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Cross Pollination Of Service Station Scrawl Music | List Price | $23.97 (You save $4.98) | | Category | Folk Albums | | Label | CD Baby | | CD Universe Part number | 7644502 | | Catalog number | 183926 | | Discs | 1 | | Release Date | Feb 19, 2008 |
Jesse Dee Cross Pollination Of Service Station Scrawl Songs | 1. | Had Me Goin' |
| 2. | Sunblind |
| 3. | Winters Sour |
| 4. | Everyday Slipaway |
| 5. | Danger Bay |
| 6. | Fools |
| 7. | A Short Diddy |
| 8. | Question Mark |
| 9. | Mr. Shifty Red Star |
| 10. | Find Our Flow |
| 11. | Untitled Bonus Track |
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$6.69 Principally recorded at A&M Studios, Hollywood, California on January 21-24, 1975.
Principally recorded at A&M Studios, Hollywood, California on January 21-24, 1975. Includes original release liner notes by Bernard Gelb.
Joan Baez scored the biggest commercial success of her career with this 1975 album by tapping into the '70s singer-songwriter zeitgeist in the manner of Joni Mitchell's post-BLUE albums. Baez even recruited Mitchell and her then-current band, the L.A. Express, for the fusion-like groove of "Di Da," and salted the other tracks with guest shots by pop-jazzers Tom Scott, Hampton Hawes, and Larry Carlton. Baez also includes covers of Jackson Browne's "Fountain of Sorrow," John Prine's "Hello in There," and Stevie Wonder's "Never ...
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$9.85 Soul Journey, Gillian Welch's fourth album, features solo, duo and band performances - a departure from the 2001 release Time (The Revelator). Contributors to the album include Greg Leisz (Beck, K.D. Lang ) and Jim Boquist (Son Volt). Produced by long-time collaborator David Rawlings. Acony. 2003.
SOUL JOURNEY, the follow-up to the critically acclaimed 2001 outing TIME (THE REVELATOR), finds Gillian Welch and creative partner David Rawlings getting creatively looser and enlisting the aid of a back-up band. The decision to flesh out the sound beyond ...
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$9.69 Poe has had some bad luck with love, and she's not afraid to talk about her attraction to the submissive role in off-kilter relationships. On Poe's furious "Trigger Happy Jack," she confronts her tendency to masochism and her ambivalence with brutal honesty: "I hate myself/Just enough to want him/But I hate him just enough to get off." There is also a kind of integrity in her mostly close-up, clean, careful vocals, which are laid over a background clattered with savage guitar work and samples that vary from hip-hop to noise to lounge music. Hers is a versatile voice, alternating between sweet melodies, vehement near-screams, and grainy, lo-fi spoken word.
The sound of HELLO is altogether eclectic and quirky, and its plaintiveness is offset by the fact that Poe doesn't take herself too seriously, even when she talks about her loneliness. In "Fingertips," when she ...
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