blick bassy - ako

blick bassy - a new name to me but glad i checked him out
coinciding with the release of this album and so a few reviews read
the guardian (uk) offering a short paragraph in high praise of the record
a short but beautifully realised gem from an innovative paris label
that label being no format! - best described as the ecm of african music
at least in terms of artistic consistency as seen on the label's website
the guardian review speaking of an ethereal voice, cellos, trombones
and homage to and commonality with american blues singer skip james
'nuff said - hit up google play for a sample and it's love at first note
the album opener just exquisite and onto the radio show playlist
ake - it sounds like a plucked cello, harmonia and the ethereal voice
some beautiful vocal harmonies in the mix also on this most gentle tune
his voice is the african component to a stunning minimalist blues/folk feel
kiki picks up the pace and a trombone and banjo also added to the mix
the striking thing is it sounds so unique - bluegrass/jazz/soul/african
exciting really with a sense that a whole new genre has been found
big call of course but the next tune - wap do wap - is also unique
a jazzed up double bass leading to an infectious sing-a-long tune
with harmonising trombones and tuned out strings in the mix
another short sharp blast of music all over in a couple of minutes
and so it goes - each track stunningly produced and oozing - love
who is this man - born in 1974 in cameroon but now lives in france
in a small village after spending time in brazil studying bossa nova
snatches of information thrown up by google but nothing on wiki
most references are to this album - wildly eclectic tunes - agreed
his own website providing a compelling introduction to the man
yikes - he one of 21 brothers and sisters - his father had 3 wives
childhood devoted to music and choirs made up of the full family
his want now to live in a small rural village to match his upbringing
a devotion to bassa the main ethnic language of his home country
further listening and 'voice as instrument' easily comes to mind
a lazy way of describing vocals in a foreign language no doubt
but here blick bassy does use his voice apart from singing words
ceu jorge comes to mind also both vocally and instrumentally
but the main influence according to the experts is skip james
blues delta singer from mississippi born 1902 and died 1969
revered by blick bassy alongside marvin gaye and nina simone
which provides a bit of a handle on his love of singing and songs
what a gorgeous album - 11 tracks - average length under 3 minutes
me - hooked (obviously) and very happy to make his acquaintance
so good to stumble on a genuine and unique talent in their early days
this the 3rd album for blick bassy but surely many more to follow
his touring schedule suggesting he is a prolific live performer
mostly in his adopted country of france but maybe womad?
we shall see but in the meantime repeat listening it is...

the toure-raichel collective - the paris session

oh what a glorious surprise seeing this one on release
a follow-up to the most wonderful tel aviv session from 2012
that particular album well loved well played well recommended
the 2 musicians well respected individually but together - so good
idan raichel is from israel - master pianist, composer, producer, performer
first exposed to him with the various albums recorded as the idan raichel project
signed to the eclectic six degrees label - i.e. - stunningly produced new music
an enticing combination of eastern vibe and western production techniques
generally electronica used sparingly but effectively for some rich sounds
mr raichel one of the most loyal and successful artists for six degrees
vieux farka toure - son of the late, great ali farka toure - so mali born
he also signed originally to six degrees hence the common ground
has put out several accomplished albums mostly in electric form
big reviews for the one from this year - mon pays - tis beautiful
inspired by and addressing the sad state of his country at this time
glowing reviews significantly now not making mention of his late dad
or in the terms of - has stepped out of his shadow and found his own sound
had the great pleasure of seeing him at womadelaide 2 years ago - highlight
a baking hot afternoon sun - us few true believers front of stage grooving away
he on electric guitar and 2 whitey boys on drums and bass - totally unforgettable
going back though - in 2011 vieux had a chance encounter at a german airport
bumped into idan raichel - both huge fans of each other they then discovered
result - into a studio in israel and the stunning tel aviv sessions album made
i thought that was going to be a one-off but now we have the paris sessions
having repeat played this album i easily rate it one of the best of this year
the melding of toure's rich african grooves and raichel's delicate piano...
is as close to perfection as one could imagine - a free-spirited exploration...
of the meditative power that can emerge from improvised music (relix)
that from the promo sticker and for me accurately describing the album
it starts and ends with their classic melodic-piano-meets-guitar sound
such a natural sound that they themselves must recognise as unique
the combination of middle east piano and african guitar at the base
then on every track fleshed out with some other compatible sound
on the first track a trumpet works it's way very easily into the mix
on other tracks there's the sound of a ngoni lute or a fender rhodes
vocals seem mainly left to vieux but some harmonies heard with idan
one track features seckouba diabate that harks to an aboriginal sound
at times it has a real jazz feel to it - the necks and even ecm referenced
some tunes pushing into a blues feel - some real melancholia vocals too
but to counter that the band also let's fly on at least one up tempo number
which all adds up to an album of many sounds, feels and combinations
yet it is so cohesive with producer idan raichel locking it all together  
it sounds so natural with an obvious empathetic collaboration at work
the tel aviv sessions is beautiful - the paris sessions at least equals that
an album that will be (should be) well loved by people of many cultures
that being the other standout feature - it is not of any ethnicity or genre
i can only imagine the love in the room when it was recorded in paris
and that carrying so easily through to the actual feel of the music
clear respect and friendship in the result of the collaboration
an accidental meeting has lead to the creation of a new sound
no wonder they went back for more - and surely more to come
rave over - but what an infectious album - absolutely love it

evil urges

my morning jacket is an american rock band known for their reverb-heavy sound

their eclectic mix of country rock, indie rock, funk, psychedelic and southern rock styles

...and enthusiastic and energetic live shows

this is the opening paragraph of the band's wiki entry

i've been aware of them for some time but hadn't paid much attention

however their brand-spanking new album is in my possession

and curiousity has got the better of me - so here we go...

evil urges

yup - it's a rock band for sure - big drum sound and straight-up guitar

some interesting electronica in the mix sounding like um?

falsetto voice comes in also sounding familiar - but who?

synth-orchestration also used as the tune builds to something

then a sudden change of key, tempo and a rock-out - not too bad

touch me i'm going to scream part 1

this is going to get annoying - another tune sounding like ?

moog noises, 60's kind of harmonies pointing to influences

snare drum up-front in this quite fast-paced singalong

one striking thing is that there are a lot of channels at use

all sorts of instruments and noise-makers at use - working well

highly suspicious

there's that falsetto voice again - michael jackson-ish

and here we have a heavy-rock dirge type riff dominant

a bunch of fellows repeating the song title over and over and...

electric guitar histronics thrown in the mix just for good measure

quite a catchy tune but also quite annoying - bit of a throwaway really

i'm amazed

nice intro - giving a sense of a singalong tune about to start up

and true enough - off he goes - he's amazed you see

damn - it's another case of a significant soundalike

west coast rock, vocals, harmonies, guitar/bass/drums

it's a rock song with guitar solos and a riff and a chorus

thank you too!

ouch - now we're in 70's soft-rock territory

it's the big ballad complete with strings, electric piano, etc

now sounding so much like a band from way back it's really annoying

this one would be really cringe-worthy except it's quite a tribute

i'm going to wake up in the middle of the night and know who to

sec walkin

country-rock is now the reference - pedal-steel guitar in there

70's production values all over this one also

complete with the call and response female backup vocals

it's so close to a complete piss-take it's almost laughable

but it's not - they mean it - and actually get away with it

two halves

and the theme continues - the 70's rule - alright?

i'm certain there is one famous band that they idolise

actually cheap trick wouldn't be far off the mark - yup that's it

which is quite ironic really considering they were proud plagarists

so the favour has well and truely been returned in spades

librarian

lovely - solo voice and acoustic guitar lead in here

and a very pleasant voice it is too - very clear on the ear

karen of the carpenters singing in the rain - another lovely victim of the mirror

so confirming their decade of choice on this slow build tune

very strong actually - great production and a memorable tune

look at you

uh-oh - must be the middle of the album - ish

not sure what was intended with this one - original or clone?

