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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Sea of Tears Review

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Sea of Tears ReviewOne of my favorite CDs of the year, just a notch behind Jenny Lewis' "Acid Tongue." For musical details, I concur with the review by Colin Spence. I also concur with his evaluation of 4 and 1/2 stars but gave the CD five stars to balance out the Amazon tab. Jewell's music is very unlikely to reach mass media saturation (which is good) but it has already (and rather quickly) become popular with radio stations featuring an Americana format (which is also good since it will allow her to make a living, keep her superb band together and record more music in the future). It's not only difficult but also rather foolish to try to compete with a definitive cover version by The Who in their prime (i.e. Live At Leeds. I was so taken by Jewell's take on "Shakin' All Over" that I heard by chance on internet radio, however, that I made a point of finding out the performer and then buying the CD without bothering to listen to any other tracks. Because the CD as a whole is so likeable from the very first listen, this is a great CD to give as a gift to friends who enjoy hearing "undiscovered" musicians.Sea of Tears OverviewThe third record from Boise-ID singer-songwriter Eilen Jewell's Sea of Tears evokes the era of classic country and early British-invasion era blues rock .On her third album Eilen Jewellis more Dusty Springfield than Gillian Welch. Sea of Tears finds Jewell acknowledging her electric influences and the roots of rock and roll on the album's twelve tracks. On the record she pays homage to British invasion of the sixties, bands like The Kinks and The Animals; her forlorn, yet confident, delivery matches slow rock and resonant guitar sounds throughout the record. Although nine of the tracks are Jewell originals, the entire album could easily have been recorded over forty years earlier. Sea of Tears has a smooth sliding pace that is punctuated by a chill of sharp guitar and the tone can be summarized in the words of "Shakin' All Over." In the track, a cover of Johnny Kidd & The Pirates' recording, Jewell expertly explains the album's sound in the lyrics, "Quivers down the back bone...shakin' all over." The slow syncopation on the record hits the listener like ice water on a hot sunny day, unexpected but appreciated.

