Paul Simon Songbook Review

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Paul Simon Songbook ReviewThe arrival of this album on compact disc (at last!) is a true delight for die-hard Paul Simon fans, and should provide a real delight of discovery for more casual listeners. A bit of history, first: This was the product of one of several pauses in the Simon and Garfunkel partnership. The two enjoyed a hit record in the 1950s as Tom and Jerry, but went their separate ways for a while before coming together to record "Wednesday Morning, 3 A.M." Although the album was billed as featuring "exciting new sounds in the folk tradition," it didn't create much excitement, vanishing almost without a trace.
So it was back to college for Art, and off to England for Paul, where he played in small underground clubs. A BBC announcer championed Simon's work, prompting public requests to buy recordings of his music. In May of 1965, Simon went into Columbia's studios in London with his acoustic guitar to record the tracks that made up this album. Some are repeated from "Wednesday Morning 3 A.M."; others would later find their way onto the second and third Simon and Garfunkel releases. According to one biography, the entire album was recorded in an hour, with Simon doing only one take of each song. (However, the liner notes on this release contradict that, indicating, for instance, the version of "Leaves That Are Green" that appears is take 11.)
The production bill for this simple venture reportedly totaled $300. (And yes, that's Kathy, of "Kathy's Song" fame, with him on the cover.) While the recordings from these 1965 sessions may lack the signature Garfunkel harmonies and the American studio polish, they offer a unique look at these masterpieces in their purest essence: just a man, his guitar, and the deepest feelings of his soul.
This might have been the birth of Simon's career as a solo recording artist. But back in the states, Tom Wilson, producer of "Wednesday Morning 3 A.M." was preparing to add electric guitar, bass and drums to one of the cuts from that album...a song that was also included on the "Songbook." It was "Sounds of Silence." And the rest, as they say, is history.
The "Songbook" has only been available in the U.S. as a vinyl import until now, except for its inclusion in a briefly-available boxed set of Simon's solo works. This long-overdue, but highly welcome release will help to fill a gap in many collections and provide an opportunity for fresh appreciation for these timeless songs.--William C. HallPaul Simon Songbook Overview

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Village Lanterne Review

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Village Lanterne ReviewBlackmore's Night return with a brand new album titled The Village Lanterne, in some ways their most realized effort. After several releases and years of touring together, Ritchie Blackmore and Candice Night seem to have a more clear idea of what they want to do with their music, and where to take it. Especially Candice Night has grown and improved immensely both as a lyricist and singer. Her voice is more mature now, with a distinct sense of confidence and passion. She sings with sheer emotion and conviction through the whole album, proving she's a key element in the unique sound of Blackmore's Night. As for Ritchie Blackmore, no words would do justice to describe his talents and songwriting skills, let alone his distinctive tone and phrasing he puts behind his compositions.
For those of you not familiar with Blackmore's Night (however unlikely that may be), they play an impressive style of Renaissance era music, combining it with elements of new age, folk, rock, and blues, among others. Though heavily acoustic guitar driven, their songs blend a rich array of mandolins, violins, cellos, tambourines, drums, trumpets, bagpipes, and keyboards. Still retaining the classic Blackmore's Night sound, The Village Lanterne is arguably their most modern-sounding release to date. This seems to be because of the recording techniques they employed in the studio, rendering some of the pieces noticeably more contemporary than their earlier work. They are not omnipresent, however. It's more like the band and producer Pat Regan decided to incorporate some new textures and a heavier focus on atmospherics on some tracks. Songs like "Olde Village Lanterne" and "I Guess It Doesn't Matter Anymore" are both marked with effective rhythmic patterns, particularly in the way the drums and percussion are played. Aside from that though, the songs are your typical Blackmore's Night numbers, highlighted by Night's convincing voice and Blackmore's crystal-clean acoustic guitar, both worth dying for. The symphonic backdrop on "The Olde Village Lanterne" lends it an ethereal new age vibe (thanks to its creative arrangement) while Blackmore fuses wonderful blues licks with 16th century folk melodies on its successor.
As with previous albums, there are mini instrumentals present on The Village Lanterne as well. "The Messenger" merges Blackmore's love for new age and acoustic guitars, utilising subtle keys and orchestral motifs; while "Village Dance" is a more laidback yet more direct acoustic number. Much like these two tracks, "Mond Tanz" (Moon Dance) is the first instrumental part of the band's "Child in Time" rework on track nine. The instrumental piece starts out as a happy, upbeat cut, secretly slipping into the classic Deep Purple anthem, where Candice Night's harmony vocals are so beautiful you may want to freeze. Blackmore throws out full-on blues-inflected riffs before the band goes back to the playfulness of "Mond Tanz" to wrap the piece up. Another "cover" song on the album is the special bonus track "Street of Dreams", found only on the Japanese import of the album. This one features Blackmore's counterpart Joe Lynn Turner, who exchanges verses with Candice Night. The two singers duet, harmonise, and swap choruses, while Blackmore plays an enchanting lead solo with a medieval touch.
Candice Night's vocals on the emotional "Once In A Garden" recall her pure yet powerful performance on the debut album Shadow of the Moon, still a personal favourite of mine. The chanting-like male back vocals and Celtic bagpipe melodies on "World of Stone" and the almost-live performed "Olde Mill Inn", or the hard-rocking "St. Teresa" all help diversify the album, with impressive results.
The Japanese version of the CD contains the aforementioned essential bonus track with Joe Lynn Turner, two booklets (the black and white one being in Japanese) and a neat packaging with a nice sticker. Though Shadow of the Moon and Fires At Midnight will remain on top of many fans's lists, I believe The Village Lanterne will make a great addition to the Blackmore's Night discography.Village Lanterne Overview

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Dueling Banjos From The Original Soundtrack: Deliverance Review