it's slow, monotonous, and basically a bit of a waste of space

the musicians seem to be going through the (slow) motions

can be totally summed up in one word - filler

aluminium park

resuming cheap trick personnas on this fast and furious tune

another rocker complete with screeching guitars and real piano

which just confirms that the 70's must be making a comeback

or maybe they just like the style of music of that era

my feeling is that this one has been done to death previously

remnants

part 2 of the rock-out segment of the album

sounds just the same to these ears out of touch with that style

sorry guys but this just isn't very original at all

and the producer also shows a distinct lack of originality

enough already - rock is ok - in (smaller) doses

smokin' from shootin'

do you, do you, do you see my smokin' guns - they're smokin' from shootin'

and a bunch of other lyrics as equally silly and trite

do you, do you, do you live your life on the run - runnin' from nothin'

so it's another big shot at a big meaningful ballad

they're now taking themselves seriously enough to be annoying

touch me i'm going to scream part 2

moog sounds, electronica noodling working quite well as an intro

beat picks up and it's quite a head-nodding tune that cranks in

spacey production allows for various instruments to be used

and lots of borrowed techniques - even jean michel jarre gets a nod

in the end it's totally consistent with the 70's sound of all before

summary - a collection of tunes with reference to all things 70's including the likes of cheap trick that with modern recording techniques makes for a very strong and enjoyable album

third

it's been a bit quiet on the music listening front lately
actually have in my possession a bunch of donated/procured cd's
awaiting my listening pleasure so tonight a start is to be made
portishead put out an album in the early 90's that was well loved
though it mostly passed me by - but this one has had some glowing reviews
it comes with the hugely imaginative title for this the 3rd album from the band

silence
you gotta love lo-fi - sounds like a south american radio broadcast
followed by some off-key kind of electric guitar strumming
with some equally harsh sounding electronica, strings, drumbeats
quite a fast beat then in comes that voice - the one and only beth gibbons
did you know what i lost?- did you know what i wanted?

hunter
a slow, slow lead-in with her almost suicidal voice again leading
echo used in the production and some light instrumentation
then electronica cranked up and dropped in the mix for contrasting effect
nothing too original is my thinking but nothing too unpleasant either
after 2 tunes you would suspect they have picked up where they left off

nylon smile
it's all about the voice you see - it's the single obvious point of difference
there's some chaps in there having fun noodling away with electronica
maybe in this case also some real skins in the drum department
the intention is to keep things deliberately monotone-ous while she despairs
i don't know what i've done to deserve you - i don't know what i'll do without you

the rip
ok ease up on the electronica, bring forward the acoustic guitar
stick it in a large room with some echo and again let beth do her thing
then just when it seemed to be predictable wind up the melotrone-like sound
leading to quite a fast-paced tune with the electronica sounding very familiar
yes - there it is - someone with some influence is a joy division fan

plastic
ouch - this one is album-filler material if you ever heard it
get the impression someone has suggested improvisation is kind of cool
which is quite valid in the hands of those who have paradoxically practised it
but here it just sounds like a bit of a waste of time and a reason to avoid it
an out-of tune voice, annoying electronica, and worst of all it probably isn't improvised

we carry on
which is presumably not some tongue-in-cheek title for this middle track
but it is more of the same - echo-production, gibbons-voice, military-drums
joy division-ish guitar so obvious it sounds like a sample but is not
but it's the fingernails-on-the-blackboard electronica that really grates
not happy - i know someone will love this but it isn't me - next!!!!

deep water
oh cute - it's a strummed ukelele with beth laying in the vocals
i've drifted into deep waters - alone with myself - i try not to struggle this time
and then for a complete change a barbershop-quartet style vocal backing
i gotta remember don't fight it - even if i don't like it - deep waters won't scare me tonight
at 1 minute and 37 seconds it's a pleasant relief from what has gone before

machine gun
an obvious name for the rapid-fire fuzz-based electronica at the fore here
get the impression with this one that 2 composers have been at work
she provides the lyrics and the voice on this poem-song
he churns out a very monotonous and unappealing electronic noise-beat
it does sound analogue-ish but boards of canada are much better at it

small
acoustic guitar, echoes, plaintiff vocals - starts interestingly enough
then the monotonic electronic noise machine comes in again and takes over
though also with a real drummer and what sounds like a hammond organ synthesizer
which immediately conjures up memories of a group from the 60's who they are imitating
portishead setting controls for the heart of pink floyd from their early days

magic doors
which is another odd title considering the last tune also gave a huge nod to the doors
a real drum sound and cow-bell leads off on this tune before beth again steps in
some nice piano chords and a dirty production technique make it quite interesting
it's almost catchy except for some odd noise-bridging things happening in the middle
again it sounds like anything but a tune recorded this side of 1980 - intentionally so no doubt

threads
the album closer - could/should be interesting to leave a warm and fuzzy feeling
restrained, slow, melancholic, organic, beth again sounding close to tears
this one again proves that portishead are a trio of very distinctive parts
she on vocals, one he in charge of traditional drums/percussion, other he making noises
this tune almost works thanks to the dominance of drums and held-back electronica

summary
for fans only - not an album to warm to quickly and therefore to be handled with caution - a lot of analogue electronica mixed with an unmistakeable voice

keep your silver shined

devon sproule is a 26 year old canadian-american singer songwriter
pictured centre of the album cover for this latest cd virgin review
not heard anything of her before that i recall but am aware of the name
her wiki bio makes for interesting reading - she has hippie parents
was born and raised in a commune and has fond memories of that time
her music apparantly shares elements of folk, country and jazz - hmmm

old virginia block
kicks in with a strummed banjo and what sounds like a tea-chest bass
so we are in real folk/country territory here - love it or.....
then her voice comes in - oh so sweet, lucid and natural sounding it is
violin (fiddle) joins, the pace picks up and it's a bit of a knees up
all sounding very authentic, natural, and kind of contemporary

keep your silver shined
lovely picked acoustic guitar and bit of slide in the background
a slow number with her stunning voice once again the focal point
this one demanding a read/re-read of the lyrics as the song builds
i want to land in a tugging hand - a youthful bed with a youthful plan
i want to wait and take my time - all my time, to keep my silver shined

1340 chesapeake st
there's an instrument mentioned in the credits for this tune - a trash kit
which may explain the tom waits-ish beat and feel to this ode to home life
her lyrics are so evocative of time and place - this one seems quite nostalgic
jeff romano plays all sorts of instruments on various tracks and also produces
great job on this one as he brings in a fine mixture of vibes, guitars, etc just right

let's go out
a clarinet sets the tone here closely followed by an accordian in this little ditty
so easy to identify with her as she tells a simple story of desire to go out
there's nothing in the fridge, nothing in the cupboard, there's nothing on the tv
i'm sure there's a a jazz band playing in one of the bars downtown - honey let's go out
swings along just so nicely and has just a most lovely romantic ending - sigh

the well-dressed son to his sweetheart
hmmm - now moving into a more identifiable country sound/lyrics
that middle america country sound with a straight beat and electric guitars
so probably not my favourite genre and this one doesn't change that much
but someone will think this is the best song on the album
kind of trite lyrics too that suit the feel - the only one so far not repeat-played

eloise and alex
husband paul curreri the writer of this one and in charge of acoustic guitar
very low key and simple instruments and vocals/lyrics to match
not sure who eloise and alex could be - quite possibly favourite pets
she really does have a gorgeous voice that stands out in the quieter tunes
hubbie providing backing and harmonising vocals - loverly really

does the day feel long?
her voice is the main instrument here - closely followed by clarinet
a really nice combination together with an acoustic guitar played very well
proving she is also a talented guitarist - she writes, she sings, she plays
such a laid-back groove here allowing the clarinet to seduce as it can
in a way such a loose sound but hanging together as in the hands of experts

dress sharp, play well, be modest
yes well another one that kind of just is and not much else to be said
the lyrics don't seem so cohesive either and give no clues to the intent
electric and pedal steel guitars in there doing their thang adequately
the term album-filler springs to mind but again someone will love this
i just find it quite lazy - composition, playing, delivery - not my favourite

stop by anytime
jazz influence coming through here as the drummer taps out a beat
her voice lending itself very well to this departure in style
can easily imagine her using this to demand attention in a jazz club
there's also a standup bass which gets a bit of prominence at one point
this tune absolutely proving her versatility and the promise of what will follow

the weeping willow
choosing a traditional song as the album closer is not a bad idea
mary chapin carpenter lending her voice to provide great harmonies
a bass harmonica played by producer jeff romano making an unusual noise
get the impression everyone is having fun on this head-bopper
but it's all over just as it cranks up a gear - which is a shame really

