wise it's the usual fare of devoted declamations of the wonder of love for some unspecified woman, whether it's in the tones of a shy acoustic troubador as he marvels at its mysteries (Mysterious Ways) or as an air-punching rocker as he claims the love to be as necessary to his survival as oxygen (erm...Oxygen). It's a cliche-ridden ride but no less enjoyable for those that buy into the dream. For, if Bruce Springsteen can still sing of diners, darkness on the edge of town and blue collar travails and make them sound like he means it, why shouldn't we believe Bryan? It's all very fine as an accompaniment to that romantic date at the local football stadium or Earls Court. If there can be such a thing.
At times the toasted croak sounds a little dispassionate, as though Adams himself has been preaching this gospel of six-stringed love so long now (this is his 25th year as a megastar) that he's having trouble really believing it himself any more (She's Got A Way sounds a mite phoned-in and pushes the formula to its natural limit). Yet using the same band over the years means that what you lose in commitment you gain in aural comfort. These songs sound simultaneously lived-in and timeless (in that they could have been made at any point between 1985 and 2008). Fans needn't worry: The whole of 11 will sound great blasted out amongst his better-known numbers and, as we said, if it ain't broke...
External Album Reviews
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