Audio Collection
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The Other Side of Bozwell
Bozwell
A collection of Bozwell's best instrumental recordings featuring the guitar in all of its' many forms
| # | Title | Length | ||
|---|---|---|---|---|
| 1 |
|
The Tuning Song | 4:16 | Play |
| 2 |
|
Qualude in E Major | 1:27 | Play |
| 3 |
|
California | 4:15 | Play |
| 4 |
|
Dreams | 2:04 | Play |
| 5 |
|
Her Smile | 4:05 | Play |
| 6 |
|
Deviation No.1 | 5:17 | Play |
| 7 |
|
Fear of Commitment | 2:44 | Play |
| 8 |
|
Brain Butter | 6:35 | Play |
| 9 |
|
Waltz for O.P. | 3:33 | Play |
| 10 |
|
Still Waiting | 4:43 | Play |
| 11 |
|
Suburbia | 2:42 | Play |
| 12 |
|
Close | 1:30 | Play |
| 43:11 | ||||
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Royalties
See the payment distribution when this media is bought.
| Description | Amount |
|---|---|
| Bitmunk Marketplace Service | USD $0.98 |
| CD Baby Artist Royalty | USD $5.97 |
| CD Baby 9% Digital Distribution Cost | USD $0.54 |
| Bitmunk Download Service | USD $0.58 |
| Bitmunk MicroPayment Service | USD $0.01 |
| Total | USD $8.05 |
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Description
"The Other Side of Bozwell", his third CD release, introduces listeners to different aspects of Bozwell's musical personality - the improviser, the virtuoso guitar picker, the composer and arranger of serious jazz and classical pieces. All of the music is instrumental and all of the sounds and styles of the guitar are explored.
The CD opens with the toe-tapping "The Tuning Song", a bluegrass flavored finger-picking showpiece that chugs along to a train-wheel shuffle rhythm. This style of playing is explored again in "Fear of Commitment", this time more wistfully, in one of Bozwell's prettier songs. "California" and "Waltz for O.P." are jazz compositions in the vein of Metheny and others, and showcase Bozwell's arranging and soloing prowess on the electric guitar, as does the eclectic "Brain Butter".
"Deviation No.1" was composed on-the-spot on nylon string guitar with the tape rolling, as was "Still Waiting", a hypnotic experiment with echoes. The nylon guitar is featured again in the beautiful latin "Her Smile", as well as in "Dreams", a haunting Ravel-like composition for 3 nylon guitars that, says Bozwell "began as a study of twelve-tone rows and static minor harmony" (yeah, sure Boz, whatever the hell that means). Lastly, "Suburbia" and "Qualude in E Major", which returns later as the album's "Close" are the stuff of film scores - orchestral and evocative.