summary
this young lady proves in this album that she will become revered by folk/country/blues/roots fans and those just liking a beautiful voice and authentic, organic musicianship

sambatropolis

being the title of a cd by hendrik meurkens
he being a harmonica and vibraphone player from germany
though besotted by brazilian samba music and resident in new york
after a number of years in rio absorbing all things musically brazilian
never heard of him myself so a listen to this album seems in order

sambatropolis
first impression - well - very light, non-offensive background jazz
this one reminding me of intermissions at picture theatres in my youth
reading more into mr meurkens reveals his band are all south americans
so that would explain the not-overwhelming latino feel to the tune
kind of bops along for 5-6 minutes with lots of different lead breaks

nem la nem ca
and picking up where the opening track left off in pace and feel
mr meurkens now at work on the vibraphone and also a flute in there
piano grooving away and some brass coming in and out
still sounding like intermission music though - no need to offend
though there is some nice vibraphone playing featuring here

ocean lights
getting a bit more moody now with a gentle, slow flute-led number
then the man picks up the harmonica and takes over lead duties
it's just so - nice - lower the lights, light the candles, romance is on
i'm trying really hard to like this but, but, but it just doesn't grab
did i mention the electric bass is so bland it sounds like the player is asleep

the bee
the drummer is allowed to show off here with a few opening flourishes
harmonica is then out front and harmonising with the higher keys of the piano
both moving very skillfully and quickly over a range of notes
is it that the sound is supposed to remind us of some kind of insect?
a quite up-tempo number remaining quite close in sound to previous tracks

fotographia
the first cover on the album of a tune by bossa nova king antonio carlos jobim
quite a nice feel with harmonica, sax and piano working together
though still so light it almost floats away - no grounding here from the rhythm section
the electric bass is very average and the drummer likewise seems um, gutless
i'm thinking now that there's probably a huge fan base for this schmaltzy schmicko schit

hot and stuffy
ok - up the tempo to full-pace, wake up the bass-player, let the sax player rip
then answer the call with some admittedly very classy and stylish harmonica work
i can see (hear) why he is rated up there for his harmonica playing
you can imagine this tune being a throwaway on some other jazz album
but here it is rooted well inside the boundaries of the rest of this album

voce vai vere
another tune by antonio carlos jobim and not at all dissimilar to fotographia
the piano naturally is the main instrument used throughout this tune
vibraphone and harmonica playing from the main man also featured
and that cursed electric bass that monotonously just keeps going
if nothing else this tune begs the question - i wonder how the original sounds?

you don't know what love is
thanks - but you don't know what gutsy jazz is - another bland-out
though the sax is quite slow and seductive sounding for a while
before the vibraphone takes over proceedings and kind of annoys
it's one of those instruments that you can only do so much with i think
which may be why mr meurkens has mastered another instrument also

choro da neve
the title alone promising something - brazilian choro music is alright, alright?
apparantly hendrik meurkens main vision is to fuse choro with jazz
fusion being the word that probably most unfortunately defines his style
i do actually quite like this up-tempo tune with it's very distinctive latino feel
there's a cavaquinho (stringed instrument) featured which adds to it's appeal

a summer in san francisco
and appropriately adopting a west coast kind of sound for this one
whatever that may be but it feels like something some smooth dudes would play
the yellowjackets spring to mind (for some reason) - this is definitely - jazz - nice
and again conjuring up images of the band in the corner playing the tune
while the diners enjoy their meal and talk and drink to their success

bernie's tune
a jazz standard apparantly - originally performed by gerry mulligan in the 50's
again a promise of something of substance with a history to match up to
well? - more of the same really - same bass, same drums, same vibraphone
gets along at quite a fast pace and encourages the sax player to have a go
but in the end (phew) this tune sounds like all the others on this album

summary
internationally acclaimed harmonica and vibraphone player performs with a south american based band to deliver an album of mostly originals showcasing very safely a hybrid of jazz, samba and choro music that is very easy to listen to

tuesday wonderland

e s t - the esbjorn svensson trio - huge in sweden

saw them at the wangaratta jazz festival several years ago

they have a new album out that was handed to me

time again to play the game of first impressions

a track by track listening and commenting on a full cd

fading maid preludium

gentle solo piano sounding like some kind of lullaby

then most unexpectedly a big rock guitar and drum sound crashes in

falls back to a 70's sounding prog-rock floyd/elp kind of tune

but here saved by the dominance of the piano layered on top

fades out and departs leaving anxious thoughts about the rest of the album

tuesday wonderland

title track of the album and a much more contemporary sound

overdubbed piano playing on this fairly standard straight-up jazz piece

bass and drums do the required backing and pianist shows off his skills

a quite up-tempo tune with losts of action all over the keyboards

but quite nice for all of that - gets the head nodding and feet tapping

the goldhearted miner

backing off on the beat big-time for this gentle number

there's a drum being brushed and a double-bass being gently played

the piano dominating on a quite melodic tune with an unusual string instrument added

some kind of asian type of lute usually heard in isolation

but added to great effect in this tune that otherwise would be quite average

the brewery of beggars

a clever segue from the last tune back into some heavy jazz-rock territory

the producer and engineers have had fun with this one i suspect

lots of different parts recorded and multi-tracked and mixed together

the intensity of sound moves between light and heavy with piano the constant

blows out to a full guitar histronics sound with jazz backing - then the big fade-out

beggar's blanket

and another seamless segue into a quite introspective piano and bass piece

a quite simple and repetitive bass line with the piano trilling laid on top

there's the promise of a sudden return to power and noise at any moment

but the 2 instruments are instead left to quietly work off and support each other

in the end this tune seems to be there to mostly provide a moment to catch breath

dolores in a shoestand

there's something about this outfit that lifts them above the pack

in one sense they are a fairly standard and very competent jazz trio

but there's a willingness to discreetly add other sounds to augment the sound

in this case there's an unobtrusive scratching sound worked in sparingly

cleverly drawing the listener in and then able to enjoy the melody on this up-tempo tune

where we used to live

slow, slow number with piano and brushed snare drum dominating

totally unfair but sounding very close to fellow scandanavian tord gustavsen

which is nothing but a good reference for any outfit also carving out their own sound

besides there is something quite beautiful and calming in this melodic sound

it would be brave to do a full album of this kind of tune but one is very comforting

eighthundred streets by feet

there's something about this one that sounds very familiar

again possibly because it's a fairly standard tune/approach for a 3-piece

drummer using the high-hat and snare to contain the rhythm

piano trilling at a nice pace over the top and bass doing the required job

another nice bit of unusual production work adding some extra textures at the end

goldwrap

the percussion working hard to provide the backing on this up-tempo tune

and again some extra electronica textures added in most appopriately

a quite catchy, fast-moving, piano-or-effects-leading tune of some familiarity

not the first time a kind of 1980's windham hill piano sound seems to be there

an unfair association no doubt but it usefully describes the piano sound on this tune

sipping on the solid ground

the defining sound here seems to be a constant and gentle cymbal and snare tap

piano and bass working in harmony before giving way to another unusual sound

chords being played and heavily mixed possibly from an electric guitar

then the familiar and lilting piano sound taking over and then giving way again

the sum of this all being a quite unique yet familiar feeling and lovely tune

fading maid postludium

oh so clever - the return of the big prog-rock sound from the opening track

but now the fading maid is postludium as opposed to preludium

whatever - this tune is quite outstanding at the end of the album

significantly bookending a set of tunes that seem very original yet familiar

and to cap it all off a beautiful fade-out with piano the solo voice

summary

award-winning and revered swedish jazz piano trio use modern recording techniques to create a very contemporary mixed-up album while retaining a beautiful melodic sound resulting in a very accessible set of tunes that offer repeat playing and familiarisation

this riot life

another interesting looking cd handed to me
very happy to receive all and sundry for serious consideration
which amounts to at least a track by track listen and comment thereof
veda hille by all accounts (i.e. wiki) is a canadian singer/songwriter lady
most interestingly records on the ape label which is owned by xtc-er andy partridge
xtc being one of the better bands out of the 80's so this should be good
though of course i dive in with no pre-conceived expectations

lucklucky
plucked violins leading in the opening track promising something different
a female voice then comes in repeating the title over and over
then the same voice comes in on top strongly singing
with major orchestration also coming and building loud and strong
so yes not your average singer/songwriter here - i think i like it

