| | Three Degrees Greatest Hits CD Three Degrees Discography of CDs
GREATEST HITS contains new recordings of hits by the Three Degrees.
A super-sizing of this long-running but under-publicized group's productive years -- from 1970 to 1979 -- on Roulette, Philadelphia International, Epic, and Ariola Records. Only diehards will miss earlier (excluded) sides from 1965 to 1969 on Swan, ABC, Warner Bros., Metromedia, and Neptune. This set beams up their hits: "TSOP," "When Will I See You Again," "Maybe," "Dirty Old Man," "Long Lost Lover," etc, and spans to include scorching renditions of New York City's "I'm Doing Fine Now," Marvin Gaye's "Let's Get It On," and Aretha Franklin's "Do Right Woman, Do Right Man." Essential for girl group fans, and a good buy for casual fans. ~ Andrew Hamilton Greatest Hits Review
GuidelinesRemember to focus your comments on Three Degrees Greatest Hits CD. Check our review guidelines for specific details regarding customer review policy. To submit your review, please fill out the above form and click "Submit Review." A staff member will then verify your review meets our guidelines. Upon approval, your review will be published within a few days. Please do not use this form to comment on web site errors or for order related questions. If you have concerns of this nature, please contact customer service by filling out this form.
Purchase Greatest Hits CD To buy, Click on price to add to cart | Glen Campbell Wichita Lineman CD (1968) Remastered
Greatest Hits album
 $5.89    
| | Cyrkle Minx Soundtrack CD (1970) SDTK
Greatest Hits CD music
$14.29
THE MINX SOUNDTRACK is The Cyrkle's unofficial, rare "third" album and includes 8 bonus tracks.
Somehow the Cyrkle, one of the more clean-cut pop-rock groups of the late 1960s, ended up doing the soundtrack to the obscure X-rated movie The Minx. (Although it was originally intended as more of a B-movie, nude scenes were added to generate controversy.) As such it qualifies as something of the lost Cyrkle album by a band that only put out two proper LPs. It's not the "great" lost Cyrkle album, because the songs, penned by ...
| | Carter Family 1935-1941 Vol. 2 CDs (2003) (Import) United Kingdom
Greatest Hits music CDs
$27.35 
| | Britney Spears Blackout CD (2007)
Greatest Hits songs
$10.39 
| | Carter Family 1927-1934 CDs (2002) (Import) United Kingdom
Greatest Hits album
$25.79
| | Anne Murray Together/Keeping In Touch CD (1999) Import
Greatest Hits CD music
$22.09
| | Dave Young Inner Urge CD (1998)
Greatest Hits music CDs
$14.65
| | Sound Effects, Vol. 1 CDs (2001) (Import) Box Set; Canada
Greatest Hits songs
$28.89
| | Big Mountain New Day CD (2002)
Greatest Hits album
$14.79
To listen to the band's seventh album, you'd never guess what a rough and rocky road Big Mountain has traveled since its debut as Shiloh in 1989. Only one member remains from the original lineup that changed its name to Big Mountain with the Wake Up album in 1992, and the new bandmembers have plenty of horror stories about their messy departure from a major label and their struggles to keep the band together in the years that followed. But now, the group is ...
| | Radio Tarifa Fiebre CD (2004)
Greatest Hits CD music
$15.65
| | Johnny Coles Little Johnny C CD (1963) Remastered
Greatest Hits music CDs
$8.45
| | Lizz Wright Dreaming Wide Awake CD (2005)
Greatest Hits songs
$11.49
| | Full Spectrum Jazz Big Band Pursuits CD (2006)
Greatest Hits album
$13.15
| | Graham Parker Another Grey Area CD (1982) Reissue
Greatest Hits CD music
$9.25
"Mercury Poisoning" was recorded with the Rumour in 1978 during sessions for SQUEEZING OUT SPARKS.
