Tatw....thanks for posting those. Never heard of any of them but loved the samples I found, particularly The Deep Dark Woods. Pure and timeless music. Thanks!!
Best CD I've heard so far 2011.........
Sarah Jarosz/Song Up In Her Head
Like a breath of fresh air, just great!
Like a breath of fresh air, just great!
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IIRC, the cinematic amulet in question indeed contains a "floater". I haven't followed LB into the loo just yet, but - then, again - I've never had the opportunity. Myabe it's for the best.... Yeah, the mind reels with unpleasant possibilities... you may come face to face with an LB turd in dry dock, which would make the task of extraction a bit more delicate in order to keep the artifact in tact. That scenario also might require a much larger amulet, and let me tell you a large amulet could look really silly hanging around a man's neck. Yes, definitely for the best, Marty, I'd have to agree. |
"Seeds We Sow" from Lindsey Buckingham (No surprise for those who've read my posts here before). Nine of the eleven tracks on this CD are IMO wonderful songs, just about perfectly executed. Two others, the title track and "Stars are Crazy" probably suffer a bit from LB's desire to show off his chops, but still work reasonably well in their own right. Disclaimer #1: This is a one-man band arrangement. LB wrote all, played all, recorded all. This has plusses and minuses - judicious editing (and maybe a guest drummer, tho LB holds his own) might have helped here and there. Disclaimer #2: The SQ is just weird. It seems that LB wanted to create a particular atmosphere for each track, so the record may feel a bit incoherent on first listen, with some sound tracks underproduced and others more fully polished. Disclaimer #3: More acoustic guitar on this one than electric. When he breaks out the elecrtic though, he doesn't kid around. Disclaimer #4: Buckingham could take a dump on a plate and I'd probably find it compelling. Marty |
A nice article about Diamond Mine (posted just above) from NPR: "If the year ended right now, I'd know my favorite record of 2011. Out May 24, Diamond Mine does what audio does best: It takes me far from the here-and-now. This labor of love, seven years in the making, opens on a café terrace in a Scottish town. Jon Hopkins sets his field recordings, rich in regional accents and casual conversation, against a lovely, spare piano. It's a few minutes before these soundscapes give way to the quivering vocals of King Creosote, at which point the scope of this collaboration becomes clear. This is storytelling through sounds and with song — bring your own pictures. Creosote, a.k.a. Kenny Anderson, and Jon Hopkins describe this unusual record as the "soundtrack to a romanticized version of a life lived in a Scottish coastal village." Hopkins is a sharp musician: Electronics are his tools, dance music is how he fills nightclubs and textures are how he fills songs. Creosote is a prolific songwriter based in Crail, a small fishing village in the northeast of Fife, Scotland. There's acoustic guitar and melodic-yet-ambient accordion holding these tunes together. The words to the songs seem to reflect big dreams — perhaps unfulfilled — set against the wonders of the everyday. This is a record for your late night or your quiet Sunday. Put it on when you when you need calm or you're prepared for a mental journey, and be grateful that in a fast-paced world, King Creosote and Jon Hopkins stopped and took their time." |
In reference to the OP, I just say Sarah Jarosz perform in St. Louis. A surprisingly full house, to her evident delight. Highly recommended: one of those shows that makes you say, "Why don't I see more shows?" As expected, impressive stringdusting, but Sarah also turns out to be a bit of belter on the vocals -- something you don't see everyday in a folkie. I prefer "Song up in Her Head," but the less folky and more atmmospheric "Follow Me Down" (actually released in 2011 ;) is a very worthwhile record. John |
Keithr - As much as I want to like it, the new Bon Iver LP just isn't doing it for me. While I enjoy some of the tunes, there's something rather detached and distant about it, and it simply doesn't give me the emotion that the first LP has in spades. Also, the recording is nowhere near as good as "For Emma...". Maybe I need to let it grow on me. |
Glad you enjoyed the show, Jax. They are in St. Louis in Sept. Maybe I'll try again on the supposition that your experience was more representative than mine; could be one or both of us was having an off nite. John Well, that'd be two off-nights for me, and if that's an off-night, I hope to have many more. Definitely give them another chance - I'll look for your response come September. Meanwhile, here's a vid to offset that 'slow' comment...when you hear this live, it knocks you back in your seat and you realize you've got a big stupid grin on your face that you didn't remember having when you walked in. The chemistry between the two of them is just addictive. I can understand the comment as it applies to some of their tunes, but not the bulk of the show. Certainly not to either show of theirs I've seen. I do think their newest CD is mostly slow material though, and that it could have used a better balance that way. I also had good seats in a good venue (same one both times). I've heard one or two of my favorite artists entirely ruined by a bad venue. Yes, and certainly by an off night. I hope you have a better experience of them next time. |
