Karen Danczuk Naked

Karen Souza is an Argentinian jazz and bossa nova singer, songwriter, and producer. Souza began her career by providing vocals for producers of electronic music. Under pseudonyms she sang versions of hits songs from the 70s, 80s, and 90s, such as "Creep" by Radiohead and "Do You Really Want to Hurt Me" by Culture Club. Her version of "Creep" was used in the film The Zero Theorem (2013). In 2010, she performed at Blue Note Tokyo and signed a contract with JVC Victor in Japan. She has toured in Venezuela, Brazil, Mexico, China, Korea, Spain, and Italy.

Best of Naked Eyes offers 15 tracks of the synth pop duo's best moments from their two U.S. albums, 1983's Naked Eyes and 1984's Burning Bridges. The collection is surpassed by the more extensive Very Best Of from 1994, but is notable for the inclusion of one track, "Could Be," which the second collection excluded.

Brilliant and weird formation from Levittown (Long Island, NY), mixing early progressive with hard rock, heavy psychedelia, jazz, and not scared of experimenting.
This Long Island outfit realized this sole album in 1971. A sextet whose musical skills are great. Very hard guitars and obscured lyrics are reminiscent of Black Sabbath's and Black Widow's, to cite two bands oh the same era. But this band adds one more quality: a textured femmale voices that gives more deep to the melody. There are two or three killers tracks: All of Them Witches, Sins and Iceberg; a mid tempo track: Look Again; and a ballad: Wasted Time to almost complete this hidden treasure from the early seventies.

Brilliant and weird formation from Levittown (Long Island, NY), mixing early progressive with hard rock, heavy psychedelia, jazz, and not scared of experimenting.
This Long Island outfit realized this sole album in 1971. A sextet whose musical skills are great. Very hard guitars and obscured lyrics are reminiscent of Black Sabbath's and Black Widow's, to cite two bands oh the same era. But this band adds one more quality: a textured femmale voices that gives more deep to the melody. There are two or three killers tracks: All of Them Witches, Sins and Iceberg; a mid tempo track: Look Again; and a ballad: Wasted Time to almost complete this hidden treasure from the early seventies.

Brilliant and weird formation from Levittown (Long Island, NY), mixing early progressive with hard rock, heavy psychedelia, jazz, and not scared of experimenting.
This Long Island outfit realized this sole album in 1971. A sextet whose musical skills are great. Very hard guitars and obscured lyrics are reminiscent of Black Sabbath's and Black Widow's, to cite two bands oh the same era. But this band adds one more quality: a textured femmale voices that gives more deep to the melody. There are two or three killers tracks: All of Them Witches, Sins and Iceberg; a mid tempo track: Look Again; and a ballad: Wasted Time to almost complete this hidden treasure from the early seventies.

Some find Karen Dalton's voice difficult to listen to, and despite the Billie Holiday comparisons, it is rougher going than Lady Day. But Dalton's vocals aren't that hard to take, and they are expressive; like Buffy Sainte-Marie, it just does take some getting used to because of their unconventional timbre. Her debut album has a muted folk-rock feel reminiscent of Fred Neil's arrangements in the mid-'60s, unsurprising since Neil's Capitol-era producer, Nick Venet, produced this disc too, and since Dalton, a friend of Neil, covered a couple of Neil songs here ("Little Bit of Rain," "Blues on the Ceiling"). Although clocking in at a mere ten songs, it covers a lot of ground, from Tim Hardin, Jelly Roll Morton, and Leadbelly to the traditional folk song "Ribbon Bow" and the Eddie Floyd/Booker T. Jones-penned soul tune "I Love You More Than Words Can Say." The record is interesting and well done, but would have been far more significant if it had come out five years or so earlier. By 1969 such singers were expected to write much of their own material (Dalton wrote none), and to embrace rock instrumentation less tentatively.