When Graham Parker issued the Jack Nitzsche-produced Squeezing out Sparks in 1979, many inside the music industry -- from execs to critics -- figured that his next one would be it, since Squeezing just missed, though it was celebrated by nearly everyone who heard it. Two of Parker's first three albums -- Howlin' Wind and Heat Treatment -- were top-notch, hard hitting rock & roll albums full of great songs and mud-slinging pub rock production that connected in England. It felt like only a matter of time. Arista in its infinite wisdom paired Parker with Jimmy Iovine for The Up Escalator in 1980, and for some reason, Iovine decided to slicken up the singer/songwriter and his band rather than the hard-edged production that clicked when he worked with Bruce Springsteen and Tom Petty. While the songs were there, the sound wasn't, and it must have been discouraging for Parker. His moment had come and gone. Parker wasn't about to let fate cheat him, though, and for 1982's Another Grey Area, he teamed with veteran producer Jack Douglas, and placed his band on recording hiatus in favor of a slew of studio musicians including Nicky Hopkins, Hugh McCracken (!), David Brown and George Small among others. Things start well enough with the mid-tempo rocker "Temporary Beauty"; with its Springsteen-esque piano and ondioline courtesy of Hopkins, the rounded lead guitar lines fall into place, wrapping themselves around Parker's voice on the refrains, and it works. Parker nearly spits out his words, full of irony, empathy, piss and vinegar. They even hold up on the title track, which cooks along with a bitter edge, a brisk tempo set by a snare/hi-hat combination and six strings upfront pushing the singer. Female backing vocals to fill it in and the bassline nearly percolates. But Douglas' production begins to wear thin by "Big Fat Zero," despite Parker's fine writing. He doesn't seem to be able to capture the knife edge the band tries to counter the vocals with. It's all swirl and twirl without resolution or ...
| | Gina Villalobos Miles Away CD (2006)
Greatest Hits music CDs
$13.79
There is that long lost lonesome in the grainy reed of songwriter Gina Villalobos' voice that takes the listener by the collar or pulls his hair and pulls him down to that level where truth is mitigated between one person's desperations, hopes and longing and another's. Gina Villalobos grabs the listener by the hair with a smile on her face and does so by using rock & roll's brash dynamics, country's instantly catchy melodies, and the lyric imagery of a guttersnipe poet. Over the course of her recording and touring career, Villalobos has deepened the indelible marks left on her heart from the endless travelodges of the world, the trashy streets of Los Angeles, the endless smoky club stages and those faces and souls she's encountered rightfully and wrongfully in the process of becoming a songwriter of such power, depth and immediacy that she makes most of her peers seem like poseurs. She rips open her skin and lays bare that pulsing, thirsty, raw organ and makes it sing. If you want comparisons, fine: think the rough and rowdy Lucinda Williams meeting Joan Jett and Patti Smith for a drink and things getting out of hand. Villalobos is a sinner who is seeking the redemption she can see but never reach. Her songs are loaded with tough, edgy guitars, clean taut lines and a raw, in-your-face presence that only underscores their beauty. This is the kind of music Nashville may be afraid of throwing out there in all its ugly, tarnished elegance, but is trying to cut through indirectly via the rock & roll-drenched sound of artists like Sugarland and, to a lesser degree Little Big Town and Gretchen Wilson. This is country music first and foremost, topically, musically, and compositionally, but it's rock & roll in spirit, texture, and presentation.
Villalobos is the real thing. Check "Face on the Sheets" with its wide-open electric guitar wrangling by Kevin Haaland and pedal steel boss Sean Caffey. She rolls right on top of the din as the snares pop and the bass plods: "I can't brush off this stain/Someone tape up my face again/'Cause it studies my feet/I'm such a case and I lie about my medicine...Come on baby/I heard you had to sell your sheets again/Come on baby/Rub yourself on the sheets again/Take it from me..." She nails it as guitars scream and wail, breaking down the four walls she's sought shelter in. Fittingly enough, the next cut is a ballad called "Let's Fall Apart." Amid the sound of whining pedal steel, banjo, fiddle, and big wide-open six-strings and electric violin, Villalobos stretches her limited range to the place where the valves take hold and take over. The verses are so gentle and fragile and the refrains suffocating: "...The concrete in the rain it makes a taste/And weighs down on your skyline/I'm ducking for some cover and passing out/Oh let's just fall apart/Let's just lose ourselves/And find us a dying art/That's what we've ...
|
|
|
192979 
Email a Friend
