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A Light In the Attic

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Download links and information about A Light In the Attic by Shel Silverstein. This album was released in 1985 and it belongs to World Music, Country, Outlaw Country, Songwriter/Lyricist, Kids, Humor, Contemporary Folk genres. It contains 39 tracks with total duration of 32:30 minutes.

Artist: Shel Silverstein
Release date: 1985
Genre: World Music, Country, Outlaw Country, Songwriter/Lyricist, Kids, Humor, Contemporary Folk
Tracks: 39
Duration: 32:30
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Tracks

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No. Title Length
1. A Light In the Attic 0:25
2. Bear In There 0:38
3. Rock 'n' Roll Band 1:13
4. Eight Balloons 1:17
5. The Sitter 0:18
6. Quick Trip 0:12
7. How Not to Have to Dry the Dishes 0:29
8. Squishy Touch 1:14
9. Little Abigail and the Beautiful Pony 1:36
10. Homework Machine 0:44
11. Crowded Tub 0:16
12. Almost Perfect 1:44
13. Prehistoric 1:04
14. Examination 0:19
15. Kidnapped 0:47
16. The Dragon of Grindly Grun 1:02
17. Ladies First 1:11
18. Picture Puzzle Piece 1:08
19. Signals 0:19
20. The Little Boy and the Old Man 0:45
21. Clarence 1:54
22. Hula Eel 0:25
23. Nobody 1:03
24. Peckin' 0:18
25. God's Wheel 0:24
26. Zebra Question 0:41
27. Tryin' On Clothes 1:02
28. Anteater 0:15
29. Fancy Dive 0:31
30. Whatif 1:07
31. Backward Bill 1:28
32. Friendship 0:14
33. Captain Blackbeard Did What? 1:30
34. Monsters I've Met 0:35
35. Ations 0:51
36. Hitting 0:23
37. The Toad and the Kangaroo 1:26
38. Twistable, Turnable Man 0:58
39. Outside or Underneath? 0:44

Details

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Shel Silverstein's poems exist within the same timeless canon of children's classics as Where the Wild Things Are, James and the Giant Peach, and Alice in Wonderland. Like an Edward Gorey illustration come to life, this wonderfully imaginative collection of poems, songs, and post-'60s hippie rhetoric bristles with unguarded enthusiasm and Willy Wonka-esque grandstanding. Silverstein is a gifted storyteller whose animated — and undeniably creepy — voice can light up a room. Like Lewis Carroll's Cheshire Cat, he surveys each situation with a winning combination of menace and whimsy, utilizing his experiences as a composer and producer to punctuate his verse with quirky melodies and sound effects. When he chooses to sing, like on "The Dragon of Grindly Grun," he retains the mad wink that fuels spoken pieces like "The Sitter" and "Zebra Question," experimenting with inflections like a junkie whose fix is the human personality.