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The Doubble Donkey Disc is the second studio album by American rock band Ozma. [1] Originally self-released in 2001, it was rereleased by Kung Fu Records in 2002. The album is composed of two EP concepts; the Russian Coldfusion EP (tracks 1-5) and the Bootytraps EP (tracks 6-10).
Ozma is an American rock band from Pasadena, California. [2] The band's sound is a mix of nostalgic new wave –influenced power pop and contrapuntal Casiotone -driven melodies sustained by heavy guitar riffs.
Bradley Torreano, writing for Allmusic, stated that with this album, Ozma has "arguably written the best Weezer album of 2001 (and yes, the real thing also had an album come out the same year)." [ 5 ] The "11 slabs of infectiously singable power pop on this little-album-that-could" compelled Weezer frontman Rivers Cuomo to insist that Ozma open ...
In The Road to Oz (1909), the Braided Man appears to have made it back to the surface as he was among the guests at Princess Ozma's birthday party. His present to Princess Ozma is the finest Flutters that he has made. The Braided Man appears in the 1985 film Return to Oz. He made a background appearance at the coronation of Princess Ozma.
Ozma is the second studio album by the Melvins, released in 1989 through Boner Records. It is the first Melvins album to feature Lori Black on bass guitar and was recorded when the band relocated to San Francisco .
Boomtown was Ozma's first effort in seven years following 2007's Pasadena. [1] It opens with "Around The World In 80 Seconds," Ozma's first instrumental [2] since The Doubble Donkey Disc's "Korobeiniki." "Nervous" is notable as the first Ozma song written by drummer Kenn Shane, and the first lead vocal by keyboardist Star Wick.
"Age Age Every Night" (アゲ♂アゲ♂EVERY☆騎士, Age Age Eburi Naito, "Raise The Roof Every Night") is the debut single of DJ OZMA. It peaked at #4 on the Oricon Weekly Charts and for the year of 2006 it was the #41 song on the annual charts. It is coupled with the song "BOYS BRAVO!", a cover/remix of a song performed by Kishidan.
The parallel chord (but not the counter parallel chord) of a major chord will always be the minor chord whose root is a minor third down from the major chord's root, inversely the parallel chord of a minor chord will be the major chord whose root is a minor third up from the root of the minor chord. Thus, in a major key, where the dominant is a ...