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Mazeville Crossing - Mazeville Crossing mp3

Tracklist

1Fallen Arches1:14
2Small Town Blues5:47
3Man In The Night3:52
4Simple Love Song4:16
5All Along The Watchtower4:29
6They Call The Wind Maria7:36
7Runaway3:40
8Morning Song5:34

Credits

  • EngineerScott Bruning
  • ProducerScott Bruning

Notes

Mazeville Crossing is Scott Bruning and Cary Steinberg.

Video

Info

Listen to music from mazeville crossong like they call the wind maria. Find the latest tracks, albums, and images from mazeville crossong. Englewood, Colorado c. 74 with Scott Bruning and Cary Steinberg, autograph on cover, small tag residue on cover, small ink on cover, some small stains on cover, some cover wear. Τhe page is overloaded with photos,many many links,informarions,music with each album,mp3s,more for albums posts archive & for this reason it's slow to load,so if you want to listen to music & you can see a lot of sites at the same time, wait for it to load properly, load estimation time, depending on connection. Index Index The Red Album 1968 US Garage Psych Second Album f ull myzcloud Holyweed Tales of the Stoned 2017 France Psych Stoner. Holyweed Tales of the Stoned 2017 France Psych Stoner full 6289 . Crossing is an album by American world musicjazz group Oregon featuring Ralph Towner, Paul McCandless, Glen Moore, and Collin Walcott which was recorded in 1984 and released on the ECM label. This was the final album recorded with Walcott, released after his death in November 1984. All compositions by Ralph Towner except as indicated. Queen of Sydney Paul McCandless - 8:17. With the album jacket emblazoned with a tipped out three dimensional tic-tac-toe game and a streaking shooting star to indicate a winner, Mazeville Crossing are the duo of Scott Bruning and Cary Steinberg, who present exactly what youd expect in the mid 70s, at the tail end of what remained of the psychedelic age, an unpretentious and slightly unambitious. Considered a warm folk psych album of sorts, its not the music that makes this album so highly sought after, its the fact that it was self released in very limited numbers, and now commands top dollars for being rare rather than good. Music production studio Musicianband. Mazeville Crossing - Mazeville Crossing LP. Pre-Scotti folk psych album from 1974 featuring Scott Bruning and Cary Steinberg on the Strawberry Records label. exex, only few tiny marks on vinyl, cover still in shrink but has top right ding to corner and some denting and yellowing along opening edge. Genre . Exploring various approaches on guitars, with fingerpicking, bowing and slides, often with layered accompaniments Crossing, his 8th solo album, is focusing on ambient spaces created by bowed resonator guitar. It was recorded in his home studio in the French Alps with the expectancy of becoming a father. Roughly nine in 10 of those caught crossing the border in June were single adults, according to statistics released on Thursday by U. Customs and Border Protection CBP. The number of single adults from Mexico detained at the border is on pace to rise this year, a shift away from arrests of mostly Central American families and unaccompanied children in 2019. The Crossing Big Country album. The Crossing is the debut album released by Scottish band Big Country. The album reached 3 in the UK overseas, it hit 4 in Canada on the RPM national Top Albums Chart and 18 in the US on the Billboard 200 in 1983. It went on to be certified platinum in the UK and Canada. It contains the song In a Big Country which is their only U. Top 40 hit single. The song featured heavily engineered guitar playing, strongly reminiscent of bagpipes

Mazeville Crossing - Mazeville Crossing mp3

Performer: Mazeville Crossing

Title: Mazeville Crossing

Country: US

Release date: 1975

Label: Strawberry Records

Style: Folk Rock, Psychedelic Rock

Catalog: SR-333

Genre: Rock

Size MP3: 1063 mb

Rating: 4.3 / 5

Votes: 740

Record source: Vinyl, LP, Album

MP3 Related to Mazeville Crossing - Mazeville Crossing

Nto
With the album jacket emblazoned with a tipped out three dimensional tic-tac-toe game and a streaking shooting star to indicate a winner, Mazeville Crossing are the duo of Scott Bruning and Cary Steinberg, who present exactly what you’d expect in the mid 70’s, at the tail end of what remained of the psychedelic age, an unpretentious and slightly unambitious take on the music of other people, along with a few original songs.

It’s interesting to read about these two, with nearly everyone saying something to the effect of “ … along with some fine original compositions,” though it’s those same people whom always mention the cover of Dylan’s “All Along The Watchtower” first, and which to my way of thinking had been covered far too often by 1975, and fully overblown now, as the song belongs to Jimi Hendrix, and there’s little that anyone else has been able to bring to the table in order to update or make the track that much more inspiring.

