| | Folk Crusaders In Concert CD - Import Folk Crusaders Discography of CDs
The Folk Crusaders' IN CONCERT was recorded live in July 1968.
This Japanese limited-edition release is issued in an LP-style slipcase.
Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. Toshiba. 2006.
CD comes in Jpn LP Sleeve. In Concert Review
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Purchase In Concert CD To buy, Click on price to add to cart | Colosseum Morituri Te Salutant: 1968-2003 On Stage & In The Studio CDs (2009)
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| | Professor Longhair New Orleans Piano - Blues Originals, Vol. 2 CD (1972)
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| | Tinariwen Imidiwan: Companions CDs (2009) (Import)
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| | Don Ho Greatest Hits CD (1969)
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Don Ho's very name has become a veritable punchline. ...
| | Christmas With Nana Mouskouri CD (1997)
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| | Fabulous Wailers CD (1959)
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As any quick perusal of old Top 40 rock & roll station playlists will attest, singles were where the shakin' action was, as rock & roll albums were scarce as hen's teeth back in those pre-Beatle days. But when the record companies decided to issue one, it was usually an artifact of high rockin' value and some major influence. Naysayers to the contrary, this debut album by the Northwest's first great rock & roll combo is just such an artifact. The Wailers dispensed crude, greasy, largely instrumental rock & roll music for those who came to shake it up and shake it down, and it's all on fine, rhythmic, open display here. This album is amazing in its own simplistic, nuthin'-special way, its crudity almost palpable. There's only one vocal aboard, Kent Morrill's "Dirty Robber," later covered and torched by the Sonics. Everything else is built on the riff-sturdy bones of their biggest hit, "Tall Cool One." With two guitars, piano, sax, and drums -- no bass player anywhere on here, another crudeness indicator of the times and locale it was recorded in -- all blasting away like they're working a VFW Hall dance, hoof shakers like "Wailin'," "Shanghaied," "Beat Guitar" (featured in the soundtrack of the misguided Jerry Lee Lewis ...
| | Osvaldo Pugliese In The 1940S CD (2000)
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| | Dalida Les Annees Orlando L'Integrale 1970-1997 CD (1997) France
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| | Marie Carmen Les Grands Succes CD (2006) (Import) Canada
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| | Diamond Rio CD (1991)
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| | Dizzy Gillespie Anthology CD (2004)
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| | Backy Skank Suited & Booted CD (2004) (Import) Australia
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| | Johnsmith Break Me Open CD (2006)
In Concert album
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Ten songs into Johnsmith's fifth album Break Me Open, the folksinger begins singing "Box Elder" by referring to a Federal Express delivery man. Never mind that the song is one of the few on the disc that Johnsmith didn't write himself, or that it is, as its title suggests, a tribute to a type of maple tree. The intrusion of a corporate mail carrier is a shocking reminder that Johnsmith actually lives in 21st century America. For most of this record, you could imagine that the world he describes is some timeless rural paradise. Johnsmith is a song poet of the open landscape and, not surprisingly, the open road (he claims to play upwards of 150 dates a year, and that takes some traveling). He is a keen observer of the outdoors, whether he is describing a box elder (in the words of L.J. Booth), "Silver Creek," or even "Pothole Season." Naturally, those observations are the outward manifestations of an inner emotional world; the broken streets and winter weather of "Pothole Season" reflect the singer's somber mood, just as "Barefoot in the Dew" expresses a more hopeful one. And hopefulness is the viewpoint he takes toward love in such songs as "Honest Truth," "Messy Thing," and bandmate Darrell Scott's "Love's Not Through with Me," all of which hold out the possibility of romance. Of course, the association of spring with life must be contrasted with the relationship between winter and death, and if "Pothole Season" is about enduring, when Johnsmith comes to write about the death of one of his brothers, he again emphasizes nature and environment, calling the song "Cold Cold Ground" and repeating those words over and over. The music is in keeping with the language and sentiments. Johnsmith augments his acoustic guitar fingerpicking and sensitive tenor singing with a small string band calling upon banjo, bouzouki, mandolin, fiddle, and bass, along with occasional flutes and whistles. ...
| | Supervillains Jahmerica CD (2006)
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In their ten-year existence, the Supervillains have grown from hometown heroes in Orlando, to a national force in the resurgent ska and reggae scenes. Since the release of their debut national album "Grow Yer Own" on LAW records in 2006, the Supervillains have been on a torrent, logging over 400 shows and leaving crowds in a swirling frenzy from coast to coast. Their patented sound is generated by a rock-solid rhythm section including two vocalists in band founders Scott Suldo (guitar) and Dominic Maresco (drums). Bassist Daniel Grundorf provides the low-end super-glue that paves the way for the fiery horn section of Jonathan Cestero (tenor sax) and Ricardo San Jose (trumpet). Their "anything goes" live performances give way periodically to their onstage musings and commentary, which often times is as memorable as the music. Capitalizing on the many different musical influences of the band members, their sets usually volley between Operation Ivy-style speed-punk and Studio One-era reggae punctuated with southern harmonies and latin brass. After spending the last 2 years supporting "Grow Yer Own" on the road with the likes of Pepper, Slightly Stoopid, Fishbone, Inner Circle, Authority Zero, the Expendables, the Mad Caddies, and Catch 22, the buzz has already begun about their long awaited follow-up release titled "MASSIVE". Once again being released on Hawaii's LAW Records, the label owned by longtime tourmates Pepper, "MASSIVE" aims to be as huge as its title. The record was the result of a 6-week stay at Orlando's Fighting Records Studios with producer ...
| | Antonella Ruggiero Sospesa CD (2001) Import
In Concert music CDs
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The single biggest problem with Italian pop music in the '90s was how bland much of it was. Without having a distinct voice in the international pop market, much of their music sounded like watered-down British and American pop. A few performers managed to survive this period because of the sheer force of their musical personality, and one of these musicians is Antonella Ruggiero. She came into the 21st century with a gorgeous voice, several good songs, and a charisma that carried over into her recordings. Take the opening track on Sospesa, "Inafferrabile." The track itself is nothing exceptional, but Ruggiero's strong, distinct voice punctuates every roll of the tongue and subtle nuance. It is her fiery vocals that truly makes this album soar past the limitations of the songwriting. Bringing to mind the solo work of Sarah Brightman crossed with Post-era Björk, Sospesa is a collection of pleasant surprises. Just when a track seems like it might ...
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