| | Peteco Carabajal La Historia Del Folklore Segunda Parte CD - Import Peteco Carabajal Discography of CDs
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La Historia Del Folklore Segunda Parte Music Peteco Carabajal La Historia Del Folklore Segunda Parte Songs | 1. | Desde El Puente Carretero |
| 2. | Mi Abuela Bailo La Zamba |
| 3. | A Don Ponciano Luna |
| 4. | Aoranzas |
| 5. | Como Pjaros En El Aire |
| 6. | En Tren De La Esperanza |
| 7. | Te Voy A Cantar Un Sueo |
| 8. | Perfumes De Carnaval |
| 9. | Los Indios De Ahora |
| 10. | Sembremos La Chacarera |
| 11. | Siembra De Amor |
| 12. | Cancion Del Brujito |
| 13. | El Indio Froilan Gonzalez |
| 14. | Ya Me Voy |
| 15. | Tu Silencio |
| 16. | El Angel Azul |
| 17. | La De Los Angelitos |
| 18. | Gato De La Oracion |
| 19. | Para Los Ojos Mas Bellos |
| 20. | Entre A Mi Pago Sin Golpear |
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La Historia Del Folklore Segunda Parte Review
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The title for this album comes about because the songs come mostly from previous releases by cabaret performer, D. C. Anderson. The masters for these releases were in a box under his bed, ergo The Box Under the Bed. Over his years as a performer, Anderson has traveled coast to coast, working in such musicals as Candide, Pippin, and a lengthy association with the Andrew Lloyd Webber smash The Phantom of the Opera. The play list is very broad. There's "Mississippi Mud," which brought Bing Crosby to public attention. Anderson re-creates himself through dubbing, singing in the same syncopated manner Crosby and the Rhythm Boys did more than 75 years ago. Sticking to the well-known cabaret formula of selecting material based on the story it tells rather than solely on popularity, there are several songs here that are not all that well known, even among other cabaret performers. But typically they are all done in the expressive, sincere tone that is so unique to this vocal art form. Anderson uses his flexible voice to establish just the right atmosphere for the song he is singing. This comes through often on such tunes as a somewhat doleful "From the Heart" to the medium tempo better known "Waiting for the Train to Come In" where he lets loose with his clear tenor to the deep bass plucking of Ritt Henn. But he can also go deeper down the vocal range as he shows on "That Lonesome Road" which he delivers as a quartet and a cappella, never swerving from the pitch. This album is a prime example of the variety of pleasurable music that good cabaret offers. Where can one find songs penned by Harold Arlen and by Roseanne Cash on the same CD? ~ Dave Nathan
D.C. Anderson is considered a 'cabaret' artist.He performs with pianist Lem Jay Ignacio and bassist Ritt Henn in intimate 'cabaret' rooms such as New York City's Triad and Don't Tell Mama and Los Angeles' Cinegrill and Gardenia songs by Irving Berlin, Mare Winningham, Rodgers and Hammerstein, Cheryl Wheeler, Harold Arlen, Lucy Simon, Iris DeMent, Susan Osborn, Leonard Cohen,Jane Siberry, Puccini, Alan Chapman, Kirby Tepper, James Van Heusen ...and afew of his own.'How's Your Little Act', a song he co-wrote with Billy Philadelphia was nominated for a MAC (Manhattan Association of Cabarets and Clubs) as 'Outstanding Special Material' in the spring of 1999.D.C. makes frequent appearances at the Mabel Mercer Foundation's Cabaret Convention held annually in the fall at NYC's Town Hall.His performance for the Brownville (Nebraska) Concert Series was taped for broadcast on PBS.His recordings include 1993's Time Was, 1997's The Box Under The Bed, and the multi-artist Cabaret Noel: A Broadway Cares Christmas which he also conceived and produced.He trained ...
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Larsen are a quartet of Italian musicians whose apparently mainstream instrumentation (two guitars, bass, and drums along with the occasional glockenspiel or shruti box) masks a deeply strange sonic temperament. And good for them. SeieS is their fifth album, and the palindromic structure of its nonsense title is a good indication of what you'll hear: most of the seven tracks on the program are slow pieces that sway between two chords, offering little in the way of internal logic (when there are words they're often mixed so low as to be incomprehensible) but still providing plenty of interest if you're willing to be patient and listen closely. On "The Snow," there are orchestral strings and strange percussion sounds swinging back and forth between the song's two chords, while "Mother" is structured similarly but features faintly recorded male and female vocals ...
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