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Dueling Banjos From The Original Soundtrack: Deliverance ReviewWonderful, exhilarating, breathtaking music, both in speed and execution. Banjoist Eric Weissberg has spent most of his career in relative obscurity as a studio musician, which is a shame as he is one of the finest banjo players to ever pick up the instrument. City born and musically educated at the University of Wisconsin and Juilliard, Weissberg was a seminal banjo picker who combined the power and taste of Earl Scruggs along with the progressive melodic banjo stylings of the 1960s.
Obviously, the album features the definitive version of "Dueling Banjos" that Weissberg recorded with Steve Mandel. The rest of the tracks come from an incredible album called "New Dimensions in Banjo and Bluegrass," released by Elektra in 1963. Most of the tracks feature brilliant dual arrangments between Weissberg and Marshall Brickman, a banjoist who left the music world behind to write movies for Hollywood (The Bad News Bears, co-writer for Annie Hall). They are backed by guitar legend, Clarence White, who creates beautiful backup runs on songs like "Pony Express" and fine solos throughout. I think the fiddler was Gordon Terry, whose atmospheric style on "Reuben's Train" will make your hair stand on end.
The album is loaded with famous and oft-copied banjo licks, including the descending single-string work on Little Maggie, the "bumblebee break" on an insane version of "Shucking the Corn," the C-F-E-C chord sequence on "Riding the Waves," and some of the fastest (and cleanest) banjo work you'll ever hear anywhere on songs like Rawhide and Hard, 'Aint it Hard.
If you do not already own this CD, BUY IT. And if anyone in the music business is listening, you need to scrape up some money and produce a dozen more acoustic albums by Weissberg and Brickman. These guys deserve more of a legacy than a single album!Dueling Banjos From The Original Soundtrack: Deliverance Overview

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Unearthed Review

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Unearthed ReviewI cannot give enough praise to the performances on this collection of (mostly) unreleased material. Cash is astounding. I found many of these songs to be more diverse and impressive than much of what was found on the last two American Recordings releases. I can think of no more fitting farewell from (and for) the Man In Black than this. How much of it didn't end up on an album is beyond my comprehension.
The Re-Recordings:
There are quite a few legendary Cash gems given new life and intensity in this set. Among them is the classic mourner "Long Black Veil," the endearing "Flesh And Blood," and twin mining/coal town songs of "Dark As Dungeon" and "The L&N Don't Stop Here Anymore." There are others and, honestly, each one is as good (if not more straight-forward and hard-hitting) as the originals.
The Covers:
While I felt that American Recordings IV: When The Man Comes Around contained too many covers of uber-popular songs ("In My Life," "Desperado," etc.), here we find a few numbers from songwriters like Kris Kristofferson ("Just The Other Side Of Nowhere" and "Casey's Last Ride"), Neil Young ("Pocahontas" and "Heart of Gold"), Jimmie Rodgers ("'T' For Texas" and "Waiting For a Train")...and the list goes on and on. Again, I'm left wondering why hadn't some of these made the cut before?
The Duets:
Why "I'm So Lonesome I Could Cry" was chosen over the charming "Cindy" (both with gloom-crooner Nick Cave) for American IV I'll never know. While I love Hank Williams, Sr. this traditional track is simply perfect. The same for the Fiona Apple duet of Cat Steven's "Father And Son." A vast improvement over "Bridge Over Troubled Waters" where Miss Apple's voice seems to interfere more than harmonize. But hands down the best duets are with veteran rockabilly king, Carl Perkins ("Brown-Eyed Handsome Man"), and the late Joe Strummer of The Clash ("Redemption Song").
The Hymns:
While I love many of Cash's own Christian inspired songs I found that many of the traditional hymns lacked, pardon the expression, spirit. They were faithful renderings, but seemed to lack the interpretation that Cash usually lends to any song. Or perhaps it was just my impression. Regardless, I won't say that these songs aren't good...they certainly are...they just don't all quite match the glory of the rest of the set.
The Best of the Rest:
I still cannot grasp any reason why Unearthed included a "Best of..." disc, except for the sole purpose of upping the price of this boxed set. I would have to guess that most of the folks willing to shell out $65.00 for a Cash boxed set are probably going to have most, if not all, of the American Recordings albums previously released. But this doesn't bother me so much in the long run. They could have charged the same price for four discs if they'd wanted...I'd still have took the bait.
Packaging:
I've heard many folks bemoan the agreeably fragile packaging. I've seen folks complain oblivious to the fact that the upside down flag is the long-standing emblem of American Records and can be found on all the albums on their label. I can only offer one suggestion to those who worry about the cardboard sheaths damaging the cds. If you have a CD recorder...make copies. Use those copies and leave the packaging on a shelf somewhere as something to take down and thumb through from time to time. It's supposedly a Limited Edition...treat it like one and it'll last.
Liner Notes:
Last but not least we have the personal reflections of Cash, producer Rick Rubin, and various other friends, family members, and bandmates that contributed to the creation of this collection. I found myself wishing that we had such intimate accounts of all the songs on the original American Recordings...and thankful that we could be given such insight into such a fruitful and inspiring time in Johnny Cash's career. For those who hadn't gotten a sense of the man from his music...they certainly couldn't miss what a genuine, thoughtful, intriguing, and inspirational individual Cash was...and always will be. Thanks to American Recordings and Rick Rubin for allowing a legend to make a magnificent final stand.
The Final Tally:
Music: *****
Packaging: ****
Liner Notes: *****
PS: The live, orchestral version of Leonard Cohen's "Bird On A Wire" is simply one of the finest pieces of music I've ever heard. If there were more songs from this live performance I'd certainly be willing to pay to hear it. It's glorious. Enjoy.Unearthed OverviewNot just your average box set of re-packaged music,'Unearthed' is a 5 CD box containing 79 tracks from theAmerican Recordings era. 'Unearthed' contains 4 entirediscs of never-before-heard recordings. 'Unearthed' alsocontains 'My Mothers Hymn Book' a complete never releasedsolo acoustic spiritual album. Deluxe packaging includes104 page hard cover book, never before seen photo's andJohnny's personal comments, thoughts and memories aboutevery song on the box. Lost Highway. 2003.

