| | Bob Welch French Kiss CD Bob Welch Discography of CDs
 (3 Customer Reviews)
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Bob Welch's debut album saw him cash in on three Top 40 singles, refurbishing the romantic "Sentimental Lady" (originally from Fleetwood Mac's Bare Trees album) and taking it to number eight on the charts, with radio-tailored efforts like "Ebony Eyes" and "Hot Love, Cold World" following right behind. With not much success coming from Welch's short stint with his own Paris project, he decided to hire Lindsey Buckingham, Mick Fleetwood, and Christine McVie to help him out with his first solo venture. Spotlighting Welch's vocal powderiness, French Kiss ends up being a bunch of approachable soft pop tunes that display enough eager guitar work to keep them afloat. Presenting a sturdy feel for Welch on his own, tracks like "Easy to Fall," "Carolene," and "Lose My Heart" are equivalent to the hits in their familiar '70s rock formula, but cuts like "Dancin' Eyes" and "Danchiva" find Welch running out of room. Two years later, Welch released his second album, entitled Three Hearts, which gave him his last Top 40 hit with "Precious Love," but the album itself is noticeably weaker and less enthusiastic sounding than his first. ~ Mike DeGagne
Originally released on Capitol (11683).
Engineers: Warren Dewy, Richard Dashut, Ken Cailat.
Personnel: Bob Welch (vocals, guitar); Lindsey Buckingham (vocals, guitar); Christine McVie (keyboards, background vocals); Alvin "Red" Taylor, Mick Fleetwood (drums).
Recording information: Cherokee Recorders; Producers Workshop; Sunset sound; Village Recorders, Los Angeles, CA.
Photographers: Olivier Ferrand; Daniel Catherine.
Arranger: Lindsey Buckingham.
Personnel: Bob Welch (vocals, guitar, bass); Lindsey Buckingham (guitar, background vocals); Christine McVie (keyboards, background vocals); Mick Fleetwood, Alvin Taylor (drums).
Producers: Carter, Lindsey Buckingham, Christine McVie.
Purchase French Kiss CD To buy, Click on price to add to cart | Tony Orlando Bless You And Seventeen Other Great Hits CD (1997)
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Tony Orlando's early years as a teen idol may have yielded only a handful of minor hits, but his later fame with Dawn guaranteed that they would eventually be resurrected. "Bless You" was the biggest of Orlando's early charters, inching into the Top 15 in 1961. That song, as well as his other Epic recordings from 1961-1963, exemplify the teen pop style of the era with sparkling arrangements ...
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| | Das EFX Hold It Down CD (1995)
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Taking over hip-hop in 1992, Das EFX introduced their "diggedy-Das" rapping style, which has since been duplicated throughout the industry. Fortunately, no one has come close to mastering Dray and Skoob's trademark rhyming, and the biting MCs have mysteriously disappeared. Now, three albums deep with HOLD IT DOWN, Das EFX maintain their ruffneck image and continue to bring forth the underground sound.
Rolling with the Hit Squad (headed by PMD), Das EFX's name is often associated with hardcore hip-hop, and "Real Hip Hop" proves that there is nothing commercial about their music. "No Diggedy"--which in plain English means "No Doubt"--answers the question ...
| | Verve Remixed CD (2002) Digipak
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This compilation featuring remixes of tunes from the vaults of one of the premier '50s and '60s jazz labels varies in tone from the thumping house of the Dorfmeister Con Madrid reworking of Willie Bobo's "Spanish Grease" to the ethereal tones of Thievery Corporation's re-imagining of Astrud Gilberto's "Who Needs ...
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Composer/Lyricists: Brendan Milburn; Valerie Vigoda; Rachel Sheinkin.
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$17.95 | | Northwoods Improvisers Lightning Darkness CD (1998)
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Clearly the most outerworldly and diverse Northwoods album released, Lightening Darkness is a journey into Middle Eastern music and free harmonic extractions. The title comes from a Sun Ra poem, and the album features more beautiful cover artwork from bassist Mike Johnston, who designed their previous two covers. The album also marks their first appearance on the Entropy Stereo label, out of Ann Arbor, MI. Northwoods waste no time in their exploration of Eastern atonalities, as the opening title track suggests. Abstract percussion and Johnston's skilled William Parker-like bowed bass create a sense of uneasy anticipation -- a soundscape of sorts. Suddenly a crashing gong from drummer Nick Ashton signals Mike Gilmore's vibes to quietly end the piece. Here one can hear the magic and effortlessness of the band's intimate communication. "Rainbow" features Gilmore on the cheng and sounds like a Ravi Shankar venture into abstract, progressive Krautrock. It is his shining moment on the instrument, illustrating his complex musical diversity. Gilmore also highlights the obscure Sun Ra piece "God Is More Than Love Could Ever Be," this time on the vibes. His relaxed textured overtones send a deep, heartfelt message to the listener's soul, as the rest of the group perfectly round out this near-flawless tribute to one of their obvious musical influences. Not to be outdone is Johnston, whose Middle-Eastern flute on "Tuareg" and "Tariquah" is spine-chilling, as it begs the question, "Where did these Midwesterners pick up such an intimate talent for these non-Western musical mysteries?" ...
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