| | 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 include: Carla Bozulich (vocals, guitar, drums, loops, sampler); Ezra Buchla (mandolin); Jessica Moss (violin); Nadia Moss (organ); Corey Fogel, Shahzad Ismaily (drums).
The Wire (p.51) - "[H]er music has never sounded as vital and incendiary as it does on EVANGELISTA." Carla Bozulich Evangelista Songs Evangelista Review
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Purchase Evangelista CD To buy, Click on price to add to cart | Low In The Fishtank CD (2001) Extended Play
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In The Fishtank is a project of Konkurrent Onafhankelijk ...
| | Solomon Burke Don't Give Up On Me CD (2002)
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DON'T GIVE UP ON ME features song contributions from Bob Dylan, Brian Wilson, Van Morrison, Elvis Costello, Tom Waits, Nick Lowe, Dan Penn, Joe Henry, Barry Mann and Cynthia Weil.
DON'T GIVE UP ON ME won the 2003 Grammy Award for Best Contemporary Blues Album.
Elvis Costello, Tom Waits, Van Morrison--the stellar list of songwriting contributors on this comeback effort by '60s soul legend Solomon Burke goes on and on. Did we mention Brian Wilson, Nick Lowe, and even his highness Bob Dylan also donating tunes? Burke came to prominence when soul music was a staple on AM radio as performed by himself and peers Otis Redding, Sam Cooke, and Aretha Franklin. Contemporary R&B singers from the endlessly melismatic school could learn a thing or two from Burke's passionate restraint. As producer, the singer-songwriter Joe Henry takes a page from the Daniel Lanois (Dylan, Johnny Cash, Emmylou Harris) school favoring natural sounds, deep resonance, and subtly spectral reverb. There is much reverence to the past in this relatively stripped down approach, but it is also perfectly evident upon close inspection that this is a contemporary album.
Burke had recently been active singing in church, and on this effort he shows that he hasn't forgotten where he came from, bringing along his parish's tasty organist, Brother Rudy Copeland. The tone throughout is primarily serious, occasionally solemn, and then along comes the straight-ahead blues by Dylan to inject the proceedings with playful self-pity and -mockery on "Stepchild" ...
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| | Black Heart Procession Spell CD (2006) Digipak
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THE SPELL, the seventh release from San Diego's the Black Heart Procession, combines the band's early minimalist tendencies with the rock richness of 2002's AMORE DEL TROPICO. The Procession still wade in dark, melancholic waters, offering up Gothic Americana soundscapes ...
| | Ike & Tina Turner Nutbush City Limits / Feel Good CD (1972) (Import) Bonus Tracks; Australia
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Raven presents two classic soul/funk albums by Ike & Tina Turner, "Nutbush City Limits" and "Feel Good" on one CD for the first time. Dominated by Tina Turner's powerful voice and volcanic stage presence and Ike's hard-driving guitar, the duo's incendiary, funked-up blend of rock and soul made them one of the most potent live acts of the early 1970s. These two storming albums saw the duo transplant the visceral frenzy of their stage act successfully into ...
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| | Sweetest Punch: The New Songs Of Elvis Costello & Burt Bacharach Arranged By Bill Frisell CD (1999)
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When Elvis Costello, poet laureate of the post-punk generation, joined forces with '60s pop king Burt Bacharach for an album of new material, an immediate air of artistic importance was established. So much so that as soon as the songs were written, even before they were recorded, guitarist Bill Frisell began working on jazzy instrumental arrangements of them for a separate album.
Here Frisell is joined by jazz greats like Don Byron, Brian Blade, and Ron Miles, but they don't use the carefully crafted compositions as springboards for improvisation. To their credit, they avoid the natural temptation to approach these tunes like jazz standards. ...
| | Voice Of The People Vol. 11: My Father's The King Of The Gypsies CD (1999) (Import) United Kingdom
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| | Pickin On Pickin' On Southern Rock CD (2001)
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| | Jonathan Edwards Live In Massachusetts CD (2007)
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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 album, Honky-Tonk Stardust Cowboy on the Atlantic record label. This was an album of mostly self-penned acoustic, country-flavored songs about love and life and was closely followed by Have a Good Time For Me, also on Atlantic. This recording is a collection of songs written by Jonathan's friends, who, in those early years, were so important to his development as an artist, musician, singer, songwriter and performer.But after more than three years of working five and six one-nighters a week, Jonathan was ready for a change. In 1973 he and his friends got together to record a w.
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