| | Tomorrowz Yesterdaze This Will CD Tomorrowz Yesterdaze Discography of CDs
Tomorrowz Yesterdaze is a four piece group from Garner, NC specializing in reggae, rock, and funk. Jeremy Gaddy (vocals/percussion), Jason Evans (guitar/bass), Corey Hoeppner (bass/guitar/mandolin), and Patrick Orr (drums) combined their talents in August of 2002. One thing that makes this band different is that all the members were friends before they ever decided to start a band. Jeremy, Pat, and Corey all went to high school together. Jason knew Corey from college and previous musical encounters of the 7th kind. After several relocations of Pat and Corey's jamming space, they ended up in Jeremy's bonus room. One night at Jeremy's, Corey calls up Jason to come jam and the four of them ended up writing what would soon be their first three songs. They got their first gig on October 13th, 2002. They earned enough money playing out around Raleigh to purchase their own sound system by March of 2003. Since then, their music has taken them into many different environments and several live music venues around North Carolina, South Carolina, and Georgia. Tomorrowz Yesterdaze released their debut CD, entitled This Will, in November 2003. They are currently working on writing new material and making sure that each live show is an experience to be enjoyed by everyone. This Will Music | Category | Rock/Pop Albums, Rock CDs | | Label | Tomorrowz Yesterdaze | | Orig Year | 2003 | | CD Universe Part number | 7197921 | | Catalog number | 47352 | | Discs | 1 | | Release Date | Mar 02, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Recording Time | 22 minutes |
Tomorrowz Yesterdaze This Will Songs | 1. | This Will |
| 2. | Sunshine |
| 3. | No Quit |
| 4. | Friday Night |
| 5. | Situations |
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This Will Review
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Purchase This Will CD To buy, Click on price to add to cart | Alice In Chains Black Gives Way To Blue CD (2009) Limited Edition; Digipak
This Will
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After the dark and chilling themes of 2006's BLACK CADILLAC, which saw Rosanne Cash dealing with the deaths of her mother, Vivian Liberto, her father, Johnny Cash, and her stepmother, June Carter Cash -- all of whom passed within a two-year span -- one might assume that her next project would move into an even deeper level of bleakness, but with THE LIST, it's immediately clear that she has instead found a more measured place to stand. It's a lovely and redemptive outing that looks back to go forward. When Cash turned 18, her father, alarmed that his daughter only knew the songs that were getting played on the radio, gave her a list of what he considered 100 essential American ...
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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
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Writes rock mag Splendid:This just might be the soundtrack to your inner life -- that is, if you are a male born in the mid-'70s who was probably a bit too smart for his own good and suffered in school because of it, who enjoys both teen sex comedies and art films, who sees nothing wrong with worrying one moment about his own mortality and laughing the next upon hearing a song in which "the words are lewd", who wants to be sensitive to feminism but also doesn't like to be made to feel like a sex offender, who believes in free love as a fun concept but worries too much about STDs to be a real swinger, and who is currently deeply wondering about the world and his place in it. Others not fitting this description might be a bit confused by Ari Atari's highbrow/lowbrow lyrics, but those of us out there who get it (and, despite the lack of music addressing us, there are more than one might think) will experience the "shock of recognition" usually associated with reading good literature. For a band whose name places them in the 18th century, the Greats are a quintessentially 21st century band. In addition to deftly tackling confusing modern concerns through lyrical simplicity, the band dish out pure 2K music. Featuring a simple instrumentation of guitars, vocals and loops, they sometimes sound like Le Tigre, and at other times like pure Pavement. Also, according to the band's website, Pardon Our Appearance was "recorded in less than ...
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Falstaff began life as an acoustic duo, developing early into a full band as the music's potential made itself evident. In August 1996, after quickly making their way up the ladder to the top of the Hampton Roads music scene, the release of their debut CD Camp Songs brought Falstaff rave reviews from the music media. Eight months of brisk CD sales enabled the band to travel to Los Angeles to record their sophomore effort. The electric and driving Streetcar Giant showcases a Falstaff both more mature and powerful ...
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The Lodger's debut album, Grown-Ups, was a fine slice of indie pop that called to mind stellar groups like Orange Juice, the Wedding Present, and Heavenly, while making a case that they might someday be mentioned in that same class. Life Is Sweet is a step forward in both sound and song, and goes a long way toward making this thought a reality. The newly configured trio is driven as before by Ben Siddall's ace songwriting and intimate vocal style, but on Life Is Sweet, the songwriting has gotten a bit sharper, trading some of the wordiness that often derailed Grown-Ups for a more refined approach. Nowhere is this better illustrated than on the punchy and lyrically austere track "The Good Old Days." It's the kind of song that could overshadow the rest of the album, taking post-Postcard Orange Juice as inspiration, it sounds like a jumped up version of "I Can't Help Myself" with some thrilling falsetto and a huge hook. Luckily, the rest of the record is strong enough to withstand the threat of being swamped by the presence of ...
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