Considered a warm folk psych album of sorts, it’s not the music that makes this album so highly sought after, it’s the fact that it was self released in very limited numbers, and now commands top dollars for being rare rather than good [in the neighborhood of $75US, with an autographed copy going for around $150US]. I remember seeing these two as an opening act at the Ogden Theater [if I remember correctly] in Denver, Colorado, where they were very much an opening act, with deeply delivered vocals, trading and sparring guitar chords, along with song verses that made them seem just too cute and fuzzy to be taken seriously as they finished each others sentences and thoughts.

The band was local to Colorado Springs, with Scott and Cary playing both electric and acoustic guitars backed by yes, a six man band, which means they were certainly taking themselves very seriously. Recorded on the Strawberry Records label [a nod to The Beatles song “Strawberry Fields Forever”], side one consists of entirely cover versions, with side two consisting of all original material.

It’s not a fine album, it’s almost nearly OK, and nothing more. This is something for the record collector only as it offers up little that is memorable, nor does the music distinguish itself in any manner from the untold thousands of other bands of the day who thought that they could make a living picking guitar strings, when in reality, what they should have done was to stash away a few hundred copies of this album and sell them off over the years as an added source of income.

And now after saying all of this, I remember being at the merchandise table where I picked up a sealed copy, was quoted a price by Scotti or Cary [who could tell them apart with their black hair and big mustaches?] and said, ”But there’s a big bend on the corner.” To which they both replied in unison, ”Take it, we’ll never be able to sell that one anyway,” so I did, though it never managed to live in my collection for very long. Who knows, if you’ve a copy with a bent lower righthand corner, that just might have been mine.

Another interesting note is that the album artwork never seemed to have been centered correctly, you’ll see issues with the tic-tac-toe game in various positions on the cover. As to the sound quality of the vinyl, I remember that it seemed to sound as if the record needed a cleaning, as if the stylus was unable to settle into the grooves comfortably.

Review by Jenell Kesler
Nto
With the album jacket emblazoned with a tipped out three dimensional tic-tac-toe game and a streaking shooting star to indicate a winner, Mazeville Crossing are the duo of Scott Bruning and Cary Steinberg, who present exactly what you’d expect in the mid 70’s, at the tail end of what remained of the psychedelic age, an unpretentious and slightly unambitious take on the music of other people, along with a few original songs.

It’s interesting to read about these two, with nearly everyone saying something to the effect of “ … along with some fine original compositions,” though it’s those same people whom always mention the cover of Dylan’s “All Along The Watchtower” first, and which to my way of thinking had been covered far too often by 1975, and fully overblown now, as the song belongs to Jimi Hendrix, and there’s little that anyone else has been able to bring to the table in order to update or make the track that much more inspiring.

Considered a warm folk psych album of sorts, it’s not the music that makes this album so highly sought after, it’s the fact that it was self released in very limited numbers, and now commands top dollars for being rare rather than good [in the neighborhood of $75US, with an autographed copy going for around $150US]. I remember seeing these two as an opening act at the Ogden Theater [if I remember correctly] in Denver, Colorado, where they were very much an opening act, with deeply delivered vocals, trading and sparring guitar chords, along with song verses that made them seem just too cute and fuzzy to be taken seriously as they finished each others sentences and thoughts.

The band was local to Colorado Springs, with Scott and Cary playing both electric and acoustic guitars backed by yes, a six man band, which means they were certainly taking themselves very seriously. Recorded on the Strawberry Records label [a nod to The Beatles song “Strawberry Fields Forever”], side one consists of entirely cover versions, with side two consisting of all original material.

It’s not a fine album, it’s almost nearly OK, and nothing more. This is something for the record collector only as it offers up little that is memorable, nor does the music distinguish itself in any manner from the untold thousands of other bands of the day who thought that they could make a living picking guitar strings, when in reality, what they should have done was to stash away a few hundred copies of this album and sell them off over the years as an added source of income.

And now after saying all of this, I remember being at the merchandise table where I picked up a sealed copy, was quoted a price by Scotti or Cary [who could tell them apart with their black hair and big mustaches?] and said, ”But there’s a big bend on the corner.” To which they both replied in unison, ”Take it, we’ll never be able to sell that one anyway,” so I did, though it never managed to live in my collection for very long. Who knows, if you’ve a copy with a bent lower righthand corner, that just might have been mine.

Another interesting note is that the album artwork never seemed to have been centered correctly, you’ll see issues with the tic-tac-toe game in various positions on the cover. As to the sound quality of the vinyl, I remember that it seemed to sound as if the record needed a cleaning, as if the stylus was unable to settle into the grooves comfortably.

Review by Jenell Kesler