book of saints
piano lead-in presumably at the hands of the lady herself
she does have a sweet voice though the lyrics are quite the opposite
which of course makes it quite appealing - here in reference to womanhood
our bodies are not made of brass they're made of thread and air
and blood comes out in pints and litres keep your hands off you filthy cheaters

ace of the nazarene
starts out like a throwback to 80's synth-pop but then kicks in
a fast, catchy, anthemic, singalong tune with electric guitars and cello
wiki tells me this album is composed mostly around editted christian hymns
this one in particular has a lot of lyrical reference to biblical terms
successfully putting it at odds with the totally contemporary music

a shining forth
a lovely solo piano lead-in with the ladies voice following in reflective mode
very clever production has her self-accompanied with strings and flute
no drums or bass anywhere to be heard so the voice/lyrics standout
quite organic sounding really and showcasing her lovely voice
i'm reminded of katie noonan (george) but only fleetingly

oh come on
they must have had a lot of fun putting this one together
the cover notes inform that it is made up of first line of hymns
but reading and listening to the lyrics they flow very nicely
there's brass harmonies dominating in the music
she oozes confidence, skill and style on this another unique piece

the moon
trilling piano leads in to strings and toe-tapping up-tempo tune
another outstanding piece of production sounding flaming lips-ish
kind of off-key vocals on top of busy instrumentation
then a fallback to a simple string sound and the sense of a return
all intruments then hard at it with the piano leading a great outro

sleepers
i never knew how nice to sleep with you would be
a lovely little ditty extolling the enjoyment of sleeping with the loved one
i never cared for metal hair until the boy you were - slayer
and on it goes telling a story of blissed out contentment in the joy of sleep
the music - piano, xylophone, trumpet, violins working very nicely together

soapland serenade
seems our lady has had some experience with a bathhouse in japan
tells the story of ladies working to appease the male customers
it's quite a complex tune musically with various key and timing changes
different voices also used to represent the customers and workers
and the first and final cutting line - would you like to look at loneliness?

cowper's folly
this one actually requires a couple of plays to get the head around
starts out as another beautiful piano/voice/harmony collaboration
the lyrics again are based on an 18th century hymn - god moves in a mysterious way
which raises the question - what is her motive - reverential or cynical
though i suspect actually she just loves the phrasing that suits her style

rose of sharon
and now for a complete change - this one sounding eastern european
a gypsy kind of beat, with violins and clarinet worked nicely into the mix
but the consistency of her voice out front and the lyrics again leaning to bitterness
i opened to my lover, my lover he had gone, i looked, i could not find him, i called, he did not come
all over in less than 2 minutes but leaving it's mark musically

constance
another short little ditty at just over 1 minute and again with hymnal lyrics
the hymn in question being i've found a friend written in the early 19th century
old time piano sound leads into harmonising vocals with a string backing
a lovely homage to a special friend which really has a beautiful message
you have to wonder at this lady's determination to carry these songs forward

this spring
another lovely lead-in on the piano and her voice and violins following
a very gentle, reflective piece telling us about a very special spring
the blossoms have achieved their peak, explosions in electric leaves
ridiculous abundance, the air attacks my lungs, the warm pale yellow sun
sigh, gasp, just loverly then the climatic - i see it because you are gone

the trees
which segues at least in subject matter to the big final tune of the album
a up-tempo number with brass dominating but everyone hard at it
a not so subtle dig at the ignorance of man(kind) from the view of trees
you are dumb, you are green, you are a sap----ling
and therefore ending the album in typical mode with the rest of the album

summary
did someone mention andy partridge (xtc) is involved with this most contemporary and consistently impressive collection of pop-meets-hymn tunes from this canadian singer/songwriter with a fine want to mix in brass, piano, strings, and harmonies

in rainbows

the seventh studio album from wonderband radiohead
unlike about 1.2 million other people worldwide
i did not take up the option to download it
and name my own price in the process
i bought my copy on good old cd format
it's the touchy-feely trophy-collecting thing you see
i just can't get past the concept of the complete package
or maybe i just want to see cd's continue as a medium
or more likely i want to see cd shops continue to exist
something to do with my vested interest there
but really i do like looking at the artwork
and the credits...and the lyrics...really
radiohead are up there as an all-time favourite
they are highly original, seriously influential
and pack a mean sound that i always enjoy turning to
no matter what other type of music i may be delving into
be interesting to hear this album in virgin play mode
15 step
full-on electronica and drum machine intro
thom going all falsetto on vocal input
a jazz guitar sound added to the mix
and other assorted instruments adding bits
a loose, relaxed, mixed-up, radiohead-only-ish starter
bodysnatchers
dirty, distorted guitar laying down the background here
all sorts of other noises including a hammond-ish organ
going at rapid-fire pace and thom almost lost in the mix
halfway through it drops back to a much cleaner sound
then rocks it's way through to the big-guitar band conclusion
nude
slowed right down, stripped right back, thom right out front
lightly strummed electric guitar, various other electronica
could this be radiohead in love song territory?
now that you've found it - it's gone
now that you feel it - you don't
weird fishes/arpeggi
impressive electric jazz guitar noises start out this one
some rapid-fire repetitive drum sequences from phil selway
thom's voice strong and given the echo treatment
accompanying himself with extra backing vocals mixed in
typical radiohead - lots going on and totally unique
all i need
quite a swing feel to this one - punting here at a 7/8 timing
thom again singing with total confidence and nicely produced
this is a fine tune - another love song it seems - you are all i need
great use of echo allowing his voice and other instruments to breathe
including the superb use of grand piano in the later stages - special
faust arp
a throwback to 60's beatles sounds here - voice and strings
quite a short number (relatively) at just over 2 minutes
acoustic guitar used as the main instrument
including a very nice solo mixed right out front
and backed up with massed strings a-la orchestra
reckoner
phil selway on drums given his moment in the spotlight
all sorts of percussion sounds in the mix with thom's falsetto voice
electric guitar joins in and works nicely together to the halfway point
everything drops out to a strange and not very likeable bridge part
before returning to the familiar mix and feel until the end
house of cards
another slow number with simple instrumentation
echo wound up to the max for vocals and the odd noise mixed in
i don't want to be your friend, i just want to be your lover
no matter how it ends, no matter how it starts
forget about your house of cards, forget about your house of cards
jigsaw falling into place
pseudo flamenco guitar playing leads in a standard rock band sound
takes about 2 bars to figure out this one is going to go somewhere
thom sings a couple of verses and steps back from the microphone
band moves up a gear as does thom for the next couple of choruses
repeat again and by the end everyone is giving all to the tune
videotape
piano intro not unlike the sound of the edge on the october album
continues to be the main part of the tune while thom sings on
some quite strangely timed drumming added in
not sure what the lyrics are about but what the heck
seems like quite a good outro to the album really

impressions - yes - they have done it again
delivered an album of great consistency
affirming the concept of that format
no real standout tracks on first listen
which is just fine by me
repeat plays necessary
looking forward to that