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The Wind Review

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The Wind ReviewYou know someone is unique when the guy finds out he has a terminal illness and he, not Leno or Letterman (no, certainly not Letterman), is the one who sees gallows humor in the predicament.
On the Letterman Show, Warren Zevon, with a wry, paradoxical smile and laugh, said that his fear of doctors was "one of those phobias that didn't pay off." Also on that night, Zevon, who has told us so much through his songs, gave us a precious nugget he discovered, something he knows that David Letterman and other people whose life expectancy doesn't number in months or days, or in Warren's case, as he's already supposed to be sleeping while dead, negative numbers: we better learn to enjoy each sandwich.
Zevon, surpassing the limitations prescribed by his doctors, has lived to see the birth of his twin grandchildren and the release of his wonderful latest album, the understandably melancholy, yet at times strangely upbeat, _The Wind_. I feel privileged to bear witness to the Mutineer's final journey, as it, like his last two studio albums, holds its own with Zevon's greatest albums (Warren's best album for my money is "Life'll Kill Ya," written and recorded way before the cancer diagnosis).
Anyway, Zevon starts out with one of his great turns of phrase: "Some days I feel like my shadow's casting me, Some days the sun don't shine." I love that image of a shadow casting a person -- it evokes a darkness, a state of nothingness, death, and yet, the lyrics are carefully crafted: only on some
days does Zevon, and I'm going to presume that there's plenty of self-reference going on on this album, feel that his shadow is casting him and that the sun is not shining. Even in the face of certain death, the implication remains that there are days when the sun shines -- when Warren still casts his own
shadow. Later in the song we're reminded that Warren's "winding down [his] dirty life and times," and the lump hits the throat. Oh, is this a painful record. And it was so painful, on so many levels (the VH-1 special is essential viewing), for Warren. But like all great works of music, it somehow raises the spirit -- of both the listener and the singer-songwriter.
Next is "Disorder in the House," an outrageous, confused rocker, that describes both Warren's state-of-mind, and, on a broader scale, the state-of-mind of his country: "The floodgates are open, We've let the demons loose, The big guns have spoken, and we've fallen for the ruse." Bruce Sprinsgteen lends sharp
vocals and killer guitar to Disorder.
The third song is "Knockin'." There's nothing I can say about this song, this rendition, and all it means, that could do it justice. So I won't try.
"Numb as a Statue" proves that, no matter what, Zevon's not going to lose that biting, intelligent, sarcastic sense of humor: "I don't care if it's superficial, You don't have to dig down deep, Just bring enough for the ritual, get here before I fall asleep."
What follows is a song that I immediately place among Warren's greatest, and without hesitation I find it to be the best thing on "The Wind": "She's Too Good For Me." This one brought tears to my eyes, but, strangely enough, not in the way "Dirty Life and Times" or, my God, the last song did, but on a level
associated purely with the song itself -- I can envision the situation as removed from Warren Zevon's life and disease; it works on many levels. It's a work of pure beauty.
"Prison Grove" strikes me as in some ways Zevon's "I Shall Be Released." Both songs are ostensibly about escaping prisons, but ultimately the songs are universal and we're all in prisons that we will all one day inevitably escape: "Some folks have to die too hard, Some folks have to cry too hard, Take one last look at the prison yard, Goodbye Prison Grove."
There are also two great blues numbers on _The Wind_, "Please Stay" and "Rub Me Raw," that reminded me a bit of Dylan's blues on "Love and Theft." At this point, I think Zevon's blues have a basis that might even be comparable on an emotional level to the blues's original impetus: racism. Nobody is going to
question this white man singing the blues.
The album's final song is "Keep Me in Your Heart." It's opening pays homage to Dylan's _Time Out of Mind_: "Shadows are falling and I'm running out of breath." This song absolutely destroys me, tears flow free, beyond mere watery eyes. If the
message "Keep me in your heart for awhile" is directed to Warren Zevon's fans, and not just his family and friends, Warren, you're going to be in my heart for a lot longer than a while. I only hope that I can be as strong and courageous as Warren Zevon, "Mr. 'Bad' Example", if the situation calls for it.
Rest in Peace, Warren. And thank you for all you've given us.The Wind Overview

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Innocent Age Review

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Innocent Age ReviewThis incredible double album released at the apex of Dan Fogelberg's popularity in the early 1980s is an amazing tour-de-force by one of folk-rock's most under-appreciated artists. From the stirring opening instrumental on "Nexus" and its complex and quite accomplished lyrics describing today's contemporary cultural conundrum to the lyrical ballad "Innocent Age", this album showcases Dan's wide range of songwriting, musical, and arrangement skills. Fogelberg tends to favor a very full "wall of sound" approach to his music, and sometimes tends to somewhat overproduce arrangements by having too much going on simultaneously in his works. Yet here the songs are clear, crisp, and simply terrific, from "The Sand And The Foam" to "Stolen Moments" to a lovely accompaniment with Emmy Lou Harris on the memorable "Only The Heart May Know". A number of top-forty hits are included, from "Leader Of The Band" to "Run For The Roses" to "Same Old Lang Syne". My favorites here are the spare and haunting "Aireshire Lament" to the astonishing work on "The Reach". Dan paints a word picture here that leaves me imagining casting about on a lobster boat in the swells and eddies off the Maine coast. Perhaps it is due to its length, but I simply cannot understand why it was never released as a single. This is a wonderful album, folks, and a splendid treat to Mr. Fogelberg's considerable skills and talents. I highly recommend it. Enjoy.Innocent Age Overview

