| | Jamie DeRoy Volume 5:Animal Tracks CD Jamie DeRoy Discography of CDs
Recording information: Manhattan Beach Recording, New York, NY.
Photographers: Heather Sullivan; Jamie deRoy.
Arrangers: Rod Hausen; Lanny Meyers.
Personnel: Jamie deRoy (background vocals); Lynn Wilson, Mellisa Carrion, Devin Arroyo, Philip Solomon, Daryl Rothman, Donald Bender, Arthur Bachrach, Markus Wolff, Sarra Mazur, Kim Cea (vocals); Michael Holland (guitar); Kevin Kuhn (acoustic guitar, electric guitar); Deborah Assael-Migliore (cello); Rob Paparozzi (harmonica); George Wurzbach, Rod Hausen, Steve Ross (piano); Lanny Meyers (keyboards, synthesizer); Rex Benicasa (drums, percussion); Judy Barnett (percussion); Philip Fortenberry, Emily Bindiger, Keith Thompson , Margaret Dorn (background vocals).
Liner Note Author: Jamie deRoy.
Volume 5:Animal Tracks Music | Category | Rock/Pop Albums, Rock CDs, Vocal | | Label | Harbinger | | Orig Year | 2003 | | CD Universe Part number | 6680496 | | Discs | 1 | | Release Date | Aug 14, 2007 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Lanny Meyers | | Engineer | Danny Lawrence; Danny Hopler |
Jamie DeRoy Volume 5:Animal Tracks Songs | 1. | Talk to the Animals |
| 2. | Blackbird |
| 3. | Puppy Song, The |
| 4. | Little Lamb |
| 5. | When the Reed, Red Robin (Comes Bob, Bob, Bobbin' Along) |
| 6. | Snake Named Larue, A |
| 7. | Cotton Tail |
| 8. | Lion Tamer |
| 9. | Woodsman and the Axe, The |
| 10. | Dolphins' Song |
| 11. | Inchworm, The |
| 12. | Cat Who Wasn't There, The |
| 13. | Don't Be Afraid of an Animal |
| 14. | Elephant Song, The |
| 15. | My Best Friend |
| 16. | Bless the Beasts and the Children |
| Volume 5:Animal Tracks Review
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$6.82  Pheo Rose Bioď€ Sometime between ages 10 and 11, and somewhere in the swirl of bologna and liverwurst that was brought into our house of poverty, came an upright piano. Once here, the old and cracked veneer was stripped off, but nothing ever replaced it. That was “home” then, people and things stripped of what they had, and not much could be given to produce new luster. I buried my fingers into the piano keys as I unburied emotions through playing. Eight months of lessons almost completely undid any love for the piano. I announced that the only way I would keep with the instrument was “my way,” Without intention, the piano became my “sounding board” for life’s confusion, as well as my confessor receiving all the pain and hurt and troubling thoughts. In so many ways time at the piano was my single intimate companion to whom I could reach out with the most vulnerable of feelings. My childhood was a life of great scarcity of everything nurturing, and my twenties bore the child of this – personal agony. My intimate companion was there for me; always taking the depth of feeling, and helping me express it musically. I added flute for those times in Nature’s Sanctuary. People who heard my music sat quietly and always seemed to comment, “Don’t Stop.” I realized then that the depth that I reached for connected with others as well. So I started paying more attention and remembering more of the “original” pieces that poured out of me. ď‚– Since 1973 solo piano, flute, and Celtic harp music has been performed where its depth of feeling could most help others – weddings, church services, retreats, prayer circles, earth day events, etc. ď‚– Since 1989 composed music that would express and support others in the exquisite inner journey to their soul and full self integration. The first three of these cds will be released in 2007, with two more to be released by 2008.ď‚– Decades of Studying and Journeying the “Way” of the mystics has merged with my music to offer the spiritual journey to full self integration using music as a primary tool.ABOUT THIS STYLE OF MUSIC with its CL (Contemplative Listening) MODE:Stereo recorded music has been around for decades. The CL mode purposely makes use of the stereo by providing instrumental tracks at various points in the 180 degrees of right to left channels. The result is that the instrumental “voices” can be heard more distinctly. Listening and holding as many of the instrumental voices as possible while integrating them simultaneously into a oneness may help the listener to focus more deeply into the music. Also, this listening skill can help discipline and focus the mind, as well as lead to hearing the deeper parts of the mind and soul. At almost any given conscious moment we have streams of sensory stimuli, and any related associations, ...
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