Hell — After School 2 [portable]
 Description :
Personnel: George Strait (vocals); Brent Mason (acoustic & electric guitars), Paul Franklin (steel guitar); Steve Nathan (organ, synthesizer), Glenn Worf (bass); Eddie Bayers (drums); Curtis Young, Liana Manis (background vocals).
<p>Everyone loves George Strait. From country fans to rock critics, George Strait is singled out as the PURE country artist. On LEAD ON, his admirers have new reason to follow.
<p>His unadulterated country sound, awash in steel, fiddles and clean guitar picking, is swept by the deep waves of his distinctive Texas baritone. From the cajun dance beat of "Adalida" to the maxi-traditional "I Met A Friend Of Yours Today," Strait runs the gamut of tasty and tasteful country. No filler, no radio junkfood, just a lesson to all the wannabes, this is Country Music 101.
<p>"Nobody Gets Hurt," by Jim Lauderdale (a Strait favorite) and Terry McBride, is a contemporary country classic with an old-time bass shuffle that makes it sound warmly familiar. "Down Louisiana Way" sounds like a frisky Lucinda Williams cover. "The Big One" is classic Straitabilly, an unobtrusive marriage of rock and country. "Lead On" is a gentle ballad, with dead-on delivery and phrasing.
<p>Every cut is restrained, no excesses, but there's no holding back either. The tear in Strait's beer is as salty as any other country singer, and when he hurts you hear the sting. LEAD ON is like a greatest hits package: diverse, familiar, and of the highest quality. Only George Strait can pull off such a feat with ten new songs.
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Track Listing :
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Album Information :
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UPC:008811109226
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Format:CD
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Type:Performer
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Genre:Country - Contemporary Country
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Artist:George Strait
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Guest Artists:Steve Gibson; Stuart Duncan; Matt Rollings; Buddy Emmons
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Producer:Tony Brown; George Strait
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Label:MCA Records (USA)
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Distributed:Universal Distribution
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Release Date:1994/11/08
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Original Release Year:1994
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Discs:1
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Recording:Digital
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Mixing:Digital
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Mastering:Digital
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Mono / Stereo:Stereo
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Studio / Live:Studio
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Customer review - February 06, 1999
3 of 3 people found the following review helpful:
- An overlooked good record
George's Strait discography has always been consistently good. This CD was never much in light, but it is excellent, with even a few gems like the cajun-flavored "Adalida", and the moving "Down Louisiana Way" which were not included in his fabulous box-set. Buy and listen. Paul LeBoutillier
2 of 2 people found the following review helpful:
- Pretty good album that was overlooked
The first thing I noticed was this was the first Strait album with lyrics included in the liner notes, which was nice of them to finally do.
My favorite songs on this one are Nobody Has To Get Hurt and I'll Always Be Loving You. Both have solid melodies and choruses that practically force you to sing along. Nice, creative idea on Nobody. Lead On is very The Chair-ish, as both do great jobs at examining the initial stages of a relationship. You Can't Make A Heart delivers an impressive and overlooked message, and I Met A Friend relates a realistic scenario to the meltdown of a couple.
Adalida and Big One are songs that start to get away from him a few times, with Adalida being perhaps the only substance-free song on the album. George's weakest songs have always been at least listenable and above average. This applies to What Am I Waiting.
Overall, this is a solid album, but lacks the one gotta-have, instant-classic tune that many of Strait's other albums possess.
1 of 1 people found the following review helpful:
- One Of George's Best Albums.
I Like This Album. It Was Released In The Fall Of 1994. The Lead-Off Single "The Big One" Went Strait To Number 1. So Didn't "You Can't Make A Heart Love Somebody". The Title Track Is Also Another Love Balled. Buy This CD Today.
- Great CD
I really enjoy George Straits music and I do intend to get more of them as soon as I can
- A very good album for the most part
Players primarily use a katana for melee combat to conserve precious ammunition for their pistol .
A voice came, not from the display but from behind her, soft as a promise broken.
Whether you're a returning fan of the first game or a newcomer drawn in by the unique aesthetic, here is a breakdown of what makes this sequel a hot topic in the community. Hell After School 2 At its core, HAS2 is an action-platformer hell after school 2
: Players can utilize a directional dodge action (bound to the Spacebar by default) to slip past enemy strikes and positional traps.
is a 2D open-world survival action game developed by ST Hot Dog King that serves as the direct sequel to the original monster-infested survival title. Players take on the role of a heroine navigating a post-apocalyptic hometown and a massive, crumbling school building overrun by mutated creatures. Gameplay and Core Mechanics Players primarily use a katana for melee combat
Introduces specialized bio-hazards, EXP balancing mechanics, and high-tier armor degradation. Deep Industrial Infrastructure
For those interested in the survival-horror genre, there are a few key points to consider: Hell After School 2 At its core, HAS2
: Essential materials collected from dropped loot or environment objects to upgrade base facilities and defenses.
The game tracks your behavior. If you spend too much time in the light, the shadows grow more aggressive. If you hide too often, the creatures find ways to draw you out. The game learns your fear and adapts, ensuring that no two playthroughs are the same.
The gameplay loop of Hell After School 2 revolves around exploring a multi-layered, interconnected labyrinth of industrial labs, military safehouses, and zombie-infested zones.
Furthermore, the setting of this sequel evolves. The school hallways are replaced by the digital landscape. If the original stressor was the physical confinement of a classroom, the second chapter deals with the inescapable reach of connectivity. The "hell" of the sequel is the performative nature of social media, where the comparison culture of high school is amplified. Young adults are forced to curate successful personas online while grappling with internal instability. The sequel suggests that while one may physically leave the school building, the social hierarchy and the pressure to perform have migrated to the digital realm, creating a shift that is perpetual and inescapable.
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