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Rickie Lee Jones Review

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Rickie Lee Jones ReviewRickie Lee's self-titled debut album is essential listening for anyone who considers themselves a fan of jazz, female singer-songwriters, or plain old good music.
When this album hit the marketplace at the tail end of the 70's it was truly an oasis in what had become a rather boring era of music. Punk and disco had both burned themselves out, and the California singer/songwriter movement was on its last leg. There wasn't anything that could be considered "fresh" on the radio. And then, out of nowhere, came "Chuck E's In Love", heralding the advent of the most original artist of the era.
"RLJ" is primarily guitar based (Pirates, released 2 years later, would confirm the multi-instrumental power of Rickie), and the songs are so brilliant that as I write this, 25 years after this album was released, I can still play this music and think how fresh the sound remains. That's a testament to Rickie's writing and playing, which remain unmatched by any modern singer.
"Weasel And the White Boys Cool", a song about an acquaintance (Sal Bernardi), who would later become a lover remains my favorite from this disc. The guitar work on this song is incredible, and Rickie's vocals are playful and gorgeous. And her lyrics, while sometimes unintelligible upon first listen (the hiccuppy nature of her vocals, and her habit of eliding full syllables may turn off some listeners, but they are one of her most endearing traits), are as strong as any writer of popular music.
"Company" is a cabaret classic, and songs of longing like this tune fit Rickie's voice perfectly. This song has been covered many times since its release (Melissa Errico being the most recent), but nobody can capture Rickie's emotions while singing this tune.
"Danny's All Star Joint" is a genuine romp - its a shame Rickie doesn't play this song (and it's sister pieces, "Woody and Dutch" from Pirates, and "Juke Box Fury" from "The Magazine") more often in live shows. Rickie has an incredible way with uptempo pieces of this nature, and they are sorely missed on discs such as "Flying Cowboys".
"Last Chance Texaco" will break your heart if you ponder its meaning, and musically, it has to be one of the saddest uses of the guitar ever recorded. There is genuine heartbreak in this song, and no one conveys this type of feeling as well as Rickie.
"Coolsville" and "Easy Money" are wonderful songs, with what sound at first listen like incredibly simple arrangements. It is only after repeated listenings (and this album deserves such repeated listening) that the subtle complexities in the instrumentation, vocals and harmonies are revealed.
It still amazes me that an album this perfect was a debut release. And amazes me even further that she was able to avoid a spohmore slump by offering up the even more brilliant "Pirates". She is, in my opinion, the best singer of my generation, and a must-own for any serious music fan.Rickie Lee Jones OverviewCritics struggled to categorize Rickie as her 1979 debut soared to #3; they'd never be able to. She slithers from jazz to R&B to folk as you hear her hits Chuck E.'s in Love and Young Blood plus Coolsville; Easy Money , and more!

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Acoustacism Review

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Acoustacism ReviewI was introduced to Kalai when he played at a small venue in Spokane, WA. I was blown away. This guy is so talented I couldn't believe I had never heard of him. I bought the CD Acoustacism and I listen to it all the time. It's a rare occasion that I enjoy EVERY song on a CD and I have to hand it to Kalai, every song is a gem. Don't miss this one.Acoustacism 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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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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How to Become Clairvoyant: Deluxe Edition with Bonus Disc (2CD) Review

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How to Become Clairvoyant: Deluxe Edition with Bonus Disc (2CD) ReviewReally Great Album to say the least. If you hurry, Best Buy has this 2 disk edition for $9.99.How to Become Clairvoyant: Deluxe Edition with Bonus Disc (2CD) Overview

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John Hiatt - Greatest Hits: The A&M Years '87-'94 Review

