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▀█████▓▌ FORSAKEN Proudly Presents ▐▓█████▀
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▓█▀▄▄ Artist : Luke Bryan ▄▄▀█▓
▐▓▌▐█▌ Album : Kill The Lights ▐█▌▓▌
▐▀▄██ Label : Capital Records Nashville ██▄▀▌
▄███▌ Genre : Country ▐███▄
▀███▌ Source : CD ▐███▀
▐▄▀██ Street Date : 2015-08-07 ██▀▄▌
▐▓▌▐█▌ Quality : 1013kbps / 44.1kHz / 2 channels ▐█▌▐▓▌
▓█▄▀▀ Encoder : FLAC 1.2.1 ▀▀▄█▓
▓███ Size : 434.77 MB ███▓
▀ ▀█▌ Time : 57:11 min ▐█▀ ▀
▓▄███ Url : ███▄▓
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▄██▀ ▀██▄
██▌ 1. Kick The Dust Up 3:11 ▐██
██▌ 2. Kill The Lights 2:59 ▐██
██▌ 3. Strip It Down 4:01 ▐██
██▌ 4. Home Alone Tonight (Ft Karen Fairchild) 3:10 ▐██
██▌ 5. Razor Blade 3:41 ▐██
██▌ 6. Fast 3:26 ▐██
██▌ 7. Move 3:47 ▐██
██▌ 8. Just Over 3:13 ▐██
██▌ 9. Love It Gone 3:38 ▐██
██▌ 10. Way Way Back 3:19 ▐██
██▌ 11. To The Moon And Back 3:58 ▐██
██▌ 12. Huntin', Fishin' And Lovin' Every Day 4:38 ▐██
██▌ 13. Scarecrows 3:38 ▐██
██▌ 14. Corner Booth (Bonus Track) 3:19 ▐██
██▌ 15. Little Boys Grow Up And Dogs Get Old (Bonus Track) 3:44 ▐██
██▌ 16. Buddies (Bonus Track) 3:29 ▐██
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████ Contains 3 bonus tracks exclusive to Target stores ████
████ ████
████ When Luke Bryan subtitled his final collection of Spring Break ████
████ EPs "Checkin' Out," he made no bones about his maturation: now ████
████ that he's a man, he's giving up his childish ways. Kill the ████
████ Lights ù Bryan's fifth album, delivered just five months after ████
████ that farewell to Spring Break debauchery ù is unabashedly the ████
████ work of a man who is beginning to feel the weight of encroaching ████
████ middle age, but Bryan isn't running away from the good times he ████
████ celebrated as a younger man. Sure, there are suggestions that ████
████ he's feeling the weight of his years ù he notices how "60 seconds ████
████ now feel more like 30," then compares his beating heart to the ████
████ skips on a CD ù but Bryan isn't living for yesterday, he's ████
████ duetting with Little Big Town's Karen Fairchild about texting ████
████ pictures to their exes to stoke jealousy while singing the title ████
████ song to a neo-new wave disco beat that could also pass as EDM. In ████
████ other words, Bryan is happy to be a modern man and Kill the ████
████ Lights excels by being modern, as comfortable in the contours ████
████ that lie between contemporary country and crossover as it is in ████
████ the workingmans' sports bars that dot these United States. Bryan ████
████ never abandons his blue-collar roots but he also suggests he sees ████
████ a world outside of red states (after all, he obliquely references ████
████ Coldplay on the arena ballad "Just Over") and that is the key to ████
████ the record's success: Bryan is everything to everybody, a genial ████
████ host who hopes everybody is having a grand time. He's crowd ████
████ pleasing without pandering, delivering slow-burning ballads and ████
████ tempered party tunes that never descend to bacchanalia. Bryan is ████
████ a guy that wants everybody to have fun, then come back tomorrow ████
████ for another round and that's why Kill the Lights works so well. ████
████ He's a genial, generous host, going out of his way to ensure ████
████ everybody has a good time, and Kill the Lights winds up feeling ████
████ happy and generous, an inclusive record that plays to teenage ████
████ desires as effectively as memories of an adolescence left behind. ████
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