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Doll, Yvonne - Bliss CD Cover Art
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Yvonne Doll Bliss CD

 Yvonne Doll Discography of CDs

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Yvonne Doll is the lead singer of Chicago based indie -power pop band The Locals.(www.localsrock.com) "Bliss" is her debut, acoustic solo release from 1996. Doll has since moved on from her acoustically driven influences, but this is a great CD for anyone looking to check out The Locals lead singer's early work as a raw, rootsy singer songwriter!!!!NEWS!!!!8/11/03....The Locals are thrilled to annouce that Baby Buddhas and Little Einsteins will surpass 100,000 downloads by the end of August 2003, and the disc is going into it's second pressing this week! YOU- the indie music fans are have played a HUGE part in making this happen! So, until Sept 1, 2003, we're offering all of our at $7.00, just to say thanks! Order fast... though- after Sept 1, they go back to regular pricing!"Fans of the Indigo Girls and Michele Shocked will feel right at home with this local singer-songwriter's converstaional style. And the tough folk-rock of her debut Bliss, ...has spice and grit" - Monica Kendrick, The Chicago ReaderYvonne Doll's debut "Bliss" is a 14 track excavation into the soul. From poignant solo acoustic tracks like"Verona Rome" to the full band kicker "Walk on the Water" this cd has something for everyone.
Bliss Music


Detailed Bliss Music Information



Category Folk Albums
Label CD Baby
CD Universe Part number 7380998
Catalog number 117454
Discs 1
Release Date Mar 16, 1999
Yvonne Doll Bliss Songs


Yvonne Doll Bliss Album Track Listing



1.Waking On Impact
2.Awake
3.To The Bone
4.One More Hour
5.Walk On The Water
6.Jet Liner
7.Steamy Cradle
8.Freight Train
9.Here's Another Reason
10.Squeaky Clean
11.Born Yesterday
12.Verona Rome
13.Drink It Down
14.Mashed Potatos
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Hello friends. Thompson Hunters here, reporting to you live on a cold and stormy night. Right now it is three o’clock in the morning, I am only half-way through my second bottle of Chivas and, unfortunately, those little plaid pills I took are starting to wear off. The moon is full but lurks out of sight behind a mask of dark storm clouds. Lightning streaks across the black-grey night and the thunder that follows has loosened a filling in one of my teeth. It also frightens my dog, Humphries, who then hides here with me under my desk and then proceeds to fart silently at strategic moments. The wind outside howls through the city streets and through the trees like John Large. He has been singing and writing songs in every conceivable type of band his whole life. He grew up listening to the classic rockers; the Beatles, Led Zeppelin, Bob Marley, Stevie Wonder, Aretha Franklin, Pink Floyd, Bob Dylan, Neil Young, John Cash, John Denver, Third World, Jimmy Cliff, Billie Holliday, Ella Fitzgerald, the Doors, the Eagles, Jimi Hendrix, Ray Charles, David Bowie, the Stones and Elton John. (+others) As a young man, John started out as a rock vocalist in the band Shadow Ghost, playing out in Boston, Worcester, Providence and New York city. He then sang in Shady Character, who played out in the Philadelphia, Harrisburg and Maryland area. In the late eighties and through the nineties, John was the front man for a number of hard-rock bands, including Valhalla, Hocus Pocus, J D Suicide, Alliance, Dead Penguins, and Skunk. These bands rocked and rolled through-out the Northeast and occasionally the west coast too (L.A., San Diego and San Francisco). But then, he’d had enough. At the advice of his family and Karl J. Etshied, (one of John’s very closest friends), John began to write songs and poems geared for a more natural audience, an acoustic audience. John called his song-writing; angry folk-rock. But John needed a partner. “Someone who can really play guitar, because I suck.” John is fond of saying that. (Among other, even less printable phrases). And he had a plan. Peter Bates has played guitar and been a song-writer for a number of bands out of Worcester and Boston. He’d played in Talon, Cold Steele, D.A. and the Attorneys and Mental Warfare. All of these were rock bands that let Peter work on his expressiveness on a guitar. His influences reflect this; Randy Rhodes, Donald Fagan (Steely Dan), Stevie Ray Vaughn, Iron Maiden, Queensryche, and Lynard Skynard. He also loved Fleetwood Mac, the Beatles and Crosby, Stills and Nash. He wrote and played music in blues-rock acts as well, such as Last Breathe and 7th Direction. And from time to time Peter would help out the tribute band Thunderstruck. But all along, like John, Peter wrote songs that he could not use in the bands he was in. Then fate ...
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Visit keith-hampton.com for all the latest.CHANCE & CHANGEThe second album: after a singer’s debut, it’s the second project that truly defines the artist. Skills are tested more seriously on the sophomore release, because it’s less about arriving than it is about staying in the scene.“Since I live in the ephemeral performance space of the small-club singer-songwriter, my first CD was about [the very act of] making sure there was a permanent record of my work. It was important to have a calling card: a tangible product with which to market my live show,” says Keith Hampton, one of Boston’s quiet coffeehouse treasures.But after that first recording the question lingers: now what? And here's where the thoughtful baritone you might have met on COMING HOME: BOSTON SONG COLLECTIVE (Brave Records, 2005) makes a surprising—and very risky—choice: he’s kept his second recording project raw, uncorrected and deeply real.“When anyone decides to put time and money into a recording, it’s very tempting to tighten things up, and try to put on your Sunday best to impress. But these songs were demanding their own kind of setting, and I began to feel uncomfortable about the classic studio recording, let's-make-it-perfect mentality,” says Hampton.Every live performer recognizes the syndrome—when a CD project comes out sounding like a publicity photo looks: prettier than the real thing. A frequent live performer, Keith knows the paradox of this gap between recording and reality: “My favorite performers are better live than on record, and I often prefer acoustic, stripped-downCDs to polished studio tracks. There’s something more visceral about music that takes risks. People are affected by songs in such personal ways.”So for this project Keith took it up a level by letting go: “I decided the next step in my song crafting was to deepen ...
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