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Wyman, Bill - Stuff CD Cover Art
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Bill Wyman Stuff CD - Import

 Bill Wyman Discography of CDs

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Digitally remastered, expanded and enhanced reissue of former Rolling Stones bassist Bill Wyman's fourth solo album, originally a Japanese-only release in 1992. Features three bonus tracks: 'Like A Knife' (12 Inch Single Mix) and two versions of 'Stuff (Can't Get Enough)' (12 Inch Single Mix and Enhanced Video). 13 tracks total. Castle.
Stuff Music


Detailed Stuff Music Information



List Price $14.98 (You save $3.19)
Category Rock/Pop Albums, Rock CDs
Label Sanctuary Uk
All Time Sales Rank   591780  
CD Universe Part number 7114339
Catalog number 4941365
Discs 1
Release Date Jun 02, 2009
Bill Wyman Stuff Songs


Bill Wyman Stuff Album Track Listing



1.If I Was A Doo Doo Doo  
2.Like A Knife  
3.Stuff (Can't Get Enough)  
4.Leave Your Hat On  
5.This Strange Effect  $0.99
6.Mama Rap  
7.She Danced  
8.Fear Of Flying  
9.Affected By The Towns  
10.Blue Murder (Lies)  
Stuff Music


Stuff Other Versions



Bill Wyman
Stuff  (1992) ExedAudio Samples
CD$12.39
Stuff Review


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Buy Bill Wyman Stuff Posters From Allposters.com



ARMs Concert, Rolling Stone no. 413, January 1984

10 x 12 inch
Photographic Print

Price: $19.99
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This two-fer from Beat Goes On features a pair of out-of-print Jan & Dean Liberty LP's: Surf City and Dead Man's Curve/The New Girl in School originally released in 1963 and 1964, respectively. Included among the 24 songs are the hits "Surf City," "Honolulu Lulu," "Dead Man's Curve" and "Linda," along with top-notch hot rod tracks like "3-Window Coupe," "Mighty G.T.O.," and "Bucket "T." This is an enjoyable, fun reissue recommended to both collectors and casual listeners. ~ Al Campbell Digitally remastered collation of two original albums on a single CD of the surf duo's first two releases as they appeared in the U.K. Both were released in 1963 and 1964 respectively and includes the hits ...
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This CD contains B.B. King's first ABC-Paramount studio efforts -- Mr. Blues (1962) and Confessin' the Blues (1965), respectively. While there are inevitable similarities between the projects, offering them back-to-back allows listeners an acute sense of King's rapid maturation and development during what was by all accounts the nexus of the guitarist/vocalist's career. The dozen-song Mr. Blues was a haphazard start for King with the contents taken from three different recording sessions in a 13-month period (March 1, 1962 through April 11, 1963). Based on the results, the artist was being presented as a blues shouter, supported by an antiquated big band and/or orchestra. Arguably the best of the lot comes from the Maxwell Davis led ensemble on the first of several Big Joe Turner tunes, the Ahmet Ertegun penned "Chains of Love." The upgrade of Ivory Joe Hunter's "Blues at Midnight" is closer to the spirit of modern era King as he aptly demonstrates his singular testifyin' style. The fun and frolic of both "I'm Gonna Sit in 'Til You Give In" and "My Baby's Comin' Home" are the least dated of the ...
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Recorded between 1972 & 1998. Includes liner notes by Scott Schinder. With the arrival of Delta Lady: The Rita Coolidge Anthology, one can only remark: what took so long? No other singer -- not Maria Muldaur, Bette Midler, Bonnie Bramlett, Carly Simon, or Linda Ronstadt -- more perfectly embodied the wide range of changes that popular music underwent from the late '60s through the mid-'80s, and continues to seek new means of expression today. This two-disc anthology on Hip-O offers the first complete portrait of this complex and multivalent talent on CD (though a box set would have been nice). Rita Coolidge scored her first chart hit with friend Donna Weiss' "Turn Around and Love You" in 1969. That song earned her a studio spot where she fell in with Delaney & Bonnie, Leon Russell, and a huge cast of musicians. Being a background vocalist on Delaney & Bonnie's classic Accept No Substitute earned her a place on Russell and Joe Cocker's Mad Dogs & Englishmen revue and the rest is history, including a handful of chart hits and guest appearances that stagger the mind. Coolidge's period with A&M reveals that Coolidge is a singer whose gift of empathy for a song is singular. Indeed, in virtually every song one not only hears her voice, but also feels its smoky, throaty, body-caressing languor in every verse. She wraps her entire mouth around her syllables because they come from the deep, fathomless well that holds the fire in the belly. Her great earthy depth does not rely on pyrotechnics, but on passion and expression, the wealth of which adds another dimension to even a miniscule pop song and sends it forth to the listener with the temperature of a hot spring. All the evidence one needs is found in her live reading of "Superstar" (yes, the tune that became a smash for the Carpenters), where one can hear something completely outside the hit version's sentimentality. Coolidge brings the hue of painful memory -- of lovemaking, of shared tenderness and longed-for passion -- into the grain of the song; in its place lies raw, swollen, melancholy need. In addition, her performances of Dave Mason's "Only You Know and I Know," Booker T. Jones and William Bell's "Born Under a Bad Sign," Leonard Cohen's "Bird on the Wire," and Johnny Davenport's "Fever" are shot through with emotion that is equal parts physical and spiritual. And when it comes to expressing those intangible emotions that lie outside the margin of categorization, one need only to hear "The Lady's Not for Sale" (written by former husband Kris Kristofferson) to be moved outside the realm of one's experience and into that of the song. And Coolidge's country version of Eric Kaz's "Love Has No Pride" is nearly peerless in its white-out ...
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cdu4asppid music 7114339 cdu4pidall cdu4pls7 ver232cdu cdu4all 12/16/2009 8:44:48 AM