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Driving North Review

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Driving North ReviewIf you're a fan of singer/songwriters along the lines of Patty Griffin, Cheryl Wheeler, Lucinda Williams and Elyza Gilkyson, then there's a fairly good chance that you will rejoice in the music of Chris Pureka. This New England-based folkie combines lyrical songwriting ability with an emotionally expressive (and thoroughly husky) voice, drawing you in with her simple homespun songs about heartache, happiness and the change of the seasons. Drenching the songs in the imagery of her surroundings, Pureka creates a soundtrack for East Coast travels, evoking some to compare "Driving North" to Bruce Springsteen's early '80s masterpiece "Nebraska." On gorgeous ballads like "Unwelcome" and "3 a.m.," she nails matters of the heart, while on driving, insistent tunes like the haunting "Silo Song" and "Reprieve," she does the same with a ferocity that will instantly capture your attention. Listen to any of those tunes (not to mention "Burning Bridges" or the urgently soulful "Porch Songs") and try not to instantly fall in love with Pureka's music. In fact, I dare you.Driving North Overview

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Light You Up Review

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Light You Up ReviewLight You Up is the satisfying result of extensive collaboration with some of today's best songwriters, Chuck Cannon and Glen Phillips among them. Yet Mullins remains true to his own roots and signature style- his talent for connecting us to the subjects of his songs.
As with many of his previous albums, the musical style ranges from the rock-infused "California" to a soft, introspective "Blue Sky", originally recorded as part of the Thorns project; to the sultry "Light You Up"; and finally, a sprinkling of country. His current band is tight- great synergy on-stage and off. Tom Ryan's harmonies are a perfect counter-weight to Shawn's rich tones, and Patrick Blanchard continues to impress me with his nimble guitar work. You can tell these guys are having fun, making it that much more fun for the listener.
But you don't have to take my word for it: At a recent performance, Cannon noted that Shawn's interpretation of "The Ghost of Johnny Cash" is one of the few times he's been truly satified with the way an artist laid down one of his songs.
While Mullins provides enough action to sustain a casual listen, he's most satisfying when you have the time to pour yourself a cup of brew and listen-really listen-to what the man has to say.Light You Up Overview

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Patty Griffin: Live From the Artists Den (2007) Review

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Patty Griffin: Live From the Artists Den (2007) ReviewThis DVD seems to have a very clear mission -- to showcase both the exceptional talent and the endearing qualities of Patty Griffin. I think it succeeds well in this mission. It nicely blends many of the songs performed by Ms. Griffin during a special February 2007 concert at a converted synagogue in New York City with short excerpts of an interview of Ms. Griffin conducted before the concert. Each interview excerpt is timed so that its content fits nicely in the sequence of the songs performed. During the best of those excerpts, Ms. Griffin notes that she goes through a brief mourning period after she records a song adding that her songs "do have a life of their own. I mean they're mine for a little while and I know what they are to me, when I have them, initially, and then they go out into the world and it's completely . . . it's a personal experience for every listener so, um, they don't belong to me anymore, you know . . .". That sentence fades immediately into the blue-lighted stage for the first note of "When It Don't Come Easy", a powerful song, as many of hers are, that certainly has a special meaning to her, but is clearly open to many potential personal meanings for the listener.
A special moment occurs when Ms. Griffin, alone on the stage, starts strumming the opening for "No Bad News", while her band hastily rushes onto the stage to become a lively rhythm section grouped to one side of her as she sings and plays along. Another is the interplay between the electric guitar of the talented Doug Lancio and Ms. Griffin's vocals during the gospel sounds of "Love Throw a Line". And then there's an awesome cover of Sam Cook's "Get Yourself Another Fool", something you're not going to get from any of her albums.
The movie is short, perhaps too short, and, expectedly, is heavy on songs from her latest album "Children Running Through", but, unexpectedly and perhaps disappointingly, includes nothing from two of her brilliant albums (they are all brilliant), "Flaming Red" and "1000 Kisses". Fortunately, it does include two songs from her debut album, "Living with Ghosts", one of which opens the movie and provides a nice touch in the background at the beginning of the movie and for the credits at the end of the movie. There a few editing mishaps, although you have to be paying more attention than is necessary to see them. Also, the editing is on the aggressive side with a lot of camera switching, something I like, but which others might find annoying. The sound, lighting, and general atmosphere, however, are consistently superior.
If there are any shortcomings in the movie, they are more than overcome at the end with Ms. Griffin's performance of "Top of the World". That was enough for me to move from 4-stars (which I might otherwise have given it due to the editing on other songs) to 5-stars. For this song, the camera work (particularly at the very beginning of the song), the editing, and, certainly, the performance are "top of the world". If you've seen Ms. Griffin in concert or if you've been a long time fan of hers, I suppose you may find this DVD to be a bit disappointing, simply because it is too short. For everyone else, and I do mean everyone, I think it is well worth seeing. When you see it, you'll almost certainly understand not only why she has such highly-devoted fans, but also why those fans refer to her simply as "Patty".Patty Griffin: Live From the Artists Den (2007) Overview