Hey Jax. Sounds like you've Gillian before. Be prepared for a slow show, and try to get seats. When I saw her and DR, they did "Tennesse Stud" at roughly the pace of a Grateful Dead dirge. Charming stuff, but not Dancin' Music. Nothing, I repeat, nothing on any of her albums prepares you for what they are like live. I so disagree with you on this, John. I saw her and David play the Moore years ago just after they released Revelator. I was braced for a bit of boredom then but was riveted the entire show and was amazed how two artists with guitars and no backkup could hold an entire audience so spellbound for an entire show. The show last night was sold out and had people standing on their feet and calling them back to a standing ovation twice after playing two sets already. Rawlings is a gifted guitar player and it's just amazing the sounds he coaxes from that old Epiphone. His musical improvisation is mindboggling. He is one with that guitar and speaks with it as naturally as trees sway in the wind or the the waves break against the shore. Gillian's voice is powerful and yet somehow soothing at the same time. They complement each other so well, and exude an uplifting and powerful energy in spite of the dark content of many of their songs. I'm very glad they mixed it up, playing only about 1/4 of the show from the new CD. I think an entire show from the new CD would indeed be too slow. Just like the first show, Rawlings had the audience mesmerized at his playing - one of the highlights was Time the Revelator, where his solo rif prompted a standing ovation in the middle of the song and a thunderous standing ovation from the entire audience at its conclusion. Another was the closing song, on their second encore, a uniquely inspired cover of Jefferson Airplane's, White Rabbit. Outstanding show - best I've been to in a long while and I distinctly remember feeling the same way the first time I saw them. They are heading up to the Vancouver Folk Festival next where there part of a great lineup there (though I'm not fond of outdoor venues and crowds). Richard, I'll never give up live music entirely. I've just become far more selective about who I see and especially of the venue. The Moore is an excellent musical venue, and having seen them there before I knew it would suit them very well. Just an outstanding show! If you get a chance to see them live, and you like their music, don't miss it. |
Hey Jax. Sounds like you've Gillian before. Be prepared for a slow show, and try to get seats. When I saw her and DR, they did "Tennesse Stud" at roughly the pace of a Grateful Dead dirge. Charming stuff, but not Dancin' Music. I'll seek out Nimrod; expect you've heard Elizabeth LaPrelle: more solo voice from the Southern Mountains, and pretty cool. John |
Gillian Welch fans should like the new one. Probably not up to the masterpiece Time, and perhaps not quite up to the excellent Revival and Soul Journey, but very fine. The standout may be "The Way it Goes," which exemplifies her trademark understated creepiness. Agreed - it's a good album, but does not reach the same heights as previous efforts. It has a slower pace and is not quite as dark. I'm going to see her tonight in concert and will be curious to see how some of this translates to live performance. Rawlings is always amazing to watch regardless - can't believe the sounds he gets from the Epiphone sometimes. Someone introduced me to a powerful album in another forum. Not from this year, but this was my introduction to him. An entirely a capella recording of Nimrod Workman, a Kentucky cole miner, singing his own and traditionals. Stark and unsettling at times, and also quite lovely. He must have been in his 80's or 90's when this was recorded. The album is called, I Want to Go Where Things Are Beautiful, and came out in 2008, posthumously. If you like authentic Appalachian traditionals, definitely check this out. |
Marcin Wasilewski Trio, "Faithful", on ECM. Wonderful spacious and melodic jazz trio (piano, double-bass, drums). Great talents and musicianship (of course, its on ECM). If you enjoy any of the Keith Jarrett trio work, you'll love this recording (even more perhaps than KJ). I also recommend their 2008 release, "January", on which they do a terrific interpretation of Prince's, "Diamonds and Pearls". Sublime. Superb. |
J Mascis - "Several Shades of Why" - Dinosaur Jr is my favorite (extremely loud) rock band of the last 20 years. J Mascis puts down his electric guitar (except for a couple of leads), turns the amps down from 11 to 6, and turns in a gem. The Hampdens - "The Last Party" - Delicate acoustic rock from Australia. Thurston Moore - "Demolished Thoughts" - No electric guitars, not even any drums, just beautiful songs from the Sonic Youth front man. |
Just spun up a new one: Pete Thorn's "Guitar Nerd". Peter Thorn is a top shelf LA session guy (Don Henley, Hole, Alicia Keyes, Melissa Etheridge, etc., etc.) who's just released his first solo album. It's a self indulgent, instrumental guitar strut that screams "look at me". But.... The music is better than you have any right to expect and the playing is pretty damn stunning. Definitely one of the few new artists who really barks up my preferred tree. Marty |
Paul Simon doesn't quite get it for me. Part of it is excellent and new, some not so much; but really - only 38 minutes of music there???? OK, my entry here and it was a big surprise to me: Tedeschi Trucks Band: Revelator. I'm a big DT fan, he's a youngin' with the greatness of the historical greats. Mark my words 25 years from now! His "voice" on guitar is uniquely his own, and instantly recognizable no matter who he is playing with. This album marks a high spot so far for his playing in it's sweetness and emotionality, IMHO. And I've BEEN a big fan. Susan Tedeschi - she'll get berated for sounding like Bonnie Raitt. Fair enough - I can see that. I've been a loyal follower of BR since the mid 70's. Her music has been a big part of big parts of my life. I've seen her waaayyy too many times to remember! I don't think Susan's delivery is much at all like Bonnie's. There is similarity in the tone and articulation. This album is the most engaging I've ever heard Susan on, and I've owned a few and listened to her for a while now. Never a HUGE fan though. This album she has an intensity, a fire in the belly if you will, that I haven't heard from Bonnie in quite a while.Quite a while. Maybe it's the chemistry thing, like Plant/Krauss. Must be the chemistry thing. |
