| | Coyote Project Post Rock Serenade CD Coyote Project Discography of CDs
This one was fun. Every piece of our studio equipment went down for repair...one piece at a time of course...during the recording. We had a broken arm, elbow surgery,a kidney stone, a new singer, a new bass player, added a keyboard player, somebody forgot his name (nothing new there) scrapped all of the tracks twice, wrote new ones, recorded old ones, recorded new ones, forgot the guitar parts to the one not on the cd, Billy overthrew a small foreign nation (a bad habit of his)didn't play gigs, then played lots of gigs, earned a lot of food and coffee, spent lots of money, bought new gear, rehearsed forever, and the rest I might remember tomorrow, either that or I'll forget this part but the cd is done and listening to the clips is free so enjoy.... Post Rock Serenade Music | Category | Folk Albums | | Label | CD Baby | | CD Universe Part number | 7292433 | | Catalog number | 101465 | | Discs | 1 | | Release Date | Aug 29, 2006 |
Coyote Project Post Rock Serenade Songs | 1. | Arrogance |
| 2. | Never Break Your Fall |
| 3. | Wide Open Spaces |
| 4. | Backporch |
| 5. | Here's to Us |
| 6. | Maybe |
| 7. | Faded Rose |
| 8. | Pride |
| 9. | Desperation |
| 10. | Alright |
| 11. | Me and You |
| 12. | Still of the Night |
| Post Rock Serenade Review
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Purchase Post Rock Serenade CD To buy, Click on price to add to cart | Joni Mitchell Blue CD (1971)
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$8.85 Richard Thompson's albums with Mitchell Froom in the producer's chair tended to be stylistically varied affairs, and on RUMOR AND SIGH, the singer's distinctive English vocal inflections and biting guitar spar inspiringly with Froom's kitchen-sink approach to production. Froom found intriguing ways to cope with Thompson's own wild stylistic approach, ranging from dark, narrative acoustic ballads ("1952 Vincent Black Lightning"), through radio-friendly, country-tinged rock ("Keep Your Distance," "You Dream Too Much"), to demonic ...
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| | Jeff D Johnson Push & The Pull CD (2006)
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$10.15 Take a solid foundation for how music literally comes together, an eclectic range of tastes in genre, inspiration drawn from real-life experiences, and a respect for history changers, and you have a general idea of where Jeff and his music are coming from. Depicting and combining that of a âpunchy-acousticâ guitar style, enduring clarity and ardor, and acrobatic poetry, a lot of his musical inspiration contains the well roundedness of vocals and composition. âI draw off some of my influences in that I love the beauty that can exist in an acoustic guitar, but also enjoy the gritty side of it â where the aggression lies.â But itâs more than just the way it sounds. âWith all the bands that I listen to, itâs good to see where theyâre coming from, even if I donât agree with them,â he explains. âI like the humanistic qualities they possess. To me, thatâs total art.â Growing in the Minneapolis area, Johnson has always been drawn energy music from an early age. Being classically trained in voice and theory, and self taught on guitar, the art form has always been a part of him. That said, he professes that his current roots draw from his time in Duluth. âI grew up as a human in Minneapolis, but really grew as a musician in Duluth (MN). There is an organic nature to the scene there that is one-of-a-kind⊠and definitely appealing to me.â Now that heâs back in Minneapolis, heâs excited to plunge into a fresh scene. âMy marketing scheme is this: if people like the music, theyâll tell their friends; if not, then they wonât.âJeff has made appearances in Minnesota, Wisconsin, Arizona, and even Australia, supporting artists such as Charlotte Martin, Mason Jennings, The Big Wu, and numerous more. âJeff did a great job opening for Charlotte Martin,â said Erik Stromstad, director of technology and music booking at Minneapolisâ Varsity Theater. âHe brought way more people than we expected of him as an opener. We plan to have Jeff back as soon as we can.âHe draws crowds at colleges, restaurants, concert halls, and theaters, through his original style of performance. Tiffany Mastin, University of Minnesota Duluth Statesman, raves about a concert she attended. âThis singer/songwriter combines acoustic guitar with powerful vocals to create his own unique brand of acoustic rock,â she says. Michelle, owner of Mama Getts Restaurant in Superior, Wisconsin, could not have been happier about having him as a guest. She says, âJeff is welcome to play here anytime⊠(that night was) one of our best nights!âWhen making his newly titled (and ...
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$24.05 RECENT REVIEWSPETER PETRUCCI- Nowhere to Be Foundâ..Also recommended is the music of Aussie guitarist, Petrucci on (Nowhere to be Found). Petrucci has assembled a talented group of like-minded musicians in a collection of primarily original pieces filled out with âSolarâ and Beirachâs âLeavingâ and what appears to be a group improv.âThought FormsââŠ.Iâm not sure Petrucci has wholly transcended his influences ( Metheny and Scofield certainly come to mind) but he is an excellent player and writer (âNew Things and Thatâ is an ear-catcher and a good choice for an opening track) and he too sounds like he will find more of his voice in due time. Also worthy of note is the excellent playing of pianist Keevers whose confident and intelligent comping provide a satisfying foil to the leaderâs energetic and intensive playingâŠ..the music and playing on ( Nowhere to be Found) held my attention and I suspect you will enjoy it as much as I did.âDavid Kane, June 2007©Cadence Magazine, 2007.Redwood, New YorkNowhere to be Found. The Peter Petrucci Quartet"These two disks allow a lovely start for Melbourne's new Jazz Play Records. Each is led by a knockout guitarist: Jack's debut as leader is sprightly, graceful bop with some nice lyrical passages; Peter's record is more free-flowing, wonderful modal post-bop with excellent contributions from Sam Keevers at the piano. Winners both; get rid of that fifty that's been taking up perfectly good space in your hip pocket and discover some superb Melbourne musicians."Readings Monthly, March 2007â âŠâStylistically it is reminiscent of the 1960s, a period when the electric guitar was consolidating itself as a jazz solo instrumentâŠâ âOverall, the music is sophisticated and relaxed with a nice balance of tempos.This does not mean that the music does not swing. It does. The fast tracks demonstrate the solo talents of guitarist Petrucci and the quartetâs pianist, Sam Keevers. The slower tracks are tasteful and reflective.âJohn Sharpe, The Canberra Times newspaper, Dec 2006âPianists and guitarists seldom appear as a front line duo but Peter Petrucci enjoys working with inspiring keyboard players,⊠On..Nowhere to be Found.. on the new JazzPlay (sic) label, guitarist Petrucciâs crisp but urgent lines are by turn matched in pianist Sam Keeverâs bright, tumbling pianisms. These often intensely improvised tracks are cunningly interleaved with beguilingly gentle ballads that have been crafted by Petrucci but sound as if they could have come from the great American songbookâŠ.âDerek Leather, ...
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