| | Peter Knight & Danny Thompson CD - Import Peter Knight Discography of CDs
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Our Price: $31.55  CDFor Sale Limited Availability
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From Steeleye Span & Fairport Convention
Recording information: Black Mountain Studios.
Personnel: Peter Knight (violin); Danny Thompson (acoustic bass).
Liner Note Author: Danny Thompson .
Peter Knight & Danny Thompson Music Peter Knight & Danny Thompson Songs | 1. | Number One |
| 2. | Number Two |
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Peter Knight & Danny Thompson Review
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Purchase Peter Knight & Danny Thompson CD To buy, Click on price to add to cart | Mike Bloomfield Super Session CD (1968) Bonus Tracks; Remastered
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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth.
Those familiar with the Live Adventures album ...
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Photographer: Milton Montenegro.
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On FIRST LOVE, contemporary jazz saxophonist and composer Everette Harp moves deeper into the space he addressed on 2007's excellent MY INSPIRATION. Produced by George Duke, the meld of acoustic and electric instruments here is perfectly balanced. Melodic and harmonic structures are much more complex and ...
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The story of David Hersk's custom studio and record company, Gaity, and its three tiny affiliates, Perry, Twayne, and Laura, gets a second volume here, rife with rarities from what is generally described as "America's most primitive label." Much of Gaity's sound came from the heavily tiled and naturally echoey basement studio Hersk recorded in, coupled with massive amounts of tape echo to hide a multitude of vocal and instrumental sins. The other ingredient came from the bands and artists themselves, playing with a go-for-broke spirit that was awfully hard to ignore. Although these singles were little more than vanity pressings funded by the artists using his label, Hersk still exercised producer's prerogative in selecting what material (wisely pushing originals) would bear the Gaity imprint. This second volume corrals 20 more examples from this legendary label with typically unbridled, hard-rocking results. The tale of the Gaity "house band," the Glenrays, gets told in this volume, starting with their crude acetate of "Easy Rhythm," cut when they were still the Crown Teens. They only saw a single release on Gaity ("Easy Rhythm" b/w "Haunted by Repetition," both which appear on this collection), but they backed up numerous artists on various sessions and left -- for a Gaity artist -- a wealth of unissued material behind, including "Hey Little Willie." Local favorites the Big M's ("Get Going") and Jerry Roberts and the Toppers ("Change Your Mind") are also aboard. Gaity was also still recording doo wop -- what little existed of it existed ...
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| | Beck Stereopathetic Soul Manure CD (1994)
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Contains a hidden track "No Money No Honey Pt.1" right before "No Money No Honey Pt. 2 and 2 hidden tracks after "Aphid Manure Heist Pt. 1."
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From the snowbound streets of Nashville and the smoky bars of Austin to the Tapas Bars of Andalucia and the Troubador in London, Bill Jackson has been documenting his stories in song out on the fringes of Melbourne’s music scene for what must seem like forever to him.He remembers sitting in a publisher’s office on Music City Row and thinking…maybe this is it…but that was a long time ago and it wasn’t…He remembers rubbing shoulders with Willis Alan Ramsay, Don Schlitz and Lee Clayton in those dirty Nashville writers’ dives and slumping into his bed at the Sir John Robertson Hotel next to the old Ryman Auditorium – wondering if the right lines and melody would ever materialise…maybe they have but you weren’t listening…He remembers The Hole in the Wall and Armadillo World Headquarters in Austin and how it inspired him in that city of eclectic musical freaks…how he just had to get out ofLondon…chilled him to the bone and froze his writer’s pen…He remembers the characters, friends, artists and lovers who have shaped his life and…he remembers how Bob changed his life with the crack of a snare and a big Hammond Organ – sixty ideas in three minutes…how he helped him understand Woody, Ramblin’ Jack, Cisco, Big Bill and a thousand others who gave us a legacy and a belief in doing…He treasures ...
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