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John Hiatt - Greatest Hits: The A&M Years '87-'94 ReviewIf the song list on Greatest Hits looks familiar to longtime John Hiatt fans, it's because it virtually duplicates his 1994 live album. However, this studio best of is the better representation of this gifted singer-songwriter than the less polished arrangements found on Hiatt Comes Alive at Budokan? Culled mostly from his four studio albums for A&M--Bring the Family, Slow Turning, Stolen Moments and Perfectly Good Guitar--this collection brings together on one disc most of his finest moments.
To the general public Hiatt may be known primarily as a songwriter, since many of these songs have been covered by other artists: "Thing Called Love" (Bonnie Raitt), "Through Your Hands" (David Crosby), "Feels Like Rain" (Maria Muldaur, Aaron Neville), "Tennessee Plates" (Mark Collie), "Rest of the Dream" (Nitty Gritty Dirt Band), "Have a Little Faith in Me" (Joe Cocker, Delbert McClinton) and "Angel Eyes" (Jeff Healey). But those cover versions have nothing on Hiatt's own. Even Hiatt's live version of "Angel Eyes" provides a heartfelt interpretation.
In addition to being an excellent songwriter, he is a more than proficent guitar player and posseses one of the most distinctive voices in popular music. Standout tracks include everything from Bring the Family ("Memphis in the Meantime," "Thing Called Love," Thank You Girl," et. al.) where he was backed by drummer extaordinaire Jim Keltner along with bassist Nick Lowe and Ry Cooder on guitar.
While each of the four studio albums that this CD draws from would be a welcome addition to any John Hiatt fan's collection, this is an excellent place to start. But be forewarned: You will eventually want to buy the entire albums. HIGHLY RECOMMENDEDJohn Hiatt - Greatest Hits: The A&M Years '87-'94 Overview

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Fearless Love Review

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Fearless Love ReviewWhile I was downloading this album from iTunes, I noticed a rating given to each song--and those ratings weren't all that great. "Fearless" was up there, as were the bonus tracks, but the others were in the 2-3 star category. I wondered what I had gotten myself into, until I started playing the album. This is Melissa at her best, as good as any CD of hers that I have, and better than some! Melissa is about my age, so the comment here about her sounding old is--of course (lol)--preposterous! If you love Melissa Etheridge's style, lyrics, power, and sound as much as I do, you will love this album.Fearless Love Overview2010 album from the best-selling singer/songwriter. The album was produced by John Shanks, whose first producer credit was Etheridge's Breakdown, her four-time Grammy-nominated album of 1999. Fearless Love expands on the multiple strengths that have made Etheridge one of the most beloved figures in Rock.It follows The Awakening, her revealing album of 2007, with a rousing tone at once tough and tender, as only she can be.It is that force of presence which has earned her, among other accolades, the 2007 Academy Award for Best Original Song, and two Grammy Awards.

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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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Written in Red Review

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Written in Red ReviewImagine a child having Bonnie Raitt and Greg Brown as parents. That child might be Louise Taylor. Her latest cd,"Written in Red", is her very best work yet. Her lyrics are dark , intriging, at times disturbing. Her voice has that smokey, chocolate sound that never gets tiring. Her guitar is perfectly matched to the tone and color of each piece. This entire cd is well written, beautifully performed, and well produced. It contains some of the best new music I've heard in a long time.Written in Red 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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World Without Tears Review

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World Without Tears ReviewYikes! Lucinda really split herself wide open on this one. As a huge fan of her self-titled and "Car Wheels..." releases, I struggled with the nakedness of "Essence" and grew to love it. Again, with this release, I had a hard time getting through it the first time, but it gets easier with each listen. The lyrics are sheer poetry, albeit dark, painful, poetry. And Lucinda's delivery makes them darker and even more painful. I think a first-time listener might be turned off if this were their first Lucinda Williams experience.
My favorite song on this release is "Righteously". As I've played it, several people have stopped by my cubicle and asked, "What are you listening to? That song rocks!" Almost stripped down musically, it has a wailing guitar and strong bass line that moves the song along. The last line is my favorite - - "Be my lover don't play no game, Just play me John Coltrane".
"Ventura" has a beautiful steel-guitar, wavy-feeling kind of sound. "Real Live Bleeding Fingers and Broken Guitar Strings" (great title!) sounds very Neil Young-ish to me. "Overtime" is classic heartbreak, almost Patsy Cline-ish...the simple drum work and the verby guitar along with the simple lyrics work beautifully well together.
In most of her songs, Lucinda doesn't subscribe to the pop structure of songwriting - - stanza, chorus, stanza, repeat chorus, etc. Instead the songs are more like poems with wonderful music accentuating them. I can never decide if Lucinda's vocals are a strength or a weakness...they are often rough and "hick-ish", but they do add a substantial amount of depth to the words. While I can imagine a "better" singer singing them, I realize the song would lose so much of its impact if it were slick and smooth.
I think Lucinda has come to terms with never hearing her music played on commercial radio stations across the country. Still, and admirably so, she refuses to sell out her themes and her musical style for the spoon-fed masses, and instead brings out a different kind of honesty, a different kind of love, a different kind of relationship, those not usually revealed or acknowledged in the mainstream. We're talking about abusive and drug-addicted, twisted and unhealthy relationships here. There's not very much warm and fuzzy going on. Proof that angst is a wonderful catalyst for art.World Without Tears Overview

