| | Teen Idols Full Leather Jacket CD Teen Idols Discography of CDs
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Recorded at Sonic Iguana Studios, Lafayette, Indiana.
Personnel: Danny Vapid, Keith ? , Heather ? (vocals); Matt ? (drums).
Recording information: Sonic Iguana, Lafayette IN.
Photographers: Ed Fred; Kate Powers.
Teen Idols: Keith (vocals); Phillip (guitar, background vocals); Heather (bass, background vocals); Matt (drums).
Additional personnel: Dan Vapid (vocals).
Full Leather Jacket Music Teen Idols Full Leather Jacket Songs | 1. | Midnight Picture Show | |
| 2. | Every Day Is Saturday | |
| 3. | Forever in My Dreams | |
| 4. | King Just for a Day | |
| 5. | Voice, The | |
| 6. | Genuine Whiskey Man | |
| 7. | Rebel Souls | |
| 8. | Band Wagon | |
| 9. | How Long | |
| 10. | West End Road | |
| 11. | Camera Shy | |
| 12. | I Don't Want Her | |
| 13. | Coming Down | |
| 14. | Team, The | |
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Full Leather Jacket Review
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Unlike its 2002 predecessor Back in the U.S., Good Evening New York City doesn't cherrypick highlights from a tour, it commemorates a specific event: the inauguration of Citi Field -- the replacement for the now-defunct Shea Stadium, where the Beatles played a legendary show in 1965 -- in the summer of 2009. The circumstances may be different -- different enough to lead to a Billy Joel cameo on "I Saw Her Standing There," the piano man returning a favor from Paul, who played at Billy's Shea-closing shows in 2008 -- and McCartney might have two strong albums of new material to draw upon, but as an album, Good Evening New ...
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Most reggae artists who get their one-shot, major label crossover chance flounder precisely because they aren't in control, but that doesn't seem to be the case with Beres Hammond here. He's credited as executive producer, actually produces the lion's share of the songs, has a songwriting credit on every song, and surrounds himself with Jamaican stalwarts from Sly Dunbar & Robbie Shakespeare to producer Phillip "Fatis" Burrell. But In Control just falls flat and any blame really comes down on Hammond for coming up with a collection of proficiently performed songs that don't amount to much of anything. "Reggae Calling" has its virtues (being yet another genre invocation isn't one of them), "No Disturb Sign" is a nicely drawn woman's fantasy of a man throwing his workday over for her, and "Giving Thanks" is a catchy celebration of life that generates some late momentum despite the irritating Pan pipe synthesizers. But the multi-generational reggae duets with Buju Banton ("Just Say No") and Marcia Griffiths ("It's Not too Late") are limp, "Another Day in the System" is a second-rate reprise of Hammond's classic "Putting up Resistance" with resignation as the dominant mood. Hell, even the all-but-failsafe "Armagideon Time" riff doesn't work on "I Could Beat Myself." It's ...
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Born during an electric storm in a hospital elevator, I arrived on the scene charged with life. Some years later, never mind how long precisely, with little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see what the watery world of music had to offer. It is in this way I discovered Janis Joplin, Etta James, Big Mama Thornton and all the other rebel divas that taught me how to sing. I bounced between high schools like a pin ball in a music video for The Who. By this time I ventured away from the Operatic training of my youth, leaving my teacher at the Washington Opera, to study jazz at the Levine Music Conservatory. I account much of my success to being kicked out of my second to last high school where I was required to take a series of tests. This resulted in a still active membership to MENSA and being skipped ahead and graduating high school at the age of 16 and heading to NY. Upon arriving in NYC I though it was high time I moved on musically and took on Deborah Harry's coach Barbara ...
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