rokku mi rokka

translated from senegalese to english means give and take
or more precisely according to the man himself
you give me something, i give you something
in reference to his countries part in the world
this is the 22nd album from youssou n'dour
the so-called lion of african music
discovered and nurtured by peter gabriel
had a hit single with neneh cherry titled 7 seconds
performed at womadelaide a few years back
records on the prestigious nonesuch label
starred in the recent film amazing grace
is held in high esteem by all and sundry
on this album he has done a springsteen
reformed his original band from years ago - super etoile
including several members of the equally famous orchestra baobab
4-4-44
calpyso kind of feel and slick production
his unmistakable high, fluid, clear voice dominating
the equally familiar dondo drum is the dominant african instrument
amongst a host of flutes, guitars, percussion and brass
a great up-beat, building tune to start the album
pullo ardo
stripped back to electric guitar, percussion, bass mostly
there's also a piano-accordian (or african equivalent) working away also
amazingly clean production again which seems to be a youssou trademark
this one has a kind of almost zydeco feel to it - for obvious reasons
would be a real singalong tune if you could speak the language
sama gammu
the kora is introduced on this very west african sounding tune
distinctive looping percussive rhythm gets the head nodding
his voice backed up with some equally impressive male voice harmonising
the kora is in the tune from start to finish including the big climax
same as always - the sum of the parts makes for a totally unique tune
bajjan
heading off into almost experimental electronica territory
it may well be the sound of real instruments
but the core of this tune sounds like someone noodling with electronica
and various other instruments hanging off that - tapped drum cymbals the most obvious
but in the end it's that voice again - rising to the challenge on this fun little tune
baay faal
kora heaven again and the introduction sounding very familiar
have to say it again - stunning production with various instruments given space
simulated or actual string sounds worked into the mix
voice as instrument an equal on this occasion and not dominating
again no idea what the lyrics mean but who really cares - if feeeeeels fine
sportif
caribbean kind of feel introduction to this one with light instrumentation
bass, drums, backing vocals kick in and there's the kora again
the emphasis seems to be on the vocals which are as clear as a bell
at times like this it would be even better to understand the language
but let it go, get into the groove, enjoy the music and vocal dexterity
tukki
he sure has a very distinctive voice - he is rated as a great tenor
this tune again has minimal/background instrumentation
meaning his voice is the standout instrument and filling the song
a looping catchy bass line holds this tune together
the orchestra baobab influence coming through with the other guitar sounds
lett ma
can't pick it but this one sounds quite familiar - maybe orchestra baobab again
starts out very gentle, with voice then guitar only
builds to another very nicely produced tune with a strong beat
vocal harmonising/overlaying going on to add to the appeal
can imagine this being a live favourite with it's easy dance feel
dabbaax
bit odd this one - attempting to mix it up i suspect
has sent most of the band packing and has various acoustic instruments being played
a very repetitive riff played on the acoustic and his voice again dominating proceedings
the bridge part of the song to me doesn't quite fit but a small issue really
in the end quite a pleasant and easily-consumed song about....something
xel
the return of the piano accordian leads in this song
band kicks in with a big drum sound and vocal harmonising
a very distinctive verse-chorus-verse-chorus-bridge-etc type song
another case of better appreciation would be had understanding the lyrics
but still quite catchy though not as impressively produced as other tracks
wake up (it's africa calling)
album closer and a real throwback to a sound from the 90's
the familiar voice of neneh cherry comes in doing her sing-rap
youssour sings in english repeatedly wake up this is africa calling
it's not 7 seconds and it's a real departure from the other tracks
it's ok but sounds quite out of a place - seems a blatant marketing intervention

quite a good album overall - will stand up to repeat play
though you would have to like his voice for that
strikes me it's one of those like/leave voices
you either like it....or.....leave it
still - he has my respect
22 albums down
more to come
no doubt

raising sand

robert plant has been in the news a lot lately
seems he has succumbed to that now common allergy gettheoldbandbacktogetherinitis
i don't know about all that malarkey - in his case how could they match it with led zep of the 70's
i saw jimmy page being interviewed pre-show and oh dear his age it seems has caught up with him
anyway i wasn't one of the 20 million people who went in the ballot for tickets
but i was one of the much smaller number who bought his latest album
recorded in partnership with american bluegrass singer-violinist alison krauss
i'd read a little bit about it but the tickler notes on the cover from mojo magazine did the trick
the musical relationship between krauss and plant is so gentle, attentive, and respectfully intimate
it feels more like a courtship dance - one of the best albums of the year
rich woman
sparse, echoey, drum introduction leads in their harmonising voices
takes about 2 seconds to realise what a beautiful combination it is
and hints at what is likely to follow on the rest of the album
a kind of bluesy, pop, country, jazz, southern mix of styles on this one
mr plant holding back on his trademark vocal power - nice start
killing the blues
a slow number with all the markings of a traditional country tune
significantly the deft use of a pedal steel guitar
ms krauss has a lovely voice that is just there
which seems to have the same effect on her singing partner
end result being a tune i would normally avoid but now very easy on the ear
sister rosetta goes before us
same pace on this one but a banjo taking the place of the pedal steel
ms krauss now clearly out front with her honey-rich voice dominating
there's some very subtle backing vocals cutting in and out presumably being r p
i hear roseta singing in the night - echoes of light that shine like stars after they're gone
tonight she's my guide as i go on alone - with the music up above
polly come home
straight-up 3 piece instrumentation of drums-bass-guitar
an even slower number that just about stops it is so slow
unbelievably beautiful harmonies between the 2 stars
seems a million miles away from what he will be doing on stage with led zep
which goes further to prove that he has well and truely moved on from those days
gone gone gone (done moved on)
the big single from the album - a cover of an everly brothers tune from the 60's
the pace has picked up and we're now in real toe-tapping territory
the liner notes advise that producer t-bone burnett is playing the guitar on this one
i'm quite ambivalent about this tune - probably because it does sound so 60's
mr plant sounding more like the lead singer for a well-known rock band also
through the morning, through the night
phew - bit worn out with that last one so things are slowed again
another real country feel tune with pedal steel crying away in the background
believe me when i tell you i could never kill a man
but to know that another man's holding you tight hurts me little darling
through the morning, through the night
please read the letter
very interesting - written by 4 chaps including robert plant and jimmy page
mr plant takes lead vocals and ms krauss providing lovely backing
builds up slowly, a great catchy chorus, and mr plant sounding very led-zep ish at times
please read the letter i nailed it to your door
it's crazy how it all turned out we needed so much more
trampled rose
that slow laconic beat with the unusual percussion noises
and no wonder - credited to a songwriter known as tom waits
not like any other tune on the album and sounding almost experimental
alison krauss low into the microphone and working some quite high notes
toy piano, pump organ, dobro all used to good effect
fortune teller
another tune from the 60's sounding like it comes from the 60's
quite an up-tempo number with the full band at work backing up r p
he again sounds quite comfortable returning to normal operation
does his bit setting up the tune and gives the band space to have a rock out
alison krauss taking a back seat on this one maybe doing some minor backing vocals
stick with me baby
nice production work means the echoey chiming guitar dominates
rp and ak harmonising beautifully and quietly on vocals
another tune from 1960 but sounding quite contemporary because of the production
one of those tunes that washes over quite gently but then gets lodged in
come on and stick with me baby we'll find a way
nothin'
big noisy slow heavy metal intro points to led zep connections again
this one written by townes van zandt in 1970 so of the same vintage
mr plant has lots of space doing vocals with quite light instrumentation
then steps back between verses for the band to take over in very h m mode
alison krauss credited with fiddle playing which sits in there with the cranking band
let your loss be your lesson
starts out with an introduction like a typical west coast (eagles) tune
then alison krauss steps up to the microphone and belts out an up tempo country lament
at times on this album she has such a sweet gentle voice - here she has a real wail at work
steps back and lets the band rock out and a return to the starting point
the guitar break particularly sounding like something from hotel california
your long journey
album closer and a gentle number featuring banjo and autoharp
our two stars again providing lovely and unlikely vocal harmonies
this one creditied to 'traditional' so presumably a standard bluegrass tune
though the lyrics would indicate a gospel connection
with references a long journey, heaven and the family of god

quite like this album actually as there's plenty of variety in the tunes both musically and vocally
t bone burnett would have to be the third star on this record as the production is exemplary
get the impression robert plant has been taught a musical lesson by his younger musical companion
which only makes me think re-gurgitating led zep tunes must have been quite painful
hope he gets over that little distraction soon

m.o.r.

