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Track List
01) Welcome to Fabulous Las Vegas
02) Only the Young
03) Hard Enough
04) Jilted Lovers & Broken Hearts
05) Playing With Fire
06) Was It Something I Said?
07) Magdalena
08) Crossfire
09) On the Floor
10) Swallow It
11) The Clock Was Tickin'
12) Jacksonville
13) I Came Here to Get Over You
14) Right Behind You
01) Welcome to Fabulous Las Vegas
02) Only the Young
03) Hard Enough
04) Jilted Lovers & Broken Hearts
05) Playing With Fire
06) Was It Something I Said?
07) Magdalena
08) Crossfire
09) On the Floor
10) Swallow It
11) The Clock Was Tickin'
12) Jacksonville
13) I Came Here to Get Over You
14) Right Behind You
4:49
4:19
4:06
4:43
5:49
3:21
3:19
4:18
3:25
2:56
4:49
4:03
2:23
3:52
Data Complete
70%
Total Rating
70%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2010
Pop
Relaxed
Rock/Pop
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Medium
Album
0 copies
Album Description
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Brandon Flowers rushes back to the faded facades, tattered dreams, and overheated pomp of the Killers’ second album, a divisive lab exercise in splicing the DNA of Springsteen and Echo & the Bunnymen. Flowers’ tales of West Coast losers on a last-chance power drive are pretty much the only differentia between Flamingo -- with all his neon lights and turned trick cards, it’s surely named after the fabulous casino and not the bird -- and a Killers album. Perhaps Flamingo doesn’t push its points as forcefully as it would if Flowers were backed by the Killers -- its emphasis is on atmosphere, like most records produced by Daniel Lanois -- but even without harder rhythms and prominent guitars this is cut from the same cloth as the band’s three albums, pushing surface as substance. So florid are Flowers' obsessions -- not every songwriter squeezes two song cycles out of Las Vegas -- that it’s always a bit of a shock to realize that he truly, deeply, madly means it all: his odes to Sin City are devoid of irony, his spectacle isn’t meant to have a shred of camp, his mini-epics are intended to paint him as the Springsteen of the desert. This blinkered earnestness blinds him to just how silly all this is. From Flowers’ five-dollar words to the operatic bombast, every little moment of Flamingo carries weight, which means every moment cancels out the one that came before: it’s all sequined stage costumes shimmering under blaring lights. But that’s where the earnestness kicks in and saves him: he’s the diva taking the spotlight for her solo crossed with a schoolboy satisfied with his final project, believing so much in his fussy grandeur that he almost gives Flamingo meaning.
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Brandon Flowers rushes back to the faded facades, tattered dreams, and overheated pomp of the Killers’ second album, a divisive lab exercise in splicing the DNA of Springsteen and Echo & the Bunnymen. Flowers’ tales of West Coast losers on a last-chance power drive are pretty much the only differentia between Flamingo -- with all his neon lights and turned trick cards, it’s surely named after the fabulous casino and not the bird -- and a Killers album. Perhaps Flamingo doesn’t push its points as forcefully as it would if Flowers were backed by the Killers -- its emphasis is on atmosphere, like most records produced by Daniel Lanois -- but even without harder rhythms and prominent guitars this is cut from the same cloth as the band’s three albums, pushing surface as substance. So florid are Flowers' obsessions -- not every songwriter squeezes two song cycles out of Las Vegas -- that it’s always a bit of a shock to realize that he truly, deeply, madly means it all: his odes to Sin City are devoid of irony, his spectacle isn’t meant to have a shred of camp, his mini-epics are intended to paint him as the Springsteen of the desert. This blinkered earnestness blinds him to just how silly all this is. From Flowers’ five-dollar words to the operatic bombast, every little moment of Flamingo carries weight, which means every moment cancels out the one that came before: it’s all sequined stage costumes shimmering under blaring lights. But that’s where the earnestness kicks in and saves him: he’s the diva taking the spotlight for her solo crossed with a schoolboy satisfied with his final project, believing so much in his fussy grandeur that he almost gives Flamingo meaning.
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