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Gasoline Alley Review

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Gasoline Alley ReviewBack in the early seventies, when Rod Stewart had not yet abandoned his own artistic path in order to become a spiky-haired, glitzy pop singer in pink outfits, he wrote some of the best folk rock songs, turned out some of the best cover tunes, and worked with one of the best backing band ever.
If you prefer the Rod Stewart of the 1980s, "Blondes Have More Fun" and all, this might not be your thing. Teenagers will generally look bewildered if you play them this kind of music, and look at you like you're from another planet if you profess to enjoy it.
But never mind them, what do kids know?! To me, the four primarily acoustic albums that Rod the Mod turned out between 1969 and 1970-something, remain the best items in his entire catalogue. Tough, organic folk, gritty blues, swaggering rock, and melodic country blended together and stirred with a drumstick...and, to me, "Gasoline Alley" is the best of the lot, alongside "Every Picture Tells a Story".
"Gasoline Alley" (the sublime title track is written by Rod and Ronnie Wood) sports perhaps the best Bob Dylan cover of all time, a beautiful "Only A Hobo", as well as a hoarse, ragged, folkish version of Elton John's and Bernie Taupin's "Country Comforts", Stewarts own "Lady Day", and an incredibly rocking, reeling "Cut Across Shorty", all guitars, drums and a lone violin. It ought to be hokey, but it's not!
I can't remember who it was that wrote something like this about this album:
"-Instead of looking for the rock within the folk, [Rod Stewart and Ronnie Wood] proved that folk could rock like hell on its own!" But it's damn right, and that's why I'm blatantly stealing the quote here. This isn't really a rock n' roll record in the traditional sense, but does it ever rock and roll!Gasoline Alley OverviewReleased in 1970, Rod's sophomore solo effort climbed to #27 and stayed on the charts for 57 weeks ! Includes the title track plus It's All Over Now; Lady Day; Country Comforts , and more.

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Strict Joy Review

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Strict Joy Review
Being a huge Frames/Swell Season fan, I've been anticipating this album for a long while now. I can say with a sigh of relief that I'm not disappointed. I really really enjoy "Strict Joy". I'd heard a lot of the songs live, and of course they are better than the studio versions, but it's not really fair to compare.
That being said, here is what I thought:
Low Rising - This is a very strong opening number. People say that it's really Van Morrisonesque, and I suppose that I'd agree with that. Glen's voice on this track is great, and it's got a great hook. My only problem with the song, is the production. I feel like it's been bogged down with too much drone. I think that the song would be better without the brass, and with more guitar. Still, a solid and catchy opening number. 8.5/10
Feeling The Pull - This is a great song. Very folky, with an old time optimistic feel. It's catchy, nicely written, and also it's very short and sweet. It retains the energy of Low Rising and focuses it in a very different way. I do however, miss the moments when played live Glen goes into a nice falsetto and lightly strums the guitar. However, the song is still great without it, and doesn't really suffer without it's inclusion. 8.5/10
In These Arms - Beautiful song, with beautiful lyrics. Glen's vocals are hushed, which makes the song sound almost like a lullaby. The harmonies and piano bits provided by Marketa are gorgeous. The songs beauty is in its simplicity. It's very clean, dark, and yet hopeful at the same time. Fantastic tune. 9/10
The Rain - This song to me, is very Frames reminiscent. It's dark, drum driven, has a prevalent bass part, and it makes nice use of the violin. It's a bit repetitive, but the song itself isn't that long, so you don't get a sense of a one minute song left on repeat. It's a nice tune, not one of the standouts, but by no means bad. 7/10
Fantasy Man - This is a Marketa driven song, and it's great. It has an old medieval feel to it, and almost seems like it is a cover song from the olden days. The harmonies are fantastic, and really shows how wonderfully Glen and Marketa can blend their voices. Glen's part is very soft and understated, yet works extremely well. This song really shows off Marketa's talent. Her voice is like a warm fire on a cold rainy day. Very nice, soft, and welcoming. 9.5/10
Paper Cup - This song has very nice lyrics, and an almost Spanish-like feel to it, which is provided by the lead guitar. It's a soft song, and the lyrics while a tad bit sappy, work well and in no way sound cliched. It's a nice tune with a nice appeasing melody. 8/10
High Horses - The is by far the heaviest song on the album. It's a great throwback to The Frames, and sounds like it could have been off of one of their albums. The song becomes eerily quiet about 3/4 in, and then builds from there into a nice rocking ending. The effect is very nice, and it ends on a chilling note. 8/10
The Verb - This is by far one of my favorite songs on the album. Upon first listen, I wasn't sure if I liked it overall, but I was instantly drawn to the insanely catchy chorus. The more that I listened, the more I realized how layered and truly beautiful the song is. There are so many little aspects of the song that you do not catch on first listen, and the melody gets even more beautiful as the song continues. The climax of the song is met with Glen singing the chorus and being overlapped by Marketa singing her own thing, and the result is a gorgeous blending of melody and emotion that is like candy to the ears. 10/10
I Have Loved You Wrong - This song is so soothing, that you can't help but close your eyes and become engulfed in the music. The enchanting melody is only helped by the subtle instruments carrying the song along like a leaf on a gentle breeze. This is one of the best songs that the group has written, and Marketa's voice suits it perfectly. The song ends with a heartwarmingly angelic harmony between Marketa and Glen, and it is perhaps one of the most beautiful things that I've ever heard. One line is repeated many times, and with each repeat, you can feel it tugging more and more at your heart. 10/10
Love That Conquers - This song sounds like an old bardic folk song. It features some nice little harmonies, but the song overall tends to become a bit repetitive. However, the song is very nice. It's a great song to just relax and listen to. A very safe song with a simple yet nice tune. 7.5/10
Two Tongues - To me, this song also plays very much like a Frames song. I enjoy the chorus, and I like the buildup to it. However, on song like this, I wish that Glen would display the beauty and raw power of his voice, because he stays mostly in his lower register. The piano part on this track is very nice at times, and it pierces through the guitar like a sword, which is welcoming. 8/10
Back Broke - This song is a fantastic way to end the album. It's a quiet song with beautiful lyrics. It's song with Glen hardly using his voice, which makes it all the more effective. Additionally, Marketa's piano bits are very nice, and Glen's soft voice soars over them. The song has a wonderfully dark vibe, reminiscent to a storm cloud just before the rain. It ends the album on a very high note. 9.5/10
Overall, Strict Joy is a true work of art. It seems to me that Glen Hansard walked into the studio and came out with a hybrid album that lays somewhere between The Frames and The Swell Season. The result of such an album, is a wonderful gem that any musician would be proud to add to their catalogue. When the album flies, it really soars. Sure, it may hit some turbulence along the way, but the ride for the most part is an extremely enjoyable experience. The original poem Strict Care, Strict Joy, said "The poet makes grief beautiful," and Glen and Marketa have truly achieved that. The album is a must-buy, and plays like a warm night sitting around the campfire with old friends playing music and telling stories. Buy the CD, close your eyes, and savor it.
Strict Joy Overview

