| | Wally Whyton Children's Songs Of Woody Guthrie CD - Import Wally Whyton Discography of CDs
Children's Songs Of Woody Guthrie Music Wally Whyton Children's Songs Of Woody Guthrie Songs | 1. | Your Fingers in the Air |
| 2. | Ocean Go |
| 3. | Little Seed |
| 4. | Pick It Up |
| 5. | Why Oh Why |
| 6. | Race You Down the Mountain |
| 7. | One Day Old |
| 8. | My Daddy |
| 9. | Goodnight Little Arlo |
| 10. | How di Do |
| 11. | Swimmy Swim |
| 12. | Ridin' My Car |
| 13. | Cleano |
| 14. | Dance Around |
| 15. | Mail Myself to You |
| 16. | Bling Bling |
| 17. | Don't You Push Me Down |
| 18. | Sleep Eye |
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Children's Songs Of Woody Guthrie Review
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Purchase Children's Songs Of Woody Guthrie CD To buy, Click on price to add to cart | Toby Keith American Ride CD (2009)
Children's Songs Of Woody Guthrie album
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With most contemporary country artists, you could guarantee that a song called "American Ride" would be a slice of jingoism, but Toby Keith isn't like most country singers. His "American Ride" casts a cynical eye at desperate housewives and wannabe pop stars, not celebrating down-home values but wondering where we're all headed on this American Ride at the end of the 2000s, a sentiment not all that far removed from some of Keith's previous social commentary, which makes it a mild surprise that it is the only song here that doesn't come from his own pen. As superb and striking as it is, it's not necessarily a good keystone for the rest of the record, which does have a few tougher numbers that pick up on the lean, mean vibe of 2008's THAT DON'T MAKE ME A BAD GUY -- "Every Dog Has Its Day," the sly "If I Had One," and the heavy blues stomp "Loaded" -- but spends more time on the softer side, even when he kicks up a bit of dust on the dancefloor on "You Can't Read My Mind" or does a funny, respectful salute to military life on "Ballad of Balad." In other words, the real touchstone for the ...
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| | Jimmy Sommerville Very Best Of: Bronski Beat And The Communards CD (2005) (Import) England; United Kingdom
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THE VERY BEST OF BRONSKI BEAT AND THE COMMUNARDS brings together 17 of the finest digitally remastered recordings from Jimmy Sommerville's tenure with the two bands as well as his own solo career.
Scottish-born singer Jimmy Somerville became a surprise success in the mid-'80s. Instead of being Duran Duran-cute, Jimmy Somerville looked like the average boy next door. Instead of belting out his musical repertoire with a self-conscious urgency to prove himself as a singer (like Rick Astley or George Michael), Somerville possessed a dramatic, piercing falsetto that made the Associates' Billy Mackenzie sound like Tom Waits. But what really made Jimmy Somerville distinctive was his openness about his sexuality. The 1980s was the decade of androgyny, with artists like Annie Lennox, Boy George, and Poison emulating the gender-bending approach of 1970s-era David Bowie. Other performers such as Morrissey and the aforementioned George Michael kept their fans guessing about their sexual orientation. Jimmy Somerville, however, already answered the "is he or isn't he" question before anyone had a chance to ask, and he did so without a trace of mascara. Jimmy Somerville's career began as a member and co-founder of the dance-pop group Bronski Beat, and the here-goes-nothing frankness of the group's debut single, "Smalltown Boy," became an instant sensation, reaching the British Top Ten and becoming an MTV staple in America. The homosexual overtones of Bronski Beat's debut album, The Age of Consent, didn't stop it from becoming a major seller, and the follow-up single, "Why?," also secured a place in the upper reaches of the British pop chart and became an American danceclub favorite. After this initial success, however, Jimmy Somerville departed the group, forming the Communards in 1985 with keyboardist Richard Coles. The Communards' sound was basically a variation of Bronski Beat's disco-influenced ...
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This singular album announces the recording debut of the pianist/singer-songwriter Sasha Papernik. Classically trained, Sasha started writing songs as a means of reaching a broader audience, and eventually hit upon a style all her own, where raucous, virtuosic piano riffs meet smooth, lovely melodies. The intelligent, introspective lyrics are the icing on the cake. Initially crafted as solo-piano pieces, the songs developed a driving energy after some fellow conservatory musicians became Sasha’s first touring band. She built her chops the time-honored way: by playing in every tri-state area venue she could log onto her schedule, learning to give hushed atmospherics to an attentive audience and hurl blistering soul-grabbers at those who were on their twelfth beer. The music on this album is the result of all those nights of tight work with a band, cleaned up and made pristine. Listening to the often deceptively simple arrangements (drums, electric and ...
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