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Depapepe - Hi! Mode! CD Cover Art CD music music CDs songs album

Depapepe Hi! Mode! CD - Import

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Japanese pressing. Sony. 2005.
Hi! Mode! Music


Detailed Hi! Mode! Music Information



List Price $36.99 (You save $2.84)
Category Rock/Pop Albums, Rock CDs
Label Phantom
CD Universe Part number 6981077
Catalog number 606345
Discs 1
Release Date Oct 25, 2005
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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 really reinterpret these songs as much as simply play them with his crackerjack road band, dropping in a little ...
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NIGHT CASTLE appears just in time for the big 2009 holiday season but don't be fooled: this isn't a Christmas album, even ...
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Still enamored of the concept of the concept album more than four years after AMERICAN IDIOT, Green Day unveiled its rock-opera sequel, 21ST CENTURY BREAKDOWN, in 2009. Like its predecessor, BREAKDOWN wholeheartedly embraces the iconic punk-pop act's shift to ...
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Drugstore's Rockin', Vol. 1
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Sorry, there is no artwork available at this time
Mary Alessi Whatever It Takes CD  (2005)

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Classic African-American Ballads
Classic African-American Ballads CD  (2006)

Hi! Mode! CD music
CD $10.39  Audio Samples
The African American ballads collected on this intriguing set from Smithsonian Folkways don't differ in obvious ways from the British ballad tradition, with the songs in both streams dealing frequently with death, often from romance gone awry, and several of the selections here ("Mouse on the Hill," "Stewball," "St. James Infirmary," "Gallis Pole") are actually British or Irish in origin. A case could be made that the black ballad tradition in America has a bit more humor to it, more improvisation, and that the singer is more likely to drop suddenly into first person in the lyric, thus personalizing the story, but these would be selective observations rather than codified rules of form, and the fact remains that a ballad's main job, whatever its source, is to tell a story, and if that story should come to a tragic close, all the better for its remembrance. And the stories told here have certainly been remembered, for these songs have been recorded numerous times by black and white singers alike, and tunes like "John Henry" and "Casey Jones" will be familiar to even the most casual listener. In the end, whether sung by blacks or whites, these are American ballads, having absorbed all manner of cultural flotsam, and if some of them are European in origin, they have been thoroughly stretched, altered, and reassembled into essentially new compositions, even if they retain a grain of the original song's intent. "St. James Infirmary," done wonderfully here by Snooks Eaglin, is a case in point. The song derives from an old British broadside called "The Unfortunate Rake," which details the fatal consequences of contracting a sexually transmitted disease, and the American transfiguration of the song retains that consequence, but is a good deal more vague about the events that led up to it, focusing instead on the narrator's preparations for death. It is a beautifully sad and melodic dirge, and remains so in a further variant, "The Streets of Laredo," which is the song in its next stage as a completely Americanized ballad. "Delia's Gone," sung here by Josh White, Jr., has done even more traveling as a ballad. The song was based on a real incident that took place on Christmas Eve in 1900, when Moses Houston shot and killed Delia Green. Both were only 14-years-old. A version of the ballad was collected in Georgia in 1906, but the song wasn't widespread at the time. Somehow the song reached the Bahamas, where the mento banjo player Blind Blake Higgs recorded it in 1952, and with the mid-'50s pop calypso boom just starting to pick up, Blind Blake's version was covered by numerous American singers, including Josh White, Pete Seeger, and Harry Belafonte, thus re-transforming "Delia's Gone" into an American ballad again, albeit with an obvious Caribbean lilt. Leadbelly's version of "Gallis Pole," ...
Pura Salsa
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Festa!! Last Battle Mahorobahawatasa
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Music Of Simply Red
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E Caco De Vidro Puro
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