| | King Crimson Lark's Tongues In Aspic CD - Import King Crimson Discography of CDs
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Our Price: $42.05 CDFor Sale Usually ships in 1-2 days
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2006 Japanese reissue of the 1973 album, presented in miniature LP sleeve with obi-strip. WHD. Lark's Tongues In Aspic Music King Crimson Lark's Tongues In Aspic Songs | 1. | Lark's Tongues In Aspic |
| 2. | Book Of Saturday  |
| 3. | Exiles |
| 4. | Easy Money  |
| 5. | Talking Drum |
| 6. | Lark's Tongues In Aspic (1) |
| Lark's Tongues In Aspic Review
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$104.45 The third entry into this six-volume series chronicling the entire Sun singles catalog begins in the fall of 1957. The tiny label -- which had been essentially a two-person operation in the beginning and through its early gestation -- was now a major independent with national hits in (pop, country, and rhythm & blues. Sun was not only the little label that could, but also a major force in shaping rock'n'roll and the boundaries of pop music overall. Sun was no longer a regional label making strange, quirky music for a small chunk of the Southern demographic, but a part of the national marketplace. As this installment in the series clearly illustrates by its chronological end in the summer of 1959, Sun wanted to be a part of that marketplace and would change their trademark sound accordingly. Backup singers, tenor sax solos, overdubs, a taming of the raw excitement -- these were all stylistic notions unthinkable of a Sun record only a couple of years back. But for every pop teen idol experiment gone awry, for every slick(er) concession to the marketplace, Sun Records still rocked harder than any label on the planet and made much original music in the bargain. In the A- and B-sides of these 50 singles, we hear the changes in Sun and, indeed, rock'n'roll itself.
Disc one features one of the most cathartic moments in Sun history: Jerry Lee Lewis' two-sided classic, "Great Balls of Fire" and "You Win Again." Both sides of the Johnny Cash coin (the cool and the cloying) are well represented; Roy Orbison was being moved into similarly commercial fish-out-of-water territory, and Carl Perkins' last single for the label also appears. Disc Two features sides from the man responsible ...
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$11.59 Although it ran parallel with the back-to-basics feeling that permeated the early '70s, Good Dog Banned arrived at a distinctive strain of organic rock that was much more joyous and good-timey than many of their musicians-in-arms. Their one stab at rock & roll immortality, Good Dog Banned seems oblivious to any sense of anger at the "failure" of the '60s dream to take complete effect as of 1971. Whereas some '60s expatriates were decrying the cultural revolution, Good Dog Banned were singing "Things Ain't So Bad," heading down to the river and drinking wine. There is no nostalgia, no cynicism present. The band was untethered, ingenuous. Perhaps it could be viewed as rose-colored hippie denial, but in retrospect, the pure, unselfconscious charisma and the lack of piety that Good Dog Banned inject into their only effort makes it seem less of its time than other bands of this ilk. Still, a lot of love and togetherness are espoused in Good Dog Band's lyrics (cynics beware), and the members do seem to have a tightness that only comes from "Livin' in Harmony," as they sing on the final song on the album. Each of the members take a stab at singing lead, and each is a solid vocalist, but it is Lee Marks' wonderful soul-drenched ...
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$12.25 ERIC HIMAN BIOGRAPHYBy Larry Dean HarrisFor every decade, there's a guy with a guitar who embodies the spirit, romance and rebellion of youth. From Elvis to Springsteen to Prince to Cobain, these iconic figures have a way of channeling the collective voice of a generation both screaming and quietly pleading to be heard.While it may be premature to elevate Eric Himan to the Mount Rushmore of pop icons, he's proving that he has the mettle to make the climb. Himan burst onto the indie music scene at the beginning of this decade, acoustic guitar blazing, soulful baritone wailing. With a voice like Cat Stevens, inked arms that out-sleeve Tommy Lee and a guitar style akin to fellow indie artist Ani DiFranco, he was a young man on a mission. That mission began in coffee houses around Penn State University, where Himan was a student, and culminated in the 2000 release of his first CD, Eric Himan. The stripped-down, acoustic recording was originally crafted as an audience keepsake, but it became his calling card as the music was shared. And the word was spread. From the very beginning, Himan broke the mold of the soft-spoken, earnest folk troubadour. His performances were filled with electricity and power, but his lyrics betrayed a vulnerability and sadness that sharply contrasted with his bad boy appearance. The combination proved irresistible to audiences. Himan slowly began expanding his sphere of influence, touring the region while carrying a full course load at Penn State. As demand for his CD grew, Thumbcrown Records (christened for the crown tattoo on his right thumb) was born. Extensive touring became a catalyst for extensive writing and experimentation with other musical ...
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