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Sea Sew Review

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Sea Sew ReviewLisa Hannigan's first solo album, and what an amazingly beautiful freshman effort.
Lisa played with Damien Rice for some time, in fact Volcano is probably one of my favorite songs because she, Damien, and the cello all sounded like perfect musical instruments. It's a shame that Rice asked her to split off onto her own. She appears with him on these two Damien Rice albums O,9 - both are masterpieces when she sings.
Sea Sew is one of those delicate beautifully mixed clear albums that is just a pleasure to listen to. Lisa's voice and phrasing shows a number of influences, but she is never derivative of their music. She has a unique style that is very easy to recognize. On different tracks, I'm reminded of Jane Birkin (ex fan de sixties), Edie Brickel (shooting rubber bands at the stars), Bjork (her early work, maybe even sugar cubes days), Her Irishness comes out frequently, just enough pleasant lilt.
Her voice has a wonderful range, from whisper quiet with a the tiniest bit of rasp to clear clean beautiful full singing. Notes are always hit perfectly (no pitchiness here dog). The recording has wonderful imaging. The mix is well balanced, Lisa's voice is crystal clear backed by musical instruments at exactly the right volume.
The packaging is worth mentioning - all paper and paper board. The disc fits in a slot just inside the front cover. The 10 page stapled insert includes the musician credits, most of the song lyrics (a few are missing), and the standard thank yous at the end. The cover is a photograph of a knit and stitched piece Lisa and Frances Hannigan did.
Ocean and A Rock - beautiful violin accompanies her voice starting off with a low intimate whisper. Slowly builds through the song to include a nicely played trumpet. The volume of this song stays constant, there is none of that annoying very quiet first one minute of the song and then blarring sound at the end.
Venn Diagram - oh such a beautiful singing of something so mathematical. There is an interesting drum beat driving through this song. Lisa's ha ha ha's are, well a bit exciting.
Sea Song - The cello back drop on this song is wonderful. The tone of her voice works very well with violin and cello. This song is a bit weaker compared to the rest, a little sing songy.
Splishy Splashy - beautiful guitar opening. This song seems like it should be silly, but in fact has a melancholy tone in contrast to the words. "Have your coffee splishy splashy" imagine those words sung slightly sad, each word emphasized. It's remarkable how she can use her voice so well to make words and music sound sad (there is a xylophone made to sound like a child's toy).
I Don't Know - another track with a driving drum and trumpet. It's probably the most radio playable song of the disc. It's a sweet song.
Keep It All - has almost a Cowboy Junkies vibe to it. A standout on the disc. Driving drum beat, bass line, cello, and guitar. Where the lead singer of Cowboy Junkies always sounded like she was on Qualueds, Lisa Hannigan has all her senses and hits perfect notes. One of my more favorite cuts on this disc.
Courting Blues - the only song Lisa did not write, and my least favorite. There's a fair amount of dissonance, not unpleasant.
Pistachio - a cute song. Probably sounds the most like Bjork mixed with Jane Birkin. A few times the singing rolls off to almost speaking. It's an interesting enjoyable effect. The lyrics are just so much fun and oddly have an exciting side to them.
Teeth - Almost hate to say it this way, but it's sort of folk music meets a movie soundtrack or show tune (without all the horns and huge orchestra). The song is just fine, not a standout.
Lille - the most Irish folk song of the disc. Just a beautiful song.
Overall, this is a very solid disc. Personally I would purchase the CD for the lovely packaging. There's maybe one or two tracks that I might not download, if I were picking and choosing. A case of very well done mix, recorded lovingly, and with care.
Lisa was a standout to me on the Damien Rice albums. She demonstrates that she is not a one trick pony, or the background singer. She is a solid artist in her own right.Sea Sew Overview

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Our Endless Numbered Days Review

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Our Endless Numbered Days ReviewHere I am, a grown man, who listens to everything from the Shins to Tool. I was listening to this album in my bed after I bought it that day. I was really tired, so I kind of drifted off (not because the album was boring, far from it - I was just tired). When "Fever Dream" came on I instantly became aware again. It's not like this song has a loud or startling beginning, either - no Iron & Wine song does. But the guitar line was so beautiful my mind must have said "wake up and hear this." I rarely hear a song that affects me so...so dramatically as "Fever Dream" did, and still does. I just layed there, captured by it's sheer gentle beauty. It aroused so many emotions inside that were lying dormant somewhere inside me. The fact is, I've been extrememly lonely lately, and there hasn't been anyone I felt could really sympathize with me. But this song captured my emotions so well I shed tears. You probably think I'm lame, but I just needed to share how deeply this song affected me.Our Endless Numbered Days OverviewListening to Our Endless Numbered Days makes plain Sam's defttouch with words and melody; one that allows him to turn out stories aboutlove, loss, faith, or the lack of it that are at once personal anduniversal, set to music that is sweetly haunting and timeless.

