| | Steve Quelet House Of Wax CD Steve Quelet Discography of CDs
If you’ve ever been kidnapped by aliens,been chased by a carload of zombies or spent any time in concrete overshoes,you may find yourself smack in the middle of a Steve Quelet song. Steve’s songs have been gaining airplay and recognition in the Americana and Contemporary folk communities for his unusual approach to both time worn and current subjects. His often powerful and humorous songs and stories create a vivid look at life’s underbelly, and reveal some important lessons along the way. House Of Wax Music | Category | Folk Albums | | Label | Steve Quelet | | Orig Year | 2002 | | CD Universe Part number | 7174248 | | Catalog number | 80893 | | Discs | 1 | | Release Date | Jun 15, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Recording Time | 41 minutes |
Steve Quelet House Of Wax Songs | 1. | Underdog, The |
| 2. | Union Story, A |
| 3. | Lonely Skeleton |
| 4. | Let It Go |
| 5. | Quite Like Mulligan |
| 6. | House of Wax |
| 7. | Hey Daddy |
| 8. | Night of the Living Dead |
| 9. | Carnival Man |
| 10. | Foxhole |
| 11. | Lingo, The |
| 12. | Keep Me Posted |
| 13. | Down Here on the Tracks |
| 14. | Back Home |
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House Of Wax Review
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LOOKING HOMEFRED GOSBEE - Vocals, 12-string guitar, 5-string viola, whistlesJULIA LANE - Vocals, Celtic HarpAs descendants of immigrants, we sometimes tend to feel homeless; not quite belonging to the new land yet alien to the land of our ancestors. It is in "Looking Home" that we reconcile the two. Since music has a fine way of bringing people together, bridging cultures, generations and lifestyles, the selections here honor both our Celtic roots and some new branches.Recorded at Rosewood Recording Studio, Damariscotta, MaineRecording Engineer - Gary ClancyMixing Engineer - Elwood DoranProduction - Fred Gosbee, Julia Lane, Gary Clancy, Elwood DoranRecorded to 8 - track analog, mastered to DATFront photo - Claire CurtisBack photo - Julia LaneHeartfelt thanks to all who are part of the odyssey - Joanie & Cabot, Wilber & Marguerite, Bronwen, Caleb, & Harmony, Brian & Mark, Wayne & Jean, Jack, Joyce, Claire, Kim, Aine, Sherry P., Seanachan, Ruth & Bobby, Ivan & Evelina, Raymond & Bridie, Hugh & Nicola, Philben, Stravaig, Morag & DuncanFor all their patience, humor, and skill we thank Doreen, Doug, Gary & Elwood JULIA LANE Julia Lane has loved, sung, researched and created folk music since childhood. Fascinated by the stories embodied in the folk songs she heard, she learned to sing the evocative melodies, making up her own songs for her own entertainment. As an adolescent, she studied music theory and took guitar lessons from a lutenist specializing in Elizabethan songs. In researching the sources of the music, the wealth of lore and history recorded in musical form rekindled her interest in the music of her childhood. She became active in madrigal and Renaissance music groups as well as performing as a soloist and providing music for a children's theater group. In addition, she was inspired by the literary works of J.R.R. Tolkien and his sources. She composed her first melody for one of his "songs"when she was fifteen and has since completed ten more. After graduating from Phillips Exeter Academy in 1974, her interest in English and Scottish folk music and lore led her to study in Oxford, England. She is a self-taught player of the "clarsach" or Celtic folk harp which she began in 1989. As a result of her classic guitar training, she plays in the ancient method using her fingernails which gives a bright, clean sound. Her unique style has won three international competitions. Judge/harpist Kim ...
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"What a wonderful CD" said NJN/PBS of this debut album by an extraordinary singer-songwriter-guitarist whose story and recent reemergence are capturing widespread attention, even from the likes of Cliff Eberhardt, who not only called these songs "exceptionally good" but "as good as some of the best singer-songwriter material out there." The manager for acclaimed singer-songwriters Shawn Colvin, Suzanne Vega and Dar Williams also called the album "a wonderful and moving piece---well written, performed and produced." Eberhardt was attracted enough to the songs to appear on the album, as was acclaimed singer-songwriter Eugene Ruffolo, and The Kennedys, the sensational folk-pop duo of Pete & Maura Kennedy. Accompanying Ross on his acoustic guitars are some of music's best session and solo players, including Mark Egan on bass, Shawn Pelton on drums, Jon Herington and Jeff Ciampa on electric guitars, and Jon Werking on piano.Ross's early solo interpretations of the songs of James Taylor, Jackson Browne, Lennon & McCartney, Bob Dylan, Joni Mitchell, and Paul Simon captivated young audiences in college coffee houses and festivals over 25 years ago. His study of English literature was followed by the study and then busy and prominent practice of law for the last 18 years. Raising three children along the way made the opportunities for writing and performances that much more rare.But with this album, and the recent acclaim from the likes of PBS and Mountain Stage, the artist comes of age musically, not so much as a late bloomer but as one who has learned that there is truly a time for every purpose. Hence, the title of this album of songs for the heart and mind, wrought from experience and intelligence.The relentless passing and steep toll of time is addressed in the album's leadoff track, Here and Now, where even the deliberate length of the song suggests the importance of resisting certain conventions in order to find and live in the moment. The track's long outro deliberately enlarges the theme and poignancy of the song.Time, circumstances, and uncontrollable events are examined in Come What May. In Live and Learn, time is considered through the lens of regret, but in the hope that resolution of the past will set the future free. And in One Day, there is a transcendental and highly melodic treatment of the theme that the future can hold whatever promise the mind will allow.When the Good Get Bad builds from an acoustic intro into a rocking rumination on the same message that Peter Finch delivered in Sidney Lumet's 1976 film, "Network": I'm mad as hell and I'm not going to take it anymore!" It features Mark Egan on bass, Shawn Pelton on drums, Cliff Eberhardt on dobro, and Jon Herington in a blistering electric guitar ...
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