| | Lisa Miller Pushover CD - Import Lisa Miller Discography of CDs
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This mini album from Lisa Miller contains several live tracks and remixes.
This mini-album opens with the title track lifted from the 'Version Originale' album, followed by a 9-minute remix version. While made up of all the same components, this remix sees the song turned inside out and opened right up. Comparisons with Cinematic Orchestra and Four Tet would not be inappropriate. This is followed by 5 live tracks recorded while Miller was opening shows as special guest for Neil Young on his Australian tour. The final track is a beautifully simple acoustic rendition of Gram Parsons' 'Hickory Wind', recorded during sessions for the Car Tape album. Raoul Records. 2004. Pushover Music | Category | Rock/Pop Albums, Rock CDs, Country | | Label | Raoul | | Orig Year | 2004 | | CD Universe Part number | 6775213 | | Catalog number | 6 | | Discs | 1 | | Release Date | Oct 23, 2006 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Additional Info | Australia |
Lisa Miller Pushover Songs Pushover Review
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Purchase Pushover CD To buy, Click on price to add to cart | Linda Ronstadt Heart Like A Wheel CD (1974) Gold; Remastered
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There are just no two ways about it: if you call yourself a fan of '70s music, you simply must have Linda Ronstadt's HEART LIKE A WHEEL. Like Fleetwood Mac's RUMOURS and The Eagles HOTEL CALIFORNIA, this is a masterpiece that has earned a spot in every record collection that's worth its salt. Ronstadt, the '70s queen of southern California country-rock, is in pristine form. Her angelic voice is flawless as each track flows from one to the other like a gentle stream.
Not only do you get the hit "You're No Good" and the Everly Brothers' classic "When Will I Be Loved," but the sorrowful title track and Hank Williams' "I Can't Help It (If I'm Still In Love With You)" give testament to Ronstadt's legendary feel for driving the emotion home. What's more, if the powerful "Willing" doesn't have you longing for the days of bell bottoms and bandanas, you just aren't feeling it. With production by Peter Asher and guests like Emmylou Harris, Maria Muldaur, J.D. Souther and most of the aforementioned Eagles, Ronstadt crafted a magnificent blend of country, rock and folk that is among the greatest records made in a generation.
Recorded at The Sound Factory, Los Angeles, California. Originally released on Capitol.
Personnel: Linda Ronstadt (vocals); ...
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This 1999 reissue of Owens' 1967 Christmas album is a straight-up affair; with no hidden bonus tracks, just the straight 12 tracks from two 1965 sessions (odd they waited two years to put this stuff out), this is prime Buck Owens and His Buckaroos in the holiday mode. Featured here are "Santa Looked a Lot Like Daddy," "Santa's Gonna Come in a Stagecoach," and enough Yule-time weepers to make you realize that the holidays have a ...
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Track Listing of songs: When a Man Loves a Woman; Take Time to Know Her; Warm and Tender Love; It Tears Me Up; Cover Me; Out of Left Field; Just Out of Reach; My Special Prayer; If You're Got the Money; Personality; He'll Have to Go; Dock of ...
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ROCKY MOUNTAIN HIGH heightened John Denver's profile as one of the key folk singers of the 1970s. The record became the artist's first to hit the Top 10 on the strength of its expansive, memorable title track and an overall sound distinguished by a more fully fleshed band, including backing vocals, fiddle, and lap steel. As opposed to ROCKY MOUNTAIN HIGH's predecessor POEM, PRAYERS AND PROMISES, there is some percussion here as well.
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Rendezvous With the Blues marks another step in the normalization of Melvin Taylor. With Lucky Peterson on keyboards, Taylor is much more the featured lead guitarist in a straight-band context that too often finds him fighting for room to move in the full arrangements. He takes a jazzy lead on the opening "Coming Home Baby," but that runs counter to the measured, mid-tempo groove that dominates the first three tracks and seems like a move to court the contemporary rock-blues audience. So does some of the material -- no originals, with ZZ Top, Stephen Stills, and Carlos Santana's tribute to John Lee Hooker in the songwriter credits on one side and Charles Singleton and Prince for contemporary black funk/rock relevance on the other. Horns kick in to punctuate the slinky, clavinet-anchored funk on "I'm the Man Down There," but Taylor's solo gets cluttered up by a duel with Peterson (on guitar here). Taylor is better-served when he escapes the rock beat straitjacket on "Tribute to John Lee Hooker" -- the Latin-tinged rhythms give his guitar more freedom to float and sting. ZZ Top's slow "Blue Jean Blues" definitely picks things up with blitz distortion solos and nice dynamics, but "Help Me" leaves behind Sonny Boy Williamson's haunted train groove for a plodding mid-tempo blues that winds up anonymous. Eric Gales' instrumental "Eclipse" goes so far down the Wes Montgomery mellow jazz blues instrumental route it could almost be a quiet storm/fuzak format candidate. And Prince's "Five Women" sounds like disjointed parts with a group that never really coheres, while Stills' "Black Queen" is transformed into a rhythmic stomp that goes nowhere. Almost all the songs have moments, but Rendezvous With the Blues is spotty, mostly because Taylor seems to be struggling to force his way through busy arrangements and a less-than-inspired choice of songs. The disc wants to have it both ways -- to distinguish Melvin Taylor as a more versatile and contemporary bluesman, but then saddles him with a regulation-issue sound that ...
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Arranger: Cindy Shea.
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