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A Friend of a Friend Review

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A Friend of a Friend ReviewReasons this is a 5 star album---tracks 1, 4 and 9; great vocal harmonies (to be expected from Gillian and David); David's guitar playing (of course); and the overall Rawlings-style production that makes the music sound so effortless.
One thing that leaves me slightly disappointed is the limited new material (tracks 2 and 3 have been released on other albums and tracks 4 and 8 are covers). I've been told that one could also argue that track 5 is a semi-cover since the melody was taken from an old blues song, but since I was not familiar with that song, it was new to me. So out of 9 songs only 5 of them were "new". To be fair though, the Oberst/Young cover is so fantastic, it kind of has a life all its own. It's just been so long since their last album, I really wanted MORE.
The main thing that I am not crazy about is the heavy-handed Old Crow Medicine Show bleed into the Gillian and David sound. I know this is simply a matter of taste--I like OCMS and own a couple of their albums--but I would prefer that their influence be more subtle. Tracks 6-8 could easily appear on an Old Crow album with guest vocalists David and Gillian. I'm not a purist who despises the idea of them straying from their usual two guitar/two vocals routine. I just don't love the idea of Gillian and David sounding like guests on their own album.
But if you're a fan, you're going to buy this album and you're going to like it. It's nice to see David Rawlings get the accolades he deserves and I'm excited to add this to my collection.
A Friend of a Friend OverviewHighly anticipated 2009 debut album from Gillian Welch's secret weapon: Dave Rawlings. A Friend Of A Friend includes appearances from Ketch Secor, Willie Watson, Kevin Hayes, Morgan Jahnig, Benmont Tench, Nathaniel Walcott, Karl Himmel and, of course, Gillian Welch.

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Pink Moon Review

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Pink Moon ReviewIn the throes of a depression that would see him dead at the age of 26 from an overdose of anti-depression medication, Nick Drake still managed to produce his last album, "Pink Moon." Unlike his first two efforts, which consisted of orchestrated folk-pop music, this 1972 album was just Drake playing his acoustic guitar and singing (with a bit of piano here and there). The result is a bleak testament to melancholy and alienation that has a haunting and pristine beauty. There are only eleven songs, most of which are under three minutes in length, which is why the album is not even a half-hour long, but there is a sense in which anything longer would be too much to bear. "Pink Moon," by itself, justifies Drake's status as a cult figure among those who love folk-rock.
Ironically, you have probably hear Nick Drake's music before, because the title track was used for a Volkswaggen commercial, just another example of how music is perverted to commercial interests (what else is new?). I have been spending the cold winter putting together mixes of folk music (in the broadest sense) and making a concerted effort to get beyond Bob Dylan and the Byrds to explore the likes of Sandy Denny and the Beau Brummels. Checking out Sandy Denny led me to Fairport Convention and Richard Thompson, and eventually to Ralph McTell and Nick Drake. Now I can only wonder what rock I have been living under that I have never come across these artists before.
The title track is a beautiful folk ballad, performed with just Drake's superb acoustic guitar playing and haunting vocal. Throughout the album you notice the depth of his lyrics and his guitar playing. The latter might have been lost in an album with orchestration, but here you have the opportunity to listen to the openings of "Radio" and "Parasite" unadorned. For the former a choice example would be the opening of what is probably the best song on the album (it is hard to choose), "Which Will," which begins: "Which will you go for/Which will you love/Which will you choose from/From the stars above?" There is a simple elegance to the lyrics, captured by the vocals, and complimented by the more complex guitar playing.
Nick Drake only produced three albums, so there is no reason not to have all of them in your music library. These works represent the very best of the British folk-rock scene and Drake is a first rate singer-songwriter whose songs of failed romance, mortality, and depression are quite affective. Drake intended "Pink Moon" to be his final album, saying he had nothing left to record. When you lose yourself listening to these songs, you can actually convince yourself that this was true.Pink Moon OverviewReissue of the late British folk icon's final full-lengthalbum, released in 1972. 11 tracks. Slipcase. Island.

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Foundling Review

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Foundling ReviewAs an avid fan, even I was getting a little tired of cheesy love songs with cheeky lyrics that have come since White Ladder. Foundling abandons all that, and comes at you with inward, intimate, and beautiful songs.
I don't understand other reviews and critics that compare this with previous albums, and say it's "nothing new". The closest album to this in Gray's portfolio is Lost Songs which was written nearly twenty years ago! This album doesn't have cheesy-pop songs like Stella the Artist or Be Mine from recent records. Some of the songs on Foundling, such as We Could Fall in Love Tonight or Old Father Time are in a different league; a lot more dynamic and thoughtful.
A lot of times musicians have a hard time staying personal an intimate as they get older. I think of early records of Coldplay, Radiohead, and the Counting Crows that have the passion and restlessness of youth. When you listen to later offerings they become an abstraction of themselves, almost a comical, heavily marketed version of what the passion in their early work. Think of Coldplay's Shiver vs. Fix You or the Counting Crows Mr. Jones vs. American Girls. . . It's very difficult to stay relevant after your first few records.
Gray, at 42 years old, somehow with Foundling found that youthful, restless, passionate voice again. The first time I heard this record I admit I was incredibly surprised at the lyrics and themes of the music; it blew me away. This is the kind of offering of a singer/songwriter bursting onto the scene.
This album is incredible, and comes recommended to anybody who enjoys deeply personal, moving music. This is the kind of album to play on a Fall day over a cup of tea while rain falls gently.Foundling Overview