alabama 3 are an outfit from brixton, london, united kingdom
known in the u s of a as a3 to avoid legal hassles with an american band called alabama
the english group are described as being a acid house, blues, country and gospel band
their main claim to fame being that a track of theirs is the theme song for tv show the sopranos
that track is titled 'woke up this morning' from their 1997 debut album titled 'exile on coldharbour lane'
this their latest album simply titled m.o.r. has had some impressive reviews in respected mags
so without hearing anything of them and one day in search of some new music i made the investment
check in
ok got me interested on this brief intro at 1 minute and 21 seconds
aircraft noises, airport announcements, random noises
and then an aircraft captain's welcome announcement
though not as normal as he announces it may be a bit of a bumpy ride
flying to the outer rings of saturn - sounds a bit like ronald reagan actually
fly
now i know why this band is so hard to categorise
great production of harmonising female vocals, 70's style electric piano
very catchy beat, call-and-response lead vocals, funk feel in there also
leading up to a electric guitar put through some kind of effects box
and winding up with the captain once again cutting in with announcements - phew
lockdown
starts out sounding like some kind of kraftwerk cover band - sparse electronica
vocals come in singing lyrics that defy summarising - too random
band kicks in with an up-tempo beat and some brass or brass synthesizer
then it all falls away to a fairly flat bridge part
and then an attempt to get the tune back on track with key changes - hmmm
monday don't mean anything
gospel meets electronica which is a first for me
very catchy repeated singing of the title with all sorts of electronica backing
then standard percussion and some real brass comes in to keep things interesting
there's also a rap-break in the middle of the tune which sits quite well with the gospel sound
it seems quite clever but maybe too much so - catchy but kind of annoying
amos moses
switch off all the electronica noise making machines
get into dirty almost grunge alt.country southern blues mode
production values have changed also to a do-it-in-one-take approach
a simple echo-laden track with an electric guitar providing most of the noise
they named him after a man of the cloth - they called him amos moses
are you a souljah?
leads in with sounds of missiles and exploding bombs with an acoustic guitar
and then a voice not unlike samuel l jackson as a preacher
gives way to a smooth electronica sound and the now recognisable vocals
another one with all sorts of things happening musically
female harmonies, a couple of rap verses, brief hard-rock guitar, fades out with the last post
the klan
full-on country feel now despite an distracting electronica introduction
then it's real instruments only working away on this tune that seems quite familiar
lyrics that make reference to the kkk but otherwise difficult to work it out
a repeat chorus of - come-on and stand by me - repeat, repeat, repeat
before fading out with a mandolin and various other instruments taking it away
hooked
screaming jay hawkins kind of lead-in and some basic instrumentation
then kicks in with another tune relying on 80's sounding electronica
i think the lyrics refer to a dude's feelings to a lady who has taken his fancy
it would be tempting to take this song as a serious attempt at a pop song
actually not totally familiar with them but machine gun felatio springs to mind
the doghouse chronicles
a male voice not heard yet on the album leads the way
took a while to pick it but sounds like a leonard cohen rip-off
acoustic guitars and boys doing vocal harmonising moves into the main song
lots of talk (sing) of dancing on graves, visiting graves, other related (?) lines
bit of a non-song really but ok considering it is in the middle of the album
the middle of the road
presumably the title track for this album and another style rip-off
sounding very much like a west coast country-rock band a-la the eagles
ok i'm convinced this is a piss-take of that genre
let it go - you can do it, you can do it - let the music save you - oooh-ahhh
very funny really they would have a lot of fun doing a video for this one
work it (all night long)
trademark lead-in - random electronica noises, ditto on the vocals front
there's a story in there somewhere - work it (all night long) gets sung over and over
it could be a traditional song re-worked with their electronica influence
hard to be sure really - there seems to be reference to a lady working in a casino
not a bad song but on the whole quite average
way beyond the blues
like the start to this tune - some electronica then a standard drum set kicks in
this one will be a bit of a grower i suspect - first time - very average
second time - now - the groove gets in and locks in
will be on the lookout for this tune to pop up on the portable mp3 player
when you've nothing to lose - then you're way beyond the blues
holy blood
intro could be any band - then a piano is used to introduce a female voice
quickly followed by the voice most associated with alabama 3
relative to other tunes on the album this one is an epic at over 5 minutes
a hammond organ is used also and the music is mainly around the lovely piano playing
the last minute or so is a big rousing chorus repeat singing about holy blood
sweet joy
album closer and longest track at nearly 10 minutes
the usual quiet acoustic introduction before a quick and loud change to the main song
rock band mode with mouth harp out front as the lads get down to sing big harmonies
falls away to a great drum beat, wah-wah electronica and then female voice takes over
this is a seriously good big, long, epic tune that will improve big time with repeat playing

confession time - first listening of this album had me eject it part way through and shelve it
second listening - here and now - convinces me that this could be a real grower
will definitely give it repeat playing
could be a big hit
somewhere

into the wild (soundtrack)

i was totally impressed by the sean penn directed film of the same name
at the time of viewing it seemed that eddie vedder had delivered up an appropriate soundtrack
saw said cd on display and beautifully packaged so the purchase was made
setting forth
mix of electric and acoustic guitars lead in before that voice arrives
totally, absolutely and instantly recognisable - pearl jam he is
in this one he hits the highest notes he can in the short tune of 1 min and 37 seconds
a very appropriate opener to the film and cd as our adventurer sets out
setting forth in the universe, out there realigned, a planet out of sight
no ceiling
another short one about the same length as the previous track
a gentler less rousing number featuring strummed banjo
a lot of respect due to vedder and penn for providing such appropriate music
this one has a great introspective feel contemplating life on the road
i leave here - believing more than i had - this love has got - no ceiling
far behind
sounding more like something from his main and regular band
another road tune with a real feel of freedom and correct decision made
quite a rock-out track actually and extending the length now to 2 minutes plus
my shadow runs with me underneath the big wide sun
my shadow comes with me as we leave it all - far behind
rise
mandolin used to great affect to lead in the main man's distinctive vocals
quite a rousing tune this one with a quite singalong chorus
no other instruments so the mandolin is worked quite hard
can't remember where this one was used in the film
but conjurs up scenes in the desert around the campfire with his road buddies
long nights
another gentle little number with his vibrato voice to the fore
bass guitar, light percussion and a lightly picked steel guitar (maybe)
the mood of this one very well captures the feeling of isolation and redemption in the film
i'll take this soul that's inside me now - like a brand new friend i'll forever know
i've got this light and the will to show - i will always be better than before
tuolumne
beautiful little acoustic guitar piece that gives us a nice mid-album break
wiki tells us that tuolumne is a small-ish under-populated county in california
the name originates from native indian meaning people who live in caves
i can't remember the actual time this tune was used in the film
but i suspect it was hanging out with the hippies in the desert easy-rider style
hard sun
when i walk beside her i am a better man when i look to leave her i always stagger back again
so begins this most memorable verging on anthemic tune off the album
eddie vedder seems most relaxed and natural sounding belting out this one
great production also means everything works well together
it starts out strong and builds to an even better finish - big, big song
society
back to basics with this one with mr vedder alone with an acoustic guitar
as a standalone song there's depth and meaning to this tune and it's lyrics
but in context of the film it is part of it then this tune is quite exceptional
society have mercy on me i hope you're not angry if i disagree
society crazy and deep i hope you're not lonely without me
the wolf
sounds like a pump organ at work on the introduction to this tune
then e v cuts in doing some vocal chord workouts in harmony with the organ
in this case as a standalone tune it doesn't make much sense beyond that
another case of not sure where it was actually placed in the film
but certainly implies the knowledge and fear of total isolation as seen in the film
end of the road
i won't be the last i won't be the first - find a way to where the sky meets the earth
it's all right and all wrong - for me it begins at the end of the road - we come and go
that's the extent of the lyrics in this ode to life on the road
the song starts out quite simply, lyrics sung, then a mix of drums, organ , guitar
take the song out with an almost haunting but quite memorable and loose arrangement
guaranteed
leave it to me as i find a way to be - consider me a satellite, forever orbiting
i knew all the rules, but the rules did not know me - guaranteed
another simple tune featuring eddie vedder on voice and acoustic guitar backing
an amazingly natural way for his voice to be showcased without all the argy bargy of a full band
the final track on the album and a beautiful way to wrap it all up

summary begins here - not a big fan or serious listener of film soundtracks
toooooo many examples of music being added as an afterthought or as a marketing exercise
but in this case the music seems to have been worked in as part of the creative process
meaning that in the first instance the music enhances the action laid out on the screen
but then it brilliantly serves the purpose of being a reminder of the film
yet means it also stands on it's own as a cd of totally listenable music
eddie does good again