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The Wild, the Innocent & the E-Street Shuffle Review

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The Wild, the Innocent & the E-Street Shuffle ReviewBruce Springsteen won me over forever in 1973 with this album. I went to see him perform as an opening act for Dr. John in Santa Monica as a result of this album. My college roomate had a big quadrophonic stereo system that he'd use for dorm dances, and the one demand I made on him for helping him carry his stuff downstairs was that we could play "Rosalita" and "Kitty's Back" at every dance. All the kids at first would stop dancing, because it was the only unfamiliar stuff we'd play, but by the last dance, I had people lining up to find out who made this great music.
Bruce took the expansive, poetic, musical pastiche style of this album forward with "Born To Run," but then after that album, he decided to focus his artistry on shorter songs with tighter lyrics and clear, understandable points of view. So in many ways, this album represents the road not taken. But it exists, it's still in print, and it's a classic.
Some have objected to how it was recorded, and also to the relatively weak playing of the old drummer, Vini Lopez. Points conceded, but they don't mar the brilliance and enjoyability of this album. The pianist, David L. Sancious, more than makes up for any deficiencies by playing the most outrageous piano backup I've ever heard. As fine as Roy Bittan is, Sancious' departure from E Street for a career in jazz-rock fusion was a musical tragedy. Listen to his opening for "NY City Seranade"--Chopin meets Gershwin, easing into a beautiful duet with acoustic guitar that is otherwordly. Elsewhere, he provides Bruce with all the rhythmic support his drummer couldn't.
It is unbelievable that this seemingly inarticulate kid was able to pack so much American musical heritage into one inexpensively produced album, and in the process create new musical molds. And, as romantic and poetic as some of this album is, most of it is very lighthearted and fun, capturing better than any of Bruce's other albums the spirit of the great entertainer that his live shows have always displayed. This album is Bruce's cheeseburger deluxe--greasy and sizzling, with smoke rising into the summer ocean air, spreading delight everywhere.
My fondest hope would be that, one day, Bruce would return to this style, adding a few musicians who could help him bring it off, maybe even bringing Sancious back into the fold. On Nightline, it sounded like he was trying to write a few in that style when "The Rising" was in the works.
Failing that, if he would just do us the favor of one day performing "New York City Serenade" live on TV...then he'd really impress people.The Wild, the Innocent & the E-Street Shuffle OverviewNo Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 5-OCT-1989

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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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Get Lucky Review

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Get Lucky Review"I'm writing too many songs, and then I have to put them out --- I'm sorry," Mark Knopfler said at the start of what seems like our annual phone call.

But if Knopfler is going to make CDs like 'Get Lucky', he can call me every few months --- these eleven songs are completely original short stories and character sketches, set against music by one of the planet's greater guitarists. That the quality is uniformly high is no surprise.

