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Bozulich, Carla - Evangelista CD Cover Art
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Carla Bozulich Evangelista CD

 Carla Bozulich Discography of CDs

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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 ...
Evangelista Music


Detailed Evangelista Music Information



List Price $16.97 (You save $3.32)
Category Rock/Pop Albums, Country CDs, Experimental Rock, Rock
Label Constellation
Orig Year 2006
All Time Sales Rank   50620  
CD Universe Part number 7103095
Catalog number 41
Discs 1
Release Date Jun 06, 2006
Studio/Live Studio
Mono/Stereo Stereo
Personnel Jessica Moss - violin
Genevieve Heistek - viola
Nadia Moss - piano, organ
Beckie Foon - cello
Shahzad Ismaily - drums
Thierry Amar - double bass
Carla Bozulich - vocals, guitar, drums, loops, sampler
Corey Fogel - drums
Ezra Buchla - mandolin
Shahzad Efrim - piano
Carla Bozulich Evangelista Songs


Carla Bozulich Evangelista Album Track Listing



Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample1.Evangelista, Pt. 1$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample2.Steal Away$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio Media3.How to Survive Being Hit by Lightning
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample4.Inside Sleeps$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample5.Baby, That's the Creeps$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample6.Pissing$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample7.Prince of the World$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample8.Nels' Box$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio Media9.Evangelista, Pt. 2

Evangelista Music


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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 ...
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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 ...
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Live In Massachusetts
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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 ...
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