we shall overcome

the boss put this album out earlier this year (i think)
i read quite a few glowing reviews at the time that had me tempted
springsteen covering traditional american tunes previously written/performed by pete seeger
i have more than a passing interest in alt.country, americana whatever it is labelled
and certainly an interest in roots/world music even that out of the u s of a
my main deference to this album was the boss himself - not a huge fan
but bob dylan taught me earlier in this year to put aside prejudices with his modern times album
so in the end when i saw this cd at a bargain price in a store the commitment was made
old dan tucker
the boss counts in the band, banjo leads and then all are at it
a full complement of musicians and instruments jiving away
it's hick music no doubt conjuring up the appropriate images
chooks in the yard, straw-chewing, tea-chest bass, end-of-the-day singalong
the lyrics tell us of a hardened old chap - get out the way of old man tucker
jesse james
get the impression the boss is enjoying the excuse to lay on the american drawl
an up-tempo jig of a song again with everyone it seems contributing
the accordian adds a nice texture and lead break to the tune
the song tells the story of the outlaw and like the recent film seems to make him a hero
that dirty little coward that shot mr howard he laid poor jesse in his grave
mrs mcgrath
fishermans blues by the waterboys and we shall overcome by bruce springsteen
decades apart but very closely related - the real reason i went for this album
this tune is so irish it makes springsteen sound authentically irish himself
features that irish jig riff that is heard so often and done with style
some nice key changes in the string section add to the appeal of this tune
o mary don't you weep
solo and deliberately off-key violin leads in the brass section
now sounding like a dixie jazz band working up for a big number
the boss then leads an up-tempo very singalong kind of tune
accordian does a lead break followed by violin and everyone else having a turn
it's all very recognisable, catchy, and quite acceptably repetitive
john henry
the boss working the vocal chords quite hard - shouting/screaming the lyrics
there's a very distinctice pattern emerging in the music
the stand-up bass lays down a quite simple repetitive pattern
and everyone else works around that coming in and out
relying on the main man as vocalist to deliver the uniqueness to the tune
erie canal
now sounding like a tune sung by workers slaving away at their work
in this case 15 miles on the erie canal and at some place near buffalo
google to the rescue to find out the erie canal is a 363-mile man-made canal
built in the early 19th century to allow full-scale settlement of the western part of new york state
this appealing tune tells the story of a mule and his owner hauling barges along the canal
jacob's ladder
we are climbing jacob's ladder, we are climbing jacob's ladder...repeat, repeat
we are brothers, sisters, all - every new wrong just makes us stronger...repeat, repeat
the band all working away as one on this big singalong feel-good tune
philistine me knows nothing about the history of this one but it is very recognisable
no doubt a big part of american folklore - maybe a pete seeger standard?
my oklahoma home
a slower more gentle number with bass, banjo, snare drummer doing the backup deed
tells the story of a young man setting up home and farm in a very windy, dry place
blown away, blown away, all the crops that i planted blown away
well you can't grow any green if you ain't got any rain
everything except my mortgage blown away
eyes on the prize
the boss leans up to the microphone and whispers/talks the lyrics
banjo is plucked in background, voices harmonising, bass gently comes in
things start building as he continues to tell us to keep our eyes on the prize - hold on
then sure enough the brass section kicks in with an almost dixie type sound
and the song winds out with a big all-in singalong rousing chorus
shenandoah
fisherman's blues territory again - lovely gentle accordian and violin sounds
this is used throughout the tune so it makes for a nice break from the other rousing tunes
the song seems to refer to shenandoah as an indian elder who has a beautiful daughter
living on the banks of the missouri river he gives up when bribed with fire-water
shenandoah i love your daughter - i'll take her across the rolling river
pay me my money down
a very familiar tune thanks to a rendition done by mr edmund kuepper
it implies the chap insisting on being paid like now is the captain of the ship
some freeloader has been busted and is being told to pay up or go to jail
an interesting springsteen-ism i wish i was mr gates with all my money in those crates
lots of key changes being shouted out by the boss also so maybe quite spontaneous
we shall overcome
what can be said about this classic tune covered here by the boss himself
though with what goes on in the u s today and his known stand on the current leadership
it would be more than a desire to cover an american classic tune that drives him on this one
quite a laid-back style with minimal instruments and gentle female backing
almost uttering in prayer-like fashion that here in my heart that i do believe we shall overcome one day
froggie went a courtin'
interesting to add this one at the end of the album when the previous song is the obvious closer
but maybe in an attempt to close things out on a high note
we return to american-irish mode and a version of another american classic
not sure if there is some deep and meaningful content to the lyrics
but it seems to be intended as a simple, fun, singalong tune done quite pleasantly

well he seems to have made a successful visit to his roots
for me as an outsider i wouldn't need to go any further afield than this album
if i wanted to get a great representation of american roots music
not sure that i will have it on high rotation but a fine album anyway

la radiolina

the 4th album from spanish-born french-living multi-lingual singer-songwriter manu chao
whose claim to fame for me was as producer of amadou and miriams last big hit of an album
i'm always on the lookout for new music from out there in the world
especially if that music is closer to a genre or style of music than the culture it comes from
that is i'm not going to be buying into bagpipe music from a traditional scottish group
but if a group from poland is into bagpipes then i'll give it a listen (they're called shannon)
ditto this well-respected spanish performer with his dance/electronica/rock sound
13 dias
off to a flying start with this very up-tempo number
the similarity to amadou and miriam in sound, style and production is immediately obvious
nice acoustic and electric guitar work over the head-bopping beat
tristeza maleza
and a nice seque into this track which runs at the same speed and similar beat
harmonising voices give way to a very catchy blast of trumpets
spanish lyrics with some mention of el presidente george buuush
politik kills
which leads into a great tune that has a slower beat and english lyrics
politik need votes, politik needs your mind, politik needs human beings, politik needs lies
that's way my friend it's in evidence, politik is violence
rainin in paradize
today it's raining, today it's raining, today it's raining - in paradize
heading off into rock territory here with lots of electric guitars
mixed in with electronica and other noises to give it a very contemporary feel
besoin de la lune
now we're in french and another up-tempo guitar-pickin' tune
besoin - demand, la lune - the moon - so the demand of the moon?
man he cranks them out - nice consistency and beat - ballade? moi? non!
el kitapena
and they seque together so seamlessly - why waste valuable seconds with gaps between tracks
this album would make for excellent workout/aerobics backing music
another 2 minute track that gets along very nicely
me llaman calle
back to some traditional instrumentation - those mandolin sounding instruments
and other acoustic guitars and trumpets with a very catchy vocal line
could easily be a well-known standard tune put through the manu chao treatment
a cosa
vocals dominate on this slower and gentler number sung in his native spanish
there's an acoustic guitar in there somewhere and some brass and female backing vocals
a lovely tune that no doubt would be so much more with a translation of the lyrics
the bleedin clown
funny how a return to english brings back a familiarity in the music - a bit sad this one
i used to make the children happy now little girls cry when they look at me
i'm goin down... down... down...
mundoreves
another micro-tune - this one clocking in at 1 minute and 48 seconds
stripped back production compared to the rest of the album
kind of forgetful, kind of album-filler, kind of not-much-at-all really
el hoyo
back to the trademark production technique used throughout the album
up tempo number, brass backing, noises (in this case sirens), electric guitars (in this case wah-wah-ish)
and a lyric that means something to someone but not an essential component
la vida tombola
lovely flamenco-style guitars backing up harmonising male voices
then a slow build bringing in lead vocals then brass and wah-wah guitar
he almost swoons on this one - probably a great live favourite
mala fama
and sequeing to another acoustic-backed track with a slow sad feel
it's time like this it would be really good to lay hands on an english translation
this is as close as it gets to ballad territory i suspect - a sad-sounding singalong song
panik panik
more sirens, more wah-wah and fuzz guitar, more rapid-fire playing
get the impression this one is an ode to modern day life in the fast lane
panik economik, panik aux assedics, panik a la boutik, panik demografik, panik sans plastik
otro mundo
taking a bit of a breather on this slower one with almost spoken vocals
in fact almost a rap style vocal delivery over light instrumentation
sits in there quite nicely without causing too much of a fuss
piccola radiolina
1 minute and 8 seconds only of the most gorgeous flamenco guitar (lute?) playing
it sounds like a backing track from one of the other tracks on the album
but no problem - as with everything else brilliantly produced
y ahora que
unfamiliarity breeds cloning - or at least the sound of it
haven't investigated too far but i'm sure i've already heard this one on the album
but then again why not flog a good thing - it's all over in less than 2 minutes anyway
mama cuchara
the sister song to panik panik - same rapid playing, sirens, guitars
not sure who mama cuchara is but it or she seems to be held in high regard
the song goes out on an almost head-banging type beat and sound
siberia
another clever segue with some guitar hooks carried over from the previous tune
nice smooth liquid bass-playing comes to the forefront of this one
and the usual fade-out with all guns blazing
sone otro mundo
i'm guessing here but with sone translated to sound
this may explain that this seems to be the song earlier in the album but with no vocals
so easy to dismiss as album filler material but who cares with this pleasant little piece
amalucada vida
the last track and almost an anti-climax with a fairly average tune
though in it's favour is a reminder of the feel of the whole album
great production, mixed-up sounds, vocals not dominating, and feeeeeel

