| | Carla Bozulich Evangelista CD Carla Bozulich Discography of CDs
The varied and experimental musical career of Carla Bozulich contains many stylistic zigs and zags: from post-punk (with Neon Vein) and industrial-tinged art-rock (with Ethyl Meatplow) to atmospheric alt-country (with Geraldine Fibbers) and experimental improvisations. 2006's EVANGELISTA, Bozulich's third solo release, blends her country leanings with her more experimental, ambient tendencies, resulting in an album of moody folk pieces that recall acts like the Cowboy Junkies and Hem. Yet Bozulich remains true to form: EVANGELISTA is never laid-back or predictable. Instead, it treads an appealing line between loveliness and danger.
Personnel: Carla Bozulich (vocals, guitar, drums, ... Carla Bozulich Evangelista Songs | 1. | Evangelista, Pt. 1 |
| 2. | Steal Away |
| 3. | How to Survive Being Hit by Lightning |
| 4. | Inside Sleeps |
| 5. | Baby, That's the Creeps |
| 6. | Pissing |
| 7. | Prince of the World |
| 8. | Nels' Box |
| 9. | Evangelista, Pt. 2 |
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Evangelista Review
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Purchase Evangelista CD To buy, Click on price to add to cart | Dirty Three In The Fishtank CD (2004) Extended Play
Evangelista album
 $9.65 
In late 1999, the Dutch label KonKurrent invited Minneapolis band Low into an in-house studio to record one of the label's near-legendary In the Fishtank sessions; bands have two days to record between 20-30 minutes of all new material of their choosing. Also touring at the time were Low's pals, the Australian instrumental dynamos the Dirty Three. Low invited them in, and in the same collaborative spirit as another In the Fishtank session involving Tortoise and the Ex, this half-hour session is the document. What is truly amazing about this hookup is how natural these two bands sound playing with one another. Low has been striking out lately, playing different ...
| | Harold Mabern Few Miles From Memphis CD (1968)
Evangelista CD music
$9.89
On A Few Miles from Memphis, recorded by pianist Harold Mabern in 1968, he's joined by tenors George Coleman and Buddy Terry, bassist Bill Lee, and drummer Walter Perkins for a bluesy, rhythm-filled set featuring familiar fare like "A Treat for Bea" and fun originals like "Walkin' Back." There's also the odd inclusion of "There's a Kind of Hush," a pop song that comes out sounding like an old standard here. ~ Ronnie D. Lankford Jr.
When record labels like Prestige release two albums on one CD, it's a great bargain for music fans. A Few Miles from Memphis combines the album of the same name and Rakin' and Scrapin', both recorded by pianist Harold Mabern in 1968. On the first set he's joined by tenors George Coleman and Buddy Terry, bassist Bill Lee, and drummer Walter Perkins for a bluesy, rhythm-filled set featuring familiar fare like "A Treat for Bea" and fun originals like "Walkin' Back." There's also the odd inclusion of "There's a Kind of Hush," a pop song that comes out sounding like an old standard here. The second set includes a similar setup but inserts ...
| | Black Heart Procession Spell CD (2006) Digipak
Evangelista music CDs
$12.95
| | Ike & Tina Turner Nutbush City Limits/Feel Good CD (2006) Bonus Tracks
Evangelista songs
$17.75
Raven's 2006 two-fer Nutbush City Limits/Feel Good combines two of Ike & Tina Turner's last albums together and adds five bonus tracks, three of which were taken from other Ike & Tina albums from the early '70s, one taken from a Tina solo record, and one disco mix of "Nutbush City Limits." The album that arrives first on this two-fer was actually the last of these two to be released: Nutbush City Limits appeared in 1973, a year after Feel Good, but its title track is one of Ike & Tina's best-known songs so it's an appropriate choice to kick off this disc. Besides, the two records are so similar in tone and approach, it'd be easy to assume that Feel Good arrived before Nutbush, but that isn't to say they're interchangeable. Both records are hard day-glo funk, overloaded with fuzz guitars, wah wahs, clavinets and horn sections, but of the two, Nutbush City Limits is a bit closer to gritty deep soul thanks to a slow-burning cover of Dobie Gray's country-soul classic "Drift Away," the gospel-fied "That's My Purpose," a churning, funky reworking of "You Are My Sunshine," and, of course, the hard-driving title track, which mythologizes Tina's country ...