What did take me aback --- and what will make fans of Dire Straits and Knopfler's previous solo releases shake their heads --- is that Knopfler seems to have assembled this CD without regard for the commercial marketplace. Nothing that says "automatic Top 10" jumps out at you like 'Punish the Monkey (Let the Organ Grinder Go)' from 'Kill to Get Crimson' or 'Boom Like That' from 'Shangri-La'.

The likely result: The guy whose band sold 120 million records has made a CD that will be appreciated mostly by hardcore fans --- and the smallest cohort of music lovers: smart, literate grownups.
An unwillingness --- or is it an inability? --- to compromise. A curiosity, at 60, about songwriting that explores new personal territory. A concern, in all things, for authenticity. You don't have to talk to Mark Knopfler long before you realize that these are bred in the bone. Listen:

Jesse Kornbluth: Three words: Dire Straits reunion.

Mark Knopfler (audible sigh): These days, it does seem to be the style. But putting the brakes on when I did [he disbanded Dire Straits in 1995] was right. I'm happy with the way things are.

JK: We're talking about the easiest $300 million you'll ever make!

MK: I'm looking to do more of what I do --- improve my recordings and playing the new music live, enjoying the variations that brings.

JK: At a conference, I heard Steve Jobs quote The Beatles: "You and I have memories longer than the road that stretches out ahead." I hear that idea running through your new CD. There's a lot of life experience --- people on the far side of young love, lost comrades, memories of a distant childhood.

MK: The road ahead --- yes, it's a different picture. I have become a bit of a veteran at this music thing, so there's some of what made me. One song, 'Cleaning My Gun', is from the vet's viewpoint, the survivor's viewpoint. I've made a couple of notes where it's possible to tell you the background of some of the songs. But I try not to interfere too much or explain. I don't want to spoil the songs for you; I'd prefer that it's going to be what you want it to be.

JK: In 'Remembrance Day', you sing the names of those --- war dead, it seems --- now under the "earthen roof". Are they men you knew?

MK: It's just a list of boys. It begins with a cricket team. In a lot of communities, cricket teams and football teams --- and in America, baseball teams --- were the kids who went to war.

JK: That's the closest you come to social criticism on this CD. There's no wry, angry song like "Punish the Monkey". Is Knopfler mellowing?

MK: The older I get, the more grouchy I become. I have some equally disagreeable friends who are walking partners with me in the morning. We get most of our bile out then. By the time I get home, I feel better.

JK: I think of a Bruce Springsteen CD that, according to his manager, had no obvious hit single. Bruce went home and dashed off 'Dancing in the Dark'. And the entire world bought 'Born in the USA'. In contrast, I fear that 'Get Lucky' will be under-appreciated because it's merely gorgeous.

MK: It does occur to me I need to have someone like that.

JK: I see you have one concert scheduled this month --- then your schedule looks blank until May of 2010. This can't be.

MK: I'm trying to work out a way to pop over to America and do Prairie Home Companion or Letterman, just by myself. And there will be a tour from April to July.

JK: Didn't Dire Straits once do 250 concerts in a year?

MK: When you're young and in a band, it's like you have a football under your arm ---- you're running. But some of that is running away.

JK: Fender has just launched the Mark Knopfler Stratocaster. Do you use it or just endorse it?

MK: I play it on stage instead of my old one. It works better. It has all the things I specified: a rosewood finger board, nice big smooth frets. Other owners seem to like it too.

JK: Michael Jordan wore a new pair of Nike shoes every night. Do you have more than one Knopfler Strat?

MK: I can make a lot of money for charity by playing one at an event and then selling it. So I'll generally be using a new one....

JK: I see your high standards as an affront to our rapidly deteriorating culture. They reassure those of us who care about these things that we're not alone, not crazy. In that sense, "Get Lucky" is a comfort. Can you relate?

MK: There's been an erosion, and not just in the United States. It becomes more important for people who regard themselves as having the ability to discern and feel to stand tall.

JK: So market-directed music....

