Bravado | Pause Stop Rewind

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Rock: Adult Alternative Pop/Rock Easy Listening: Adult contemporary Moods: Mood: Upbeat
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Pause Stop Rewind

by Bravado

Pause Stop Rewind is the new fast paced rock album from rising female fronted outfit, Bravado. With soaring melodies, great guitar riffs and upbeat rhythms, it's an album to get excited for!
Genre: Rock: Adult Alternative Pop/Rock
Release Date: 

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  Song Share Time Download
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1. Devil on My Shoulder
3:22 $0.99
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2. Bitter Tears
4:25 $0.99
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3. Burn Me Down
3:15 $0.99
4. Passenger
3:29 $0.99
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5. Little Miss Selfish
3:05 $0.99
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6. Euphoria
2:58 $0.99
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7. Fake Up
3:18 $0.99
8. Obsession
3:21 $0.99
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9. Contagious
3:14 $0.99
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10. Shout It Out
3:21 $0.99
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11. Lady of Rage
3:32 $0.99
12. These Walls
4:54 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
"Passion rich rock and roll!" Jamsphere Magazine.

Pause Stop Rewind is the long awaited debut album from Scottish rock band Bravado. Join them on an exciting journey of 'passion rich' music with great melodies and unforgettable hooks!
You may have already seen the 'Passenger' video starring American actress Diane Gaidry or heard the E.P Euphoria. If so, you will not be disappointed.
People taking a chance on unsigned bands helps to put them in the public eye and ears of a much wider audience. Bravado would therefore, like to thank you! Sales of this album will help to make more great videos, albums and tours to take the music wider afield.
Enjoy this great album and catch up with the band at www.bravadorocks.com or bravadorocks on all other social websites and you tube.

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Reviews


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Andy Gee

Bravado Heaven
Bravado are a quartet from Dundee and this is their debut album featuring lead singer Pamela Stewart and guitarist/vocalist Paula Knight with B Y on drums and guest bassists Gary and Milo. Across a dozen original tracks, they've produced something quite incredible – for a start, there are more hooks on this album than you'll find in a fisherman's basket – the album's full of the things – choruses that stick in your head for hours after, verses that flow like rivers after a rainstorm and songs about love, life and lust that are written with confidence and sung even stronger. That the whole thing is wrapped up in what is essentially Classic Rock with a more AOR bent, produced and played with a canyon-sized sound that's crisp and beautifully balanced, largely driven like a Lamborghini down a sonically magical musical highway, is a testament to how good this album is.
In more detail, it kicks off with a roaring riff courtesy of Paula's churning lead guitar over the emerging rhythmic drive as Pamela's upfront and seriously strong lead vocal comes right into play, and a dual harmony chorus kicks in almost immediately and, within about one minute, you've got the band summed up. The song strides out with the hooks swirling all around your head as the vocals soar, that guitar is deliciously dirty and the rhythm section give it their all, once heard, definitely not fogotten. “Bitter Tears” opens with Pamela's vocal lead slowly flying over an undercurrent of delicate guitar notes and a river of synth leading you to think a ballad might be on the cards, before Paula suddenly bursts in with a choopy guitar riff then the whole band lifts off as Paula takes the lead vocal then both of them share the chorus on yet another song that's got commercial rock stamped all over it with large glowing letters, yet again full of energy and drive with both vocalists sharing the limelight and you really get to see the way they work so well together with Pamela the strong and strident one and Paula's more restrained style. “Burn Me Down” starts withna cyclical guitar riff, hammering drumming and Pamela on fire with a vocal that positively has the hairs standing up on the back of your neck as the roar of the band hurls it all forward and this huge layer of guitar, rhythm section, harmonies and more guitar over that huge sounding lead vocal energy, with added multi-guitar break mid-way, gives us yet another fast-paced gem of a song that really hits the spot. Things slow down a bit for “Passenger”, although it's no less powerful, as the band give us what used to be called a “power ballad” as Pamela provides a vocal full of emotion and impact, the arrangement going from slowly flowing verses to spiralling chorus and the thing you notice is the remarkable attention to detail they have with so much going on in terms of the layers of guitars, the bursts of vocal from Paula, the shared harmonies, the song's deceptive complexity and its tale-to-tell that has you riveted to the thing as a song in its own right. “Little Miss Selfish” continues Paula's wry observations of people, that's so prevalent throughout her songwriting on this album, on a song that just burns with multi-layered strength from start to finish, alternating between bursts of energy and huge slabs of hard rock as the lead vocal comes initially from Paula, before both of them alternate and harmonise to sublime effect, while the guitars are everywhere in the mix while the drummer and bass continue to propel it all with absolute dependency, the glue that binds it together and the force that drives it ever onward.
“Euphoria” flares into action as the two singers sound just joyful on a song that bounces along with a sense of dynamics on the arrangements that only serves to make the chorus sound even more effective, twisting and turning more than any other song on the album, even chucking in a searing if brief guitar break along the way, once a consummate mix of rock and pop in their own unique style.
“Fake Up” is insanely commercial but rages at the same time, the story of not wanting to go to work each day, told with lyrical genius, and that crazy hook of “do do do do” just gets inside your head, as the song, like the previous one, twists through brief bass, surging guitars chords and band-played power as Pamela's vocals once again are at the top of their game, such a strong singer , she fits the song like a favourite pair of shoes. “Obsession”, “Contagious” and “Shout It Out” all deliver even more helpings of similar rock-based surging excellence with songs full of hooks predominantly sung, and absolutely perfectly, by the blood-stirring and adrenaline-rousing vocals from Miss Stewart while Paula's guitars blaze like a forest fire, the choruses scythe through your head, the songs lift off like a Saturn V and the bassist, particularly on “”Obsession” and “Contagious”, resonating the floorboards, as the drummer threatens to go right through them.
The hammer blow that is “Lady Of Rage” really takes it on to yet another level as the song races like the devil's on their tail, never mind their shoulder, with Pamela really doing the song justice as she sounds so strong, giving Paula the opportunity to turn that guitar up and give us a sea of riffing plus the added bonus of one incendiary guitar break that's the icing on a storm-force of a cake, while our tried and trusty rhythm section drive the whole thing headlong over the oncoming cliff, the best version of this song (I've heard Paula play this over many years) I've heard to date.
Now – you might think that this would naturally be the power-laden end to what's been a remarkably brilliant album – but you'd be wrong – for the band have one more trick up their collective sleeve.
There's a final track in the form of “These Walls” - and it's like a farewell signpost to what might be to come – for it is arguably THE most perfect AOR ballad, rock ballad – call it what you will – that I've heard in many a long year. The quality of composition, arrangement and singing is just breathtaking, the band playing an absolute blinder, as this huge sounding, slowly flowing sea of spellbinding songwriting, brings the tears to your eyes, a lump to your throat, and yet a smile on your face at the same time. Pamela is just amazing on lead vocals, while Paula's harmonies are sublime, the added piano from producer Graeme Watt, a perfect melodic counterpoint to the jaw-dropping performance from Paula on guitars, while the rhythm section, when they emerge after the gorgeous intro from Pamela and Graeme alone, play it with a consummate mix of power and restraint. The way the song goes from just vocal and paino into huge guitars and high-flying choruses on a song that really delivers its message with solid certainty, not to mention the eye-popping guitar break from Miss P, is simply incredible. I just LOVE this song and if this is what they are capable of, the world should watch out, coz in the eigthties, this would have been a worldwide smash hit for a band such as Heart, it really is THAT good, and the most perfect way to end a stone cold stunner of an album.
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