| | Best Of Jimmy Crawford CD - Import Jimmy Crawford Discography of CDs
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Our Price: $10.49  CDFor Sale Usually ships in 1-2 days
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Best Of Jimmy Crawford Music Best Of Jimmy Crawford Songs | 1. | I Love How You Love Me | $0.99 | |
| 2. | Jezebel | |
| 3. | I Believe In Music | |
| 4. | I Go To Rio | |
| 5. | I Will Drink The Wine | |
| 6. | Resurrection Shuffle | |
| 7. | Didn't We | |
| 8. | Good The Bad And The Ugly | |
| 9. | Oh Babe What Would You Say | |
| 10. | Can't Give You Anything (But My Love)/You Make Me Feel Brand New | |
| 11. | Spinning Wheel/You've Made Me So Very Happy | |
| 12. | You're My World | |
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Best Of Jimmy Crawford Review
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Purchase Best Of Jimmy Crawford CD To buy, Click on price to add to cart | Dr Andrew Weil Breathing: Master Key To Self Healing CDs (2000)
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Continuing his stroll through pop's backpages, Rod Stewart moves on from "The Great Rock Classics of Our Time" and dives into the SOULBOOK, shorthand for all the great Motown and soul songs that still are in heavy rotation on ...
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Taylor Swift abandons any pretense that she's a teen on her second album, FEARLESS--which isn't to say that she suddenly tarts herself up, running away from her youth in a manner that's all too familiar to many teen stars. Swift's maturation is deliberate and careful, styled after the crossover country-pop of Shania Twain and Faith Hill before they turned into divas. Despite the success of her self-titled 2006 debut, there's nothing at all diva-like about Swift on FEARLESS: she's soft-spoken and considerate, a big sister instead of a big star. Nowhere is this truer than on "Fifteen," a kind warning for a teen to watch her heart sung from the perspective of a woman who's perhaps twice that age--a sly trick for the 18-year-old Swift. There may be a hint of youthfulness to her singing but that's the only ...
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Daisy in her hair aside, Carrie Underwood looks flat-out glamorous on the cover of PLAY ON, which is a pretty fair indication of what awaits listeners on her third album. Carrie is still nominally a country artist and sometimes will sing supported by fiddles and steel guitar, but this is crossover pop pure and simple, whether it's the thundering rhythms on the Shania-styled strut "Cowboy Casanova" or the succession of maudlin melodies on the preponderance of power ballads. Carrie takes a much stronger presence as a writer here, co-authoring seven of the 13 songs, and she's attracted to hookless showstoppers designed to showcase her powerful voice. When she sticks to tunes written solely by the professionals, PLAY ON does have some slick pleasures, particularly on the breezy "Quitter" and "This Time," songs built on solid melodies and delivered without flash, relying on craft and Carrie's considerable small-town charm.
Daisy in her hair aside, Carrie Underwood looks flat-out glamorous on the cover of Play On, which is a pretty fair indication of what awaits listeners on her third album. Carrie is still nominally a country artist ...
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Initially planned solely as a standard double-disc reissue in the wake of the blockbuster success of The Fame, Lady Gaga decided to release the new material as a separate EP called The Fame Monster in addition to the standard two-CD set, where it's tacked onto a now standardized version of her debut. It's a nice move for fans, plus it helps emphasize the new material, which does act as a bridge from the debut to a forthcoming full-length. Everything on The Fame Monster bears a galvanized Eurotrash finish, as evident on the heavy steel synths of "Bad Romance" and the updated ABBA revision "Alejandro," as it is on the rock & roll ballad "Speechless" -- its big guitars lifted from Noel Gallagher -- and the wonderful, perverse march "Teeth." Even the stuttering splices on "Telephone," a duet with Beyoncé, leans to the other side of the Atlantic, which just emphasizes the otherness that's become Gaga's calling card. And even as she's becoming omnipresent, with her songs mingling with those who co-opt her on the radio, she still is slightly skewed, willing to go so far over the top she goes beyond camp, yet still channeling it through songs that are written, not just hooks. The Fame Monster builds upon those strengths exhibited on The Fame, offering a credible expansion of the debut and suggesting she's not just a fleeting pop phenomenon. ~ Stephen Thomas Erlewine
Initially ...
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Kathy Roush, guitarist, singer, and song writer, was born and raised in Wichita, and started her musical career at the young age of 11. She continued performing locally until 1982 when she moved to the Kansas City area, going to work for The Waldo Astoria Dinner Playhouse as a performer, and later as the singer in a 17 piece Big Band Orchestra. ...
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