MK: I'm sorry. Those words are meaningless to me.
'Get Lucky' is Exhibit A.
Get Lucky Overview

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One Man Band Review

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One Man Band ReviewJames Taylor is that rarest of creatures -- an unpretentious superstar. The 59-year-old iconic singer and songwriter, originally from North Carolina, presented his so-called "One Man Band" show at the Colonial Theatre in Pittsfield, MA during July 2007 with such effortless charm that it was as if he were sitting around the fireside at home, talking with a bunch of old friends. But the ease with which he put it all across belied the rigorous attention to detail and sheer craft that went into the making of this delightful show.
Larry Goldings, who accompanies Taylor on piano, organ, synth, harmonium and melodica, is a one-man band. He has developed a following in the jazz world for his own compositions and recordings, as well as his live performance.
James Taylor sang some of his most beloved recordings, interspersing them with his insightful and humorous anecdotes on the inspiration for the songs.
He and Larry together serve up a full menu of Taylor's work over the past 40 years, from "Something in the Way She Moves" (the song which won him his first contract with the Beatles' Apple Records in 1968) right up to "Mean Old Man" and "My Travelling Star" from his most-recent release October Road.
An illustrated voyage around Taylor's life and times, the show begins with him alone, singing the gentle melody and picking out the lilting chord sequence of "Something in the Way She Moves", one of the first songs that he wrote.
Joined on stage (and on the record) by the piano player Larry Goldings, he moves on to another of his early songs, "Never Die Young".
.."That's always good advice", he told the audience. "But far too late for me, of course"...
On this 19-song set -- which marks a return to an earlier, simpler style of performance for the perennial, quintessential singer-songwriter -- Taylor sings with a touch that is nothing short of perfection.
You will enjoy some of his biggest hits "Sweet Baby James", "Carolina in my Mind" and "Fire and Rain" and the gentle, life-affirming mood of the album will continue to resonate long after your listening.
This isn't an album for fans of shoot-outs and car chases, as you might expect from a man who sings: "The secret of life is enjoying the passage of time".
The album's highlights : "Carolina On My mind", "Chili Dog", "Something in The Way She Moves" and "You've Got a Friend".
All in all, this is an extraordinary, one-of-a-kind portrait of an artist, his renowned repertoire and the personal stories behind the songs.
Enjoy!
One Man Dog
The Best of James Taylor
James Taylor - Greatest Hits, Vol. 2
James Taylor (Live)One Man Band OverviewJames Taylor's "One Man Band," a new CD/DVD set of live recordings and the stories behind the songs. The set list is drawn from Taylor's recent concerts at the Colonial Theatre in the Berkshires and features new performances from some of the iconic singer/songwriter's most beloved recordings including "Something in the Way," "Carolina in my Mind," and "Fire and Rain," interspersed with Taylor's insightful and humorous anecdotes on the inspiration for the songs. For the DVD portion of "One Man Band," Taylor called on veteran television events producer and director Don Mischer ("Kennedy Center Honors," and "Super Bowl XLI Halftime Show with Prince") and executive producer and acclaimed filmmaker Sydney Pollack ("Out of Africa," "Sketches of Frank Gehry") and their extensive talents to properly capture the feel of the live concerts. "One Man Band" tells the story of Taylor's songs through exclusive interviews and rare multi-media footage, including home movies and photographs from Taylor's personal archives. The result is an extraordinary, one-of-a-kind portrait of an artist, his renowned repertoire and the personal stories behind the songs. Over the course of his career, James Taylor has sold over 40 million albums, and won over 40 gold, platinum and multi-platinum awards as well as five GRAMMY® Awards. Taylor's first "Greatest Hits" album earned him the RIAA's elite Diamond Award, given for sales in excess of 10 million units in the United States.In 2000, Taylor was inducted into both the Rock and Roll Hall of Fame and the prestigious Songwriters Hall of Fame.In February 2006, The National Academy of Recording Arts and Sciences named Taylor its MUSICARES Person of the Year. More from James Taylor



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