21 tunes on the album with an average of 2 minutes and 24 seconds
almost a punk like attitude - bang em out, bang em down, get on with it
but there's been some serious amounts of time spent on the production of this album
reminds me a lot of that huge album from moby (play)
lots of sounds and noises to get hooked in to
though the language barrier will be a problem
though obviously not in france and/or spain
est bon, esta bien

real life

the name of the debut album by joan as police woman
an american 3 piece group featuring joan wasser on vocal, guitars, strings, etc, etc
she also writes all the songs so she seems to be the star of the show
seems she has worked in the past with the likes of lou reed, sheryl crow, elton john amongst others
i heard a track of hers on a compilation cd which i quite liked
so when i saw the debut album titled real life in a shop i decided to go further
real life
lovely piano introduction and backing with some strings
our lady singing a sad but quite lovely tune that grows in confidence
and it's true what they say about love
yes it's true what they say about life
and i'm taking it for all it's worth
eternal flame
the band comes in on this original tune - as opposed to that other song of the same title
instrumentation is quite simple and back there in the mix
so that the quite impressive and agile voice is out front
and some extra interesting overdub and backing vocals
one of the singles from the album
feed the light
keep it simple - piano intro , minimal instrumentation
voice dominating again on this quite slow tune
there's a guest vocalist named joseph arthur who adds deep bass harmonies
not so sure about this one - it seems to get lost along the way
kind of think the attitude is just let the music look after itself - or something
the ride
ah - the song i am most familiar with from the compilation cd
now that i am aware of the sheryl crow connection the influence is there
it's the kind of song that could easily be made famous by someone famous
again very simple and straightforward instrumentation
but a lovely melody and a chorus with a real hook - and a wurlitzer
i defy
we're now getting a bit more serious musically with brass added to the mix
but the big surprise is that this tune is song as a duet with a very distinctive voice
no less than antony from him and the johnsons
their voices work very nicely together making this a memorable tune
seems she has worked with him in the past so maybe favour returned
flushed chest
another gentle piano introduction making way for some more light instrument playing
very much in vein with feed the light earlier in the album
so not much of a melody or specific tune underneath
just more opportunity for the voice to be the focal point
as before - not a standout but also not a complete waste of time - is ok
christobel
unlike this one which i reckon is the standout track on the album
guitar and melody that sounds straight from a forest by the cure
christobel why won't you just fall in love with me
the middle has some quite distorted violins from the lady herself
sits nicely in this up tempo and head-nodding tune
save me
i don't want to live for tomorrow - save me
repeat, repeat, repeat - not a happy lady it seems
another one that doesn't exactly leap out of the speakers
especially with the bridge part which is just a little too average
has a good organic feel to it and an outro featuring a solo violin
anyone
it's not lo-fi but it is lo-arrangement or whatever term should be used here
same as others - musicians do their parts to a suitable level
so that joan can put her voice on top and make the song depend on that
another vocal workout really that again impresses with the range and control
quite a nice chorus bit saves this tune from average-land
we don't own it
this song dedicated to elliot smith (rip) according to the liner notes
very restrained guitar playing and the slightest of snare drum beat
she's at it again with the voice dominating and impressing
while listening it's a case of waiting for something to happen
but it doesn't - it just kind of just winds up and stops

imho we're going to be hearing a lot more of joan wasser or joan as police woman
this album is pointing to a more solidly produced album next time around
with this one she has got something she can be quite proud of as numero uno
but i think it will fade into obscurity with whatever comes next

comicopera

the latest album from english singer-songwriter robert wyatt
his 16th album according to wiki
other interesting information ex wiki is that in 1973 he had a nasty accident
fell out of a 3rd floor window while 'inebriated' and has been paralysed from the waist-down since
seems he is also good friends with the english music aristocracy including pink floyd
who have put on benefit concerts in his aid
which probably means he may be well regarded but he ain't rich from it
this album has had raves in at least 2 magazines i respect
so decided to take the plunge
my first impressions are less than enthusiastic
maybe an in-depth track by track listen and critique may make a difference
stay tuned
the thing about robert wyatt is the voice - totally unique and instantly recognisable
he's starts out the album with a track with everything thrown at it
orchestral arrangement, female operatic backing, pleading vocals
so if you can hear me - if you're still there stay tuned
there is more to come oh don't start searching stay tuned
just as you are
this tune gets special mention in the reviews i have read
features his life partner monica benje on vocals
and paul weller guesting on guitar
it's a lovely little ditty about the love between him and her
maybe it will grow on me but i find it quite cloying in it's simplicity
you you
i'm not sure whether it's intentional or not with his style
but he seems to be the master of the non-song
that is record some interesting noises from various instruments
and ditto come up with some lyrics and interesting vocal techniques
then stick 'em together and see what comes out - it kind of works with this one
a.w.o.l.
i do think that he has a distinctive style that he has cornered the market on
one review suggested he is the quintessential english musician
whatever that means but maybe the ability to churn out a style of tune
that captures the feel of the english countryside, nostalgia and all
as with this quite likeable jazz-based tune recalling days gone by
anachronist
and carrying forward with the same feel into an instrumental track
with his voice making noises in unison with the brass
again it's a bit of a non-tune with no riff or melody
you could say it's a straightup jazz track
but it seems too light and non-eventful for that label - a bit forgetful really
a beautiful peace
co-credited to a chap by the name of eno
and featuring phil manzanera on guitar
so further proof of mr wyatts standing amongst his peers
another very simple little ditty about a walk around his town
gets along quite nicely and inoffensively - not too bad
be serious
i really envy christians, i envy muslims too
it must be great to be so sure as a top hindu or jew
paul weller again on guitar on this anti-religion tune
maybe i just am missing the point or something
but take away the guest guitarist and the voice and there's not much left
on the town square
another instrumental with an odd collection of instruments
cornet, sax, steelpan all at work here
starts out with a gentle cyclic riff
that builds on the basis of each muso repeating a simple pattern
nice sax work from one gilad atzmon is the standout on this tune
mob rule
this is a quick little tune which references life in a small town
seems there has been some debate about a local town planning issue
directors of planning must be given the right to make plans
just as say the woodworm must bore so too advisors must advise
yeah thanks for the insight and hope they get it worked out
a beautiful war
uh-oh mr wyatt is a cynic up there with the best of them
unlike the title the lyrics talk about a beautiful day
when i open the hatch and i dropped the first batch
i'll give him points for consistency
another example of a non-song musically with vocals to the rescue
out of the blue
features an enotron - 'i.e. the voice of brian eno'
why do i get the impression he has put this album together very quickly
a sort of 'down in one take' approach to both the lyrics and music
here we are trying to be clever with off-key noises
and the enotron is interesting but in the end is kind of annoying
del mondo
sung completely in italian so no idea what this is about
credited to 5 italian sounding names so maybe a cover
well if nothing else it's a change to other songs on the album
instrumentation is very light and simple - bass violin and keyboards
all a bit of nothingness unfortunately - starts and goes nowhere really
capricion de julieta
and continuing the theme of foreign language songs
very similar feel to the previous tune
some interesting brass noises going on in the background
and the bass violin also kicks in with some good weirdo noises
leading to a long almost groovey outro - quite a pleasant one really
pastafari
the guest musician on this tune is a vibraphone player named orphy robinson
he seems to have been given the brief to play whatever he wants
and then other noises are added to the mix ('electrical interference')
the obvious question is - why
the obvious answer is - album filler
fragment
ask the same question and get the same answer
take a few samples of the big hit single off the album (track 2)
mix it up, reverse them, add some piano bits
add some electronica just for the fun of it
and stick it on the album to prove we are contemporary
hasta siempre comandante
not even beginning to pretend to be an expert on linguistics
but the lyrics to this song seem to be spanish
and all the other musicians (5) have names that seem spanish
there are musical hints of an authentic spanish gypsy kind of tune
before a vocal mixed-up fade-out of the tune (and album)

conclusion - more listens required to be totally judgmental
but i have a feeling a warm and fuzzy feeling is not going to develop
but all respect due to mr wyatt - he definitely is in his own space