| | Baby Strange Put Out CD Baby Strange Discography of CDs
Baby Strange shows America a new definition of cool in their latest LP, Put Out. Setting themselves apart from the recent crop of next-next-next-Strokes understudies, Baby Strange seizes upon the sounds of Motown and 1960's British arena-rock, creating a niche enigmatically described by Earlash as, "Terse, trashy, ornate and refined."Baby Strange's brash new sound is the silver lining from a medical emergency which once threatened to silence lead singer Eric Deneen. Sidelined from their usual twenty-gigs-a-month schedule while Deneen recovered from surgery, the band discovered old Motown LP's. Once described solely with analogies to The Rolling Stones, The Who, and Oasis -- Baby Strange emerged revitalized with a new blueprint for their sound. Pairing their gritty guitar rock with seductive soul rhythms, and tailoring a new look as the bloodshot redux of early-60's vocal groups, Baby Strange emerged stronger-than-ever from their brush with disaster. Put Out is Baby Strange's debut LP -- following on the success of 1999's Action EP and 2002's The Make-Out Sessions EP. As finalists in 2003's WBCN Rock and Roll Rumble, Baby Strange earned broad recognition in their hometown of Boston.
Baby Strange: Eric Deneen (vocals); Kristoffer Ehrig, Hugh Wyman (guitar); Jason Horvath (bass guitar); Ryan Ennis (drums).
Additional personnel: Matt Beaudoin (saxophone); Tom Polce (organ, percussion).
Baby Strange Put Out Songs Put Out Review
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Purchase Put Out CD To buy, Click on price to add to cart | Adam Lambert For Your Entertainment CD (2009)
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Liner Note Authors: Bill Dahl; Billy Altman.
Recording information: Buddy & Maria Elena Holly's Apartment, 11 Fifth Avenue, (01/25/1958-01/20/1959); Clovis, New Mexico (01/25/1958-01/20/1959); Holley Family Garage (01/25/1958-01/20/1959); Holley Family Home, Lubbock, TX (01/25/1958-01/20/1959); Klll Radio, Lubbock, TX (01/25/1958-01/20/1959); Lubbock, TX (01/25/1958-01/20/1959); Nashville, TN (01/25/1958-01/20/1959); New York, NY (01/25/1958-01/20/1959); Tinker Air Force Base, Oklahoma City, ...
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Michael Poss is a West Coast cabaret performer, and this album captures two live appearances at the Roosevelt Hotel's Cinegrill. The album's title is a bit misleading: While there are movie tunes included, there are also some songs composed by Michael Poss. But they are probably what Poss would write for the screen if asked. The matter of the accompaniment is also a bit cloudy. The liner notes lists players; however, there is clearly a full orchestra on the soundtrack. Either this was dubbed in or the list of personnel is incomplete. In any event, what's important is the outcome and it isn't bad at all. Like most cabaret singers, most of the material on this album is probably unfamiliar to all but the most dedicated cabaret fans. The tunes are picked to allow Poss to utilize the cabaret singer's stock in trade: the gift of storytelling. So of the 20 songs on the playbill, only about five will be familiar to most. To be a storyteller, a cabaret singer must have good diction, and Poss excels here. Also following the rules of the cabaret game, his play list mixes up-tempo, often witty tunes with those telling a tale of lost love. Once more another objective is achieved by Poss with his baritone with slight vibrato. On occasion he gets close to the tenor level as his voice moves up pretty high on the scale on tunes like "On Such a Night ...
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This fourteen song CD was voted in the top 10 local releases in New Mexico for 2003 by the Albuquerque "Weekly Alibi", the region's foremost alternative paper.This is a band that can improvise its way into the ozone and whether dark or light, they let it all go free! Mucho Buddha, of Albuquerque, New Mexico uniquely and distinctly combines alternative rock, world-beat, funk and folk into a positive, listenable and danceable groove. The group's work is all-original music, which gains new fans with each and every performance. Buddha consists of four charming, yet extreme musicians...which is to say they are extremely ...
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Although Uriah Heep is known for its extensive personnel changes, its lineup has been stable since the mid-'80s; unfortunately, that stability coincided with the band's commercial decline (its last album to chart in the U.S. came in 1983, its last in its native U.K., 1985). So, no one outside the group's fan base noticed that the quintet of founding member and guitarist Mick Box, drummer Lee Kerslake (1971-1978, 1982-2007), bassist Trevor Bolder (who joined in 1977, left during the band's hiatus in the early '80s, and returned a couple of years after its re-formation), singer Bernie Shaw, and keyboard player Phil Lanzon (both of whom joined in the mid-'80s) remained in place through numerous world tours and the studio albums Raging Silence (1989), Different World (1991), Sea of Light (1995), and Sonic Origami (1998). Since then, a series of live albums have testified to Uriah Heep's continued existence. In January 2007, Kerslake bowed out due to health problems and was replaced by the capable Russell Gilbrook. Wake the Sleeper, Uriah Heep's first studio album in ten years and 21st overall, finds the group attempting to reclaim its original glory. It has had time to gather some quality material and to assess its long-term musical approach, and the album is both consistent with its sound over the years and a statement of purpose for the present and the future. As if to blow away the cobwebs, the album begins with three consecutive quick-tempo rockers, the title song (which has no lyrics except for that title), "Overload," and the socially conscious "Tears of the World" ("The tears of the world keep falling until we stand together.") Things slow down only slightly with "Light of a Thousand Stars," which, like much of the rest of the album, sounds like it could have been made in 1978 instead of 2008. The guitar/organ/bass/drums instrumental lineup often recalls Deep Purple, and Shaw's clear tenor is reminiscent of Journey's Steve Perry and Boston's Brad Delp. This, of course, is one of the problems with Uriah Heep. Thirty-eight years into an artist's career, critics should not be falling back on the "sounds like" game to describe the music. And yet those comparisons ...
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