| | Raga For Peter Walker CD (2006) Digipak
Evangelista album
$10.09
Many of the legends of acoustic guitar in the 20th century have already passed on -- John Fahey, Robbie Basho, Ali Farka Toure. Due partially to his spare recording career, Peter Walker's own reputation has not always been as well known as those of said giants, but his own influence has been considerable. A Raga for Peter Walker -- a tribute album that, in a nice touch, not only consists of work composed by ...
| | Blues Breakers With Eric Clapton CD (1966) Gold
Evangelista CD music
$19.10  
| | John Altenburgh Old City CD (1990)
Evangelista music CDs
$16.29
| | Flatt & Scruggs Essential Flatt & Scruggs: 'Tis Sweet To Be Remembered CDs (1997)
Evangelista songs
$15.95  
| | Sweetest Punch: The New Songs Of Elvis Costello & Burt Bacharach Arranged By Bill Frisell CD (1999)
Evangelista album
$10.89
When Elvis Costello, poet laureate ...
| | My Father's The King Of The Gypsies CD (1999) (Import) United Kingdom
Evangelista CD music
$15.59
| | Pickin On Pickin' On Southern Rock CD (2001)
Evangelista music CDs
$12.95
| | Marit Bergman It Would Have Been Good CD (2003)
Evangelista songs
$7.99
| | Karaoke: Hits Of Johnny Cash 2 CD (2006)
$10.19 | | Treble Free CD (2006) (Import)
Evangelista album
$39.39
| | Jonathan Edwards Live In Massachusetts CD (2007)
Evangelista CD music
$18.99
Jonathan Edwards was born in Minnesota and played his first music on piano, taking a few lessons from the lady who lived next door and then learning by ear.He picked up guitar in high school in the early 60s. "I started on a $29 guitar and immediately started putting a band together, writing songs and learning all the contemporary folk songs of the time", he recalls. "I just loved it, loved everything about it, loved being in front of people playing music."He studied art in college but continued to play music. "I started getting electric about the time Dylan did, doing electric folk music. I joined bands by saying 'Can I be in your band?', and they'd ask, 'What do you play?', and I'd say 'What do you need?' I'm still that way. I still love to play different instruments. It helps me understand production techniques and performance capabilities". Instead of graduating from college, he decided to give music a shot. He sold the car that his father was lending him, bought a van for his band, and headed for the music scene in Boston.The band soon found work, playing "6-40" jobs--six 40-minute sets per night--all over New England. They played cover tunes as well as their own country blues originals under various names, including the Headstone Circus, St. James Doorknob, and the Finite Minds, and they made an album for Metromedia Records as Sugar Creek.After several years, Jonathan began to tire of the 6-40s and grew fonder of the sound of an acoustic guitar. "I just one night said, 'Hey fellas, this isn't sounding as good as it could, and I'd like us to sound more intimate'. I liked the sound of bronze strings on rosewood better than steel strings on magnets, and so I walked out of that club in Vermont, rented myself a van and PA system, and started traveling around the colleges in New England by myself, without gigs, just setting up in the lobbies of dormitories on a Saturday. Pretty soon I started getting a following. People would say, 'Has that guy been to your dorm yet? That guy just sets up, plugs in and plays all night'".Soon Jonathan was booked to open for acts such as the Allman Brothers Band and B. B. King, and he signed with Capricorn Records. "We took about a year recording the first album--different times, different studios, different sounds, different techniques", he says. "Recording was so new in '69 and '70. There was a song on the album called 'Please Find Me', and for some reason the engineer rolled over it. It got erased. We spent hours looking for it. We fired the engineer and put 'Sunshine' in its place".Like most of the songs on Jonathan Edwards, "Sunshine" was written shortly after Jonathan left the band. "I felt really fresh, really liberated", he recalls. "I just went out in the woods every day with my bottle of wine and guitar, sat by a lake near Boston and wrote down all those tunes, day after day"."Sunshine" was an energetic, happy-sounding statement of protest and independence. "It was just at the time of the Vietnam War and Nixon", Jonathan recalls. "It was looking bad out there. That song meant a lot to a lot of people during that time--especially me". It started on a Boston radio station, and before long it hit the top five on the national charts. It earned him a gold record in 1971.After the first album, Jonathan moved out of the city to a farm in western Massachusetts, which provided the rural, country inspiration for his second ...
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