| | Aaron Lines Waitin' On The Wonderful CD Aaron Lines Discography of CDs
Waitin' On The Wonderful Music | List Price | $16.98 (You save $3.40) | | Category | Rock/Pop Albums, Country CDs | | Label | RLG | | Orig Year | 2005 | | All Time Sales Rank |  210068  | | CD Universe Part number | 6854899 | | Catalog number | 66999 | | Discs | 1 | | Release Date | New Aaron Lines CD release date | | Mono/Stereo | Stereo |
Waitin' On The Wonderful Review
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| | Trick Pony R.I.D.E. CD (2005)
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R.I.D.E., the title of Trick Pony's third album, stands for "Rebellious Individuals Delivering Entertainment." Of course, in 2000's Nashville, rebelling could ...
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After flirting with ...
| | Billy Branch Live '82 CD (1994)
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| | Jerry Garcia Shady Grove CD (1996)
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All tracks have been digitally mastered using HDCD technology.
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| | John Kruth Everywhere You've Never Been CDs (2000)
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John Kruth is turning into a major talent. Kruth’s humor is sly… (with) an understanding of how to craft a first-class lyric, offering a character study with all of Paul Simon’s scalpel-sharp focus and twice Simon’s wit. - The Star Ledger (Newark, New Jersey)His music is truly singular. It’s fun. It’s like Shel Silverstein colliding head-on with a Kalahari Bushman barn dance. – The Valley AdvocateJohn Kruth is impossible to peg – his omnivorous approach yields a wealth of riches, ranging from Mid-Eastern jams to Waits-like blues ballads to squirrelly jazz-pop ditties. - Dallas Morning NewsJohn Kruth makes great albums – Adrian BelewThe cat daddy of eternal hipness. - Beatle Bob (St. Louis)Everywhere You've Never Been - John Kruth's sixth album mixes catchy folk/pop tunes like Since I Quit Drinkin' Coffee and Too Much Purple with an exotic feel provided by four Moroccan drummers including Brahim Fribgane who has worked with Peter Gabriel. The disc also features reeds by George Young of Saturday Night Live and Paul Simon fame along with Klezmatic trumpeter Frank London and bass by Dave Dreiwitz of Ween. Lots of poetic lyrics over cool acoustic grooves. Eccentric, quirky, angular, and humorously abstract,Kruth isn't easy to categorize. He could be described as alternative pop/rock and alternative folk-rock (depending on the song. Even though Kruth isn't a jazz artist per se one can tell that the more abstract forms of jazz have influenced his work. Kruth has been influenced by Bob Dylan, the Rolling Stones, Neil Young, and the Beatles, but he isn't as accessible as those rockers; instead, he combines his folk-rock and British Invasion influences with the angularity and abstraction of avant-garde jazz. Kruth doesn't think twice about moving from one instrument to another. Mandolin is his main instrument but he is also heard on banjo, dulcimer, harmonica, flute, and kazoo. Like many of the post-bop and avant-garde jazz artists he admires, Kruth can be self-indulgent although not in a mindless, aimless way. Kruth, for all his eccentricity, is quite musical. There is a method to his madness, just as there is a method to Cecil Taylor and Ornette Coleman's madness. But again, Kruth isn't one to make a lot of compromises in order to be more accessible. - From All Music Guide Blind jazz artist Rahsaan Roland Kirk had as much influence on multi-instrumentalist John Kruth as the Beatles or Bob ...
| | Classic Bluegrass, Vol. 2 CD (2005)
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When Moses Asch released American Banjo (which focused on the influence of Earl Scruggs' innovative three-finger banjo playing technique) in 1956 on his little independent Folkways label, it was the first ever full-length bluegrass LP. Asch followed it up with dozens more, and when Folkways became part of Smithsonian Recordings in 1987, Asch's bluegrass catalog was assured a quality label that would keep everything in print. The bluegrass music Asch released in the 1950s was a new hybrid driven by propulsive banjos and wailing fiddles, with astounding high, lonesome vocal harmonies, part string band, part gospel-spiritual, with more than a little of the blues to keep it grounded. Among the many highlights on this delightful set (the second bluegrass sampler the label has issued) are Fred Price, Clint Howard, and Doc Watson's three-part mountain harmonies on the spiritual "Daniel Prayed"; the more old-timey than bluegrass "Won't You Come and Sing for Me?" by Hazel Dickens and Alice Gerrard; "I've Endured" by the late, great Ola Belle Reed, and the driving "Renegade" by Bob Everhart, which carries more than a bit of country in ...
| | Rocket: A Tribute To Dead Or Alive CD (2005)
Waitin' On The Wonderful songs
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'The sun became as black, the moon became as blood.The revelation has begun' ... Dead or Alive burst forth, from the ashes of Nightmares in Wax, into the UK pop charts with a raunchy version of K.C. & The Sunshine Band's That's The Way (I Like It). This cover may have been a 'Cheese whiz moment' for the enigmatic DOA front man, Pete Burns, but it was an important record for many of DOA's fans.Mixing a sense of gothic with the pulsing beat of disco/hi-NRG, whilst being inspired by the likes of Giorgio Moroder, Donna Summer, Sylvester, Divine, Grace Jones, Bobby Orlando and the studio 54 play hard/live hard ethics, DOA were a welcome change from the 'being alternative isn't about being pop' attitude at that time. Music fads change and fashions swing parallel from retro to futuristic, from classic to modern and back again. But well written pop music remains its own entity, within its own sphere and containing its own point of relevance. It's here that DOA's music speaks for itself. It was a strange state of affairs for many DOA fans back in the '80s, that they had to wait until the late '90s to actually hear what Pete's speaking voice actually sounded like, as he was an 'absentee pop star' on many of the '80s talk shows. It was not Pete's fault that they seemed too frightened of his image, too insecure about of his supposed views and unwilling to let him speak publicly. It seems quite childish now that record & TV companies really wanted to censor and sanitise a man wearing full black contact lenses, a leopard skin body suit and an eye patch! But DOA are not just about attitude and image. There's a tender and sensitive side to the lyrics and an understanding that the visual side sometimes hindered the general public from fully embracing the talent and honesty. This is shown beautifully in the song "Isn't It A Pity" (track 1), when Pete sings "I'm a kind of hybrid ...
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