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Downtown Church Review

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Downtown Church ReviewI, like lots of others, was a little worried when I heard that Patty Griffin's newest effort was a gospel/spirituals recording. For me, the concern wasn't so much that I dislike the genre, but that I couldn't bear a Patty Griffin album full of someone else's lyrics. Patty is one of our great poets, and the world needs the gift of her words -- weary, wise, and every now and then containing a glimmer of hope and light.
As it turns out, this genre has plenty of that, and Patty Griffin seems right at home on the stage of that downtown Nashville house of worship. "People steal / they cheat and lie..." So begins the record, and over the course of 14 tracks Patty Griffin struggles between light and dark that lives inside us. It's epic, and very, very beautiful.
I know a lot of folks aren't fans of "gospel," but the good news is that this record really has more of an "O Brother" arthouse feel that will play nicely in the kitchen when friends are over.
Check out "Death's Got a Warrant." It's a capella except for the thudding percussion that sounds like God stomping across the floor as he comes after you.
The first time I heard the final track, "All Creatures of our God and King," I had to stop what I was doing. It is so pure and lovely, it almost feels... well, sacred.
The revelation on here is Patty's voice. Honestly, I don't think she has ever sounded this good. "I Smell a Rat" is a showstopper, and man is she is spitting nails. I didn't know she had it in her.
I'm ready to place "Downtown Church" near the top of her brilliant catalog. Like the rest of her work, it is full of sadness and a weary awareness of the darkness around us. But this time she's carrying a fire and although there are never guarantees, a little bit of light just might break through.Downtown Church Overview

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O Review

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O ReviewThis CD made it's way into my hands when a friend, an Irish singer, said if he could be anyone in the world, he would be Damien Rice. He put this album on and watched eagerly as I devoured it for the first time. Inevitable comparisons to Leonard Cohen, Jeff Buckley, Dave Matthews and Tom Waits will be made, but Rice is a genre unto himself.
Rice's voice is beautiful, and in it's human imperfection, convey's a world of deep emotion. The vocal style can change from song to song, but his ability to sing straight to your soul is always there. The lyrics are deep and they burn.
'Cold Water' made me weep, I was so caught up. The Gregorian chant at the end was a perfect emotional denouement. 'I Remember' hurt, it was so good.
Lisa Hannigan's vocals are woven together with Rice's in a perfect compliment. Her voice begins where his ends.
Cellist Vyvienne Long adds a deep, grounding tone that is haunting.
The acoustic guitar arrangement went from spartan to a wall of sound. The organic feel augmented the feel of the whole album.
As my friend watched me listen for the first time, I knew I had a problem on my hands.
What could I possibly do to return this favor?O OverviewDamien Rice's intriguing brand of stylishly, un-styleddirty folk music has made him one of the standout artistsof 2003. O was first released in Ireland, where it quicklybroke the top ten, and achieved triple-platinum status.Slim hard-back digipak. Vector. 2003.

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Time (The Revelator) Review

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Time (The Revelator) ReviewThis CD is a treat, a big step forward for Gillian Welch and her partner, David Rawlings, and easily their best work to date.
For those unfamiliar with Welch, she appeared five years ago with "Revival," a compelling recording that drew its inspiration from such early country acts as the Carter Family. Although a terrific singer and songwriter, Welch's close identification with a 70-year-old musical style threatened to mark her as a one-trick pony, an oldies act with little new to offer. Although this was a possibility, it was also quite unfair, as "Revival" was truly a strong and original work, despite the narrow stylistic borders. Welch's sophomore work, "Hell Among the Yearlings" (1998) demonstrated both greater ambitions and growth as a songwriter. Welch also made significant contributions to the "O Brother, Where Art Thou?" soundtrack album, one of the surprise hits of the first half of 2001.
"Time (The Revelator)" is a major leap forward. Welch and songwriting partner Rawlings (who backs her throughout on guitar and vocals) have produced their strongest batch of songs to date, some of which are far removed from the Carter Family-influenced style. "Revelator," the haunting opener, is a clear sign of their growth as writers and performers. Other highlights are "Elvis Presley Blues" and the 14-minute epic "I Dream A Highway," which is an astounding accomplishment. The only negative comment I have is that "I Want To Sing That Rock and Roll" is also included, in the same live version, on the recently released "Down From The Mountain" collection, an "O Brother, Where Art Thou" spinoff. Its a great song, though. Welch's beautiful vocals shine throughout, set within the understated but effective instrumental arrangements. This is intelligent and well-executed music that will appeal to fans of both country and folk.Time (The Revelator) OverviewLeading up to the nearly 15-minute I Dream a Highway on Gillian's 2001 album are nine songs full of soaring harmonies. This time, they dip into some blues and rock 'n' roll as you hear Revelator; Elvis Presley Blues; Red Clay Halo; My First Lover , and more!

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The Carter Family: 1927-1934 Review

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The Carter Family: 1927-1934 ReviewThis is just about 1/2 to 2/3 of the hundreds of records that the Carters made between 1927 and 1941. Sara Carter later remembered they had made more than 600 records during those years. At the end of 1941, they all went their separate ways: Sara just to get out of the music and live with her new husband in Central California. AP returned to Maces Springs to run a general store and to try to get his relectant sons and daughter to play and sing music. Maybelle and her daughters kept playing Carter Family music until daughter June passed away last year.
I have just listened to every CD on this set one by one. Even though I have been playing this kind of music since the 1960s, even though I have had this or that single disc Carter Collection, even though I am judged as some kind of expert on old time music by some, I was shocked at how many tunes that I know as old time music tunes or bluegrass tunes identified with other artists were Carter Family versions of those tunes.
The Carters performed an immense service for the history and preservation of traditional American music, black and white.
They were not allowed to record already copywritten and published songs since Ralph Peer who recorded them for Victor Bluebird only got paid for publishing rights and could take only tunes he could claim publishing rights to. At the beginning the Carters were not such great song writers, although in the later 1930s when they began living in Del Rio Texas and broadcasting over Mexican border radio, they did write a number of great songs.
AP Carter traveled up and down the hills and hollers, mountains and valleys of Southern Virginia, Tennesee, North Carolina, and Kentucky asking Black and white working people, farmers, musicianers of all kinds, if they had songs for them to record. During the times late in the years covered by this set, when AP moved to Detroit to get cash paying work, and when his brother Eck and his wife Maybelle moved to DC where Eck got railroad work, they asked Southern people in those towns for songs.
During much of this time AP travelled with Leslie Riddle a black blues guitarist so that they were able to find songs African Americans as well as whites had in their hearts and minds. The Carters accepted Leslie as an equal. He lived in their home like a family member defying the Jim Crow Ettitique of the times. The Carters were all solid anti-confederate Lincoln Republicans. AP's dying words were "Don't vote Democrat" which in 1960 in Virginia meant don't vote Dixiecrat.

