Coffee Cup. Sinning Is Easy. A Prayer From The Depths. Syrup Of Tears. Mountain Top. The Power Of Love. Forever Your Love. Love Not Dead. You Hurt Me. Living It For The Moment. Alien Mind Control. Long Lost Love. I Got The Blues. Lost Hero of Rock 'N Roll. Dear Abby. Philosophy Every Day. Story To Tell. Life Is Full Of Joy. In The Palm. In A Lifetime. Terminal Romance. You Are The One. Super Person. Spirit World Rising. The End Is Near. Closer To The Truth.
Holy, Holy, Holy. Do It Right. Haunted House. The Lord Loves You. Twilight Zone Love. Freak Brain. Jesus Boy. See Satan Die. Lucifer Tonite. I remember reading an excerpt from an interview where he talked about walking around a supermarket while listening to Half-Japanese on cassette through cheap headphones and I thought, "I know exactly what he's talking about!
You know a pop star who wanted to be a pop star on sight, and you know the ones that got "lucky" the same way. And you know what? This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
Daniel Johnston. This article is about the Daniel Johnston album. Every Open Door should add to that base. The San Antonio-based duo's goal is obvious from the title alone - music to suggest a stroll down the Riverwalk that graces their hometown.
Much as the title suggests, Two O'Clock Courage's Postcards Home is a colorful, evocative remembrance of musical souvenirs past and present. A quartet of lilting instrumentals flesh out the 10 tunes on this Austin Celtic band's sophomore release, each one evoking the soft mood that flows throughout Postcards Home. Following a simple format of weaving traditional songs with original material, 2OCC's tender harmonies give all the material an intricate and colorful tartan design.
To note 2OCC's elegant harmonies is not to overlook their spare musicianship, however, which enhances each of the album's 14 tracks by letting the instruments - flute, mandolin, fiddle, Scottish smallpipes, uilleann pipes, guitar, and more - resonate.
What makes the music of Celtia so appealing is its timeless quality. Postcards Home captures that elusiveness, sending it, like little gifts from the gods, into our hearts. God the Mother is the musical equivalent of sitting at a bar listening to the drunk next to you recount his miseries, albeit a somewhat poetic and even affecting drunk. With a blues inflection on top of a weary, knowing, loureedy voice, local moodhound George Carver comes off as a sage sap indeed, whose request in "Letter to Australia" for microcosmic bliss seems to go unanswered.
It's spare, inventive songwriting enhanced by good musicianship, with Carver's guitar and harmonica interwoven with Mark Rubinstein's piano, accordion, and bass to create a richly textured aural landscape that feels like nothing so much as a profoundly sad European carnival.
With a beats-per-minute count registering in the low teens, it certainly won't make the dance charts, but fans of Carver's brand of minor-chord melancholia will doubtless find this a subtly sodden delight.
The self-titled second release from Dallas' Grand Street Cryers is brilliantly produced, which is not to say it's a brilliant album, because it's not. It is, however, loaded with all kinds of sonic affectations: voice mail recordings, transistor radio quality bits, an ever-changing array of guitar effects and tones, and some heavily engineered arrangements.
It's brilliant production, because the continual bombardment of all those elements and the constant changing of the songs' landscapes are so distracting that it's tough to notice that Grand Street Cryers is an album full of very dull songs. Moreover, the band's desire to dabble in a myriad of styles, some country flavor here, a mop-top backbeat there, keeps things cleverly confused.
Still, when you strip away the window dressing, all you have left to look at is some really boring scenery; sub-Del Amitri hovering somewhere in the ranks of Dishwalla. It's pretty, but it's pretty vacant, too. Okay, wait, come back! Despite the band's name and the album's title, this isn't a Gothic album.
The rest of the disc manages to keep up the pace, though the reflective lyrics get a bit heavy-handed at times. Still, Tomb It May Concern delivers good, guitar-driven pop with a few surprises - either a very bad real harpsichord or a really good fake one, and is that really the Mark Rubin on stand-up bass? One highlight worth mentioning is "The Rock She Loves," wherein a lad explains that he loves Jesus, because the girl he's fallen for does as well.
Crownley - Embers From The Hearth. Anbessa - Tracks Of My Tears. Miles Davis - Collectors' Items. Lee Vanderbilt - It's Dawn Again. It was re-issued on CD in on Paperhouse. The album originally featured 25 songs, and a further six tracks were added for a re-release in The re-issue also features, as an enhanced CD bonus, video footage of Daniel Johnston performing a version of his song "Don't Play Cards with Satan". Although receiving praise from critics and fans alike, the record was commercially overlooked.
Both Johnston and Fair play the majority of instruments, including vocals, guitars, piano, keyboards and drums. Simon Joyner. Major Organ and the Adding Machine. Due to the large number of sound collages and unorthodox instrumentation used, the album is often criticized.
Sewn to the Sky.As with Yip/Jump Music, Hi, How Are You was a reissue of a cassette recording Daniel Johnston made in , and as such it reflects the most fertile period of his early development. Like its predecessor, this is a friendly record marked by his increasing skill as a pop songwriter and his .