| | Everly Brothers Wake Up, Little Susie And Other Hits CD Everly Brothers Discography of CDs
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Rhino Flashback's compilation Wake Up Little Susie and Other Hits features ten tracks the Everly Brothers recorded in the '50s for the Cadence label. All the usual suspects are here including the original versions of "Wake Up Little Susie," "Bird Dog," and "('Til) I Kissed You." Although this isn't a bad budget-priced disc, other sets are available with more songs for not much more money. ~ Al Campbell
Audio Remasterer: Chris Clarke. Wake Up, Little Susie And Other Hits Music Everly Brothers Wake Up, Little Susie And Other Hits Songs Wake Up, Little Susie And Other Hits Review
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Buy Wake Up, Little Susie And Other Hits CD Purchase Wake Up, Little Susie And Other Hits CD To buy, Click on price to add to cart | Bob Dylan Christmas In The Heart CD (2009)
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After the initial shock fades, the existence of CHRISTMAS IN THE HEART seems perhaps inevitable. After all, the thing Bob Dylan loves most of all are songs that are handed down from generation to generation, songs that are part of the American fabric, songs so common they never seem to have been written. These are the songs Dylan chooses to sing on CHRISTMAS IN THE HEART, a cheerfully old-fashioned holiday album from its Norman Rockwell-esque cover to its joyous backing vocals. Apart from the breakneck "Must Be Santa," which barrelhouses like a barroom, Dylan doesn't ...
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Principally recorded at Mica Bunker Studios, New York, New York between 1987 and 1989. Includes liner notes by Suzanne Langille and Loren Mazzacane Connors.
This collection of blues, gospel, folk, and even rock standards (Chuck Berry's "In the Wee Hours") is actually a compilation of material from live gigs, a track from the In Pittsburgh album, and various other home-studio recordings and live gigs. They have several things in common: First, they are all from a period where Loren Mazzacane Connors returned to playing music after a four-year hiatus and discovered the electric guitar as the means for his expression -- though he hadn't yet abandoned the acoustic entirely -- and second, before he discovered his now-trademark multi-tracking system of performance. Third is that this disc is a complete collaboration between Suzanne Langille and Connors. Each musician has a trademark style and a way of slowing things to a near dead stop, and filling it with a maximum emotional tension. Take, for example, the pair's reading of Berry's tune: Langille turned the fire down so low that the simmer is barely visible. But each word, each syllable, is enunciated in such a sensual, smoky way that the tune becomes a potboiler. Connors covers her with a blanket of singled-out notes and sparse phrasing that would never have occurred to Berry in a million years. In other words, they make the tune a different song. In their reading of Jimmie Rodgers' "TB Blues," Connors takes his time winding the tune into a recognizable ...
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You get the feeling that the members of Milemarker grew up listening to Crass, Siouxsie & the Banshees, the Minutemen, and Wire as well as the aboriginal hardcore of their D.C. homeland. In spite of the obvious influences, the group (or, as they prefer to be called, the collective) has a completely original sound that lies somewhere between the melodic weirdness that was cult capital-area new wavers 9353 and the shimmering political prog punk explored by Fugazi, though filtered through the haze of guitar-friendly-period Rush.
Fanzine chats with the group tend ...
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Jesse Malin has come a long way from his glam rock heyday of fronting D Generation, and his solo debut, The Fine Art of Self Destruction, is an impressive look at Malin's musical maturation. He's a crooner, an Americana caterwaul, and a picaro of his native New York City, but a lonesome one at that. The Fine Art of Self Destruction displays a hearty mix of bittersweet alt-country ("Queen of the Underworld") and ballsy roots rock ("Wendy"), but the album is fully supported with a punk rock edge that Malin's most familiar with. Having ex-Whiskeytown frontman Ryan Adams in the production seat is a great fit, for both he and Malin's love-sucker hearts dance around the soft-hued beauty of each song. One might sense a slight hesitation in Malin's presentation, but it's not distracting. Malin's flight-or-fight theme on The Fine Art of Self Destruction is what makes this album an enjoyable ...
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The Invisible Rays formed in 2001 when two back-up men of the Boston vocal rock scene decided to leave the front-men behind and compose and record an instrumental album of cinematic music, combining 60's spy psychedelia and art-punk rock. Ned Armsby, who plays drums and orchestrates the myriad of movie samples and sound effects, is a veteran of the Boston music scene. He has played with bands as diverse as Punk mambo purveyors Babaloo and the alt-country ensemble The Blind King. Rafi Sofer, who plays guitar and masterminds the Ray's special sonic racket, is a reluctant performer (he hates carrying things) and a semi-patient sound engineer who has worked on records at Q Division for local and national acts including Francine and Mission of Burma and engineered shows for Juliana Hatfield. Inspired by the work of Boston record labels such as Kimchee Records and in the tradition of national Indies such as Quarterstick and SST, The Invisible Rays self-released their debut record "Put Your Gun Away" under the moniker Confidential Charley Records. In that independent spirit, the Rays have developed a unique and innovative sound that has been likened to bands as diverse as Calexico, Sonic Youth, and kraut rockers NEU!"Put Your Gun Away" was composed while being ...
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