Old AP used to delight in the relatively small royalty checks all these songs brought him in the 1950s which he dutifully divided with Sara and Maybelle, even though all the songs were in his name. It is too bad he died in 1960 just before the folk revival brought all these songs back onto hundreds of records by folk singers, then by bluegrassers, then by country Western artists. Those checks would have gotten a lot bigger.People brought these songs to the Carters, mostly to AP and Leslie Riddle, singing them on their porches, or in juke joints, or often when AP would stop after hearing a rumor that used saw mill parts could be obtained at a good price, something he was obessed with. Some folks did bring them the songs in yellowed old sheet music with crackled paper from the 19th Century, or as pages cut out of poetry books published deep in the past. Some of them would go back stage at the little school house and church shows the Carters did in the mountain towns during the depression and gave an old ballad not sung since their grandparents time. Some of them would request a song that the Carters didn't know, and AP might ask them to sing the tune right then and there.
On top of this, of course, AP Carter had been known since he was a boy for singing songs, teaching singing schools, being willing to walk all day up and down the Southside Virginia mountains to find a good singer or good music. This is how he found Sara Addington, his wife who was a hell of a singer. Then when AP's brother married Maybelle Addington who was known as the best guitar and banjo picker in the valleys around there (and no slouch on the fiddle and mandolin too)since she was a teenager (and she was only 18 when the Carters began recording) they were set. This may have been a plot, because a lot of the time AP would go up and over the mountains up and down walking all day to court a reluctant Sara, she would be sitting in the parlor singing or playing the autoharp, or learning guitar chords, along with her cousin Maybelle's guitar, banjo, or fiddle.
AP Carter was the real song catcher. These were a few of the hundreds of songs he caught, a few that were written by himself, Sara, and Maybelle.
So this is, in fact, an encyclopedia of the songs that were sung by Black and white working folks, farmers, musicians, rounders, up and down the mountains of Viriginia, North Carolina, Tennessee, and Kentcuky and the songs migrants took with them to Washington and Detroit. This is a treasure trove for anyone wnating to return to the lost world of those people, or to find songs from those years that speak to our lives and problems. Besides they are pretty good to listen to!
One good thing about this collection is that you hear a lot of the tunes they did in finger picking and slide guitar styles that Maybelle learned from Leslie Riddle. A lot of modern performers do them just flat picking, or the thumb and strum style Maybelle is best known for.
At this price, everyone with ears needs this.The Carter Family: 1927-1934 OverviewThese 127 tracks are the cornerstones of country. Includes Wildwood Flower; Keep on the Sunny Side; Wabash Cannonball; Worried Man Blues; Wandering Boy; Lonesome Pine Special; Foggy Mountain Top; Little Log Cabin by the Sea; Engine 143 , and more.

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Give Up the Ghost Review

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Give Up the Ghost ReviewI've had the vinyl release for several days now and am quite pleased while looking forward to acquiring the CD for my car. I've been listening to Brandi Carlile and the Hanseroth brothers since I received a 'song-of-the-day' iTunes card from Starbucks in October of '07 highlighting the song 'Turpentine'. A few of these songs written by Brandi alone are so heartfelt, it truly feels as though she's desperately reaching out to disconnected people in her past.
The subtle use of instrumentation and orchestration in this third release is beautifully produced and does not in any way obscure from Brandi's unparalleled voice. She could sing (or yodel) her weekly grocery list, and I would drop what I'm doing to listen... anytime.
My current favorite tracks are 'Looking Out' (w/Amy Ray), 'Dying Day', 'Pride And Joy', 'Before It Breaks', and 'Touching the Ground'. Basically the entire album will grow on you. The upbeat song 'Caroline' is a wonderful treat with Elton John playing the piano the way ONLY Elton John can. Highly recommended!Give Up the Ghost Overview

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Leavetaking (Dig) Review

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Leavetaking (Dig) ReviewI found Peter Bradley Adams like I find just about anyone nowadays, on myspace. And what a find! I really love Claire Small, and since it appears that she really loves Peter, I figured I'd take a chance. Wow! This album is SO nice. The opening song, The Longer I Run, is typical of the whole album, perfect folk/rock that is absolutely timeless. What is it about Nashville lately? Neither Claire nor Peter are still there but it is turning out some brilliant singer/songwriters, and it's not what you'd expect. 'Leavetaking' is a gorgeous beautiful gem.
UPDATE
I got to see PBA LIVE last night here in Chicago and he put on a great show. Just him and one other guy (Jason Goforth!) and the two of them were so good. If Peter Bradley Adams comes to your town, run don't walk to see him.
ANOTHER UPDATE
I saw Peter again this last November at the Americana Folk Festival in Nashville. And once again he was terrific. AND this time Claire was their to sing with him! Just gorgeous music.
btw.. the AFF is a fantastic one day music festival abut a 30 minute drive out of Nashville. In a state park. Great music in a great setting.Leavetaking (Dig) Overview

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