| | Fats Waller Honeysuckle Rose CD - Import Fats Waller Discography of CDs
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Our Price: $13.15  CDFor Sale Limited Availability
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Fats Waller Honeysuckle Rose Songs | 1. | I Wish I Were Twins | $0.99 | |
| 2. | Armful O' Sweetness | |
| 3. | Do Me a Favor | |
| 4. | Porter's Love Song to a Chambermaid | |
| 5. | Georgia May | |
| 6. | Then I'll Be Tired of You | |
| 7. | Don't Let It Bother You | $0.99 | |
| 8. | Have a Little Dream on Me | |
| 9. | Serenade for a Wealthy Widow | $0.99 | |
| 10. | How Can You Face Me? | |
| 11. | Sweet Pie | |
| 12. | Mandy | |
| 13. | Let's Pretend There's a Moon | |
| 14. | You're Not the Only Oyster in the Stew | $0.99 | |
| 15. | Honeysuckle Rose | $0.99 | |
| 16. | Believe It, Beloved | |
| 17. | Dream Man (Make Me Dream Some More) | |
| 18. | I'm Growing Fonder of You | |
| 19. | It Isn't Love | |
| 20. | Breakin' the Ice | |
| 21. | Lulu's Back in Town  | $0.99 | |
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Honeysuckle Rose Review
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This 3-CD box set contains a 32-page booklet with a biographical essay by David Ritz, track-by-track annotations, complete personnel listings, a discography and rare photos.
The Love Unlimited Orchestra includes: Glodean James, Linda James, Diane Taylor.
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With '70s nostalgia being quite the rage in the early '90s, Mercury set out to cash in on the trend with this three-CD box set by one of the top soul/disco men of that decade. Though three CDs is a bit much for novices (who would be better off with the 1995 single-CD anthology All Time Greatest Hits), more seasoned White devotees will find that there's a lot to admire about this comprehensive package. Essential '70s hits like "I'm Gonna Love You Just a Little More, Baby," "Can't Get Enough of Your Love, Babe" and "It's Ecstasy" are included, along with gems he produced for the female group Love Unlimited Orchestra (including the sexy "Walking in the Rain with the One I Love" and his instrumental-oriented Love Unlimited Orchestra ("Love's Theme" and "Satin Soul," among other hits). And the set also contains some of White's more recent work, such as 1989's "L.A. My Kinda Place" and a remake of Lisa ...
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Blistering, ferocious, harsh, abrasive, confrontational -- quite often, the adjectives that are typically used to describe death metal, grindcore, and metalcore have also been used to describe the more militant side of free jazz. Charles Gayle and post-1965 John Coltrane -- two examples of avant-garde jazz taken to a brutal extreme -- are not for the faint of heart any more than Slayer or Cannibal Corpse. In fact, some of Coltrane's most devoted fans have a hard time comprehending his post-1965 work. But the AACM has, on numerous occasions, demonstrated that not all avant-garde jazz favors a take-no-prisoners aesthetic, and Song Songs Song easily represents that kinder, gentler school of outside playing. This 2004 date, which finds Jeff Parker and Scott Fields joining forces for a two-guitar duet, is not about in-your-face confrontation; instead, the guitarists favor a pensive, reflective approach to outside playing. Song Songs Song is far from a straight-ahead bop album; the performances are as abstract and cerebral as they ...
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Although the booklet contains two separate and fascinating biographies of this legendary artist, neither gives any information about Live Goode! itself -- the sleeve merely states the CD was recorded live in Toronto in 1969. By this time, Chuck Berry's career had taken a definite turn for the worse, after a series of far less than stellar albums for Mercury across the mid-'60s. And although it would revive briefly under Chess' aegis in the early '70s, sloppy albums, legal problems, and ever more lackluster tours would take their toll, sullying a reputation and canon of music that deserved to be revered, not destroyed. But there's no sign of what's to come across this incendiary set, which kicks off with a red-hot "Maybellene" proudly showing off her hillbilly roots, and storms across ten more hits as well as a steaming cover of Willie Dixon's "(I'm Your) Hoochie Coochie Man." The backing bandmembers -- whoever they are -- are solid, a bit loose but never ramshackle, and although they show little flash, that just means that Berry shines all the more. The set never flags for a second, not even during the ponderous, deep blues of the extended "Wee Wee Hours," while the upbeat numbers have an aggressive edge that is a potent reminder of just how threatening rock & roll was in its early days. It was a brittleness transformed into snarling anger by the British punk bands, echoes of which can be heard on the sloughing into sloppiness of "Sweet Little ...
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