What is the sound of one blues exploding? It is the North Mississippi Allstars, one of the most exciting bands to emerge from the South in a long, long time. This is Black Flag if its members were Fred McDowell, R. L. Burnside, Junior Kimbrough, and Otha Turner. Guest stars would include Duane Allman, Captain Beefheart, and Howlin’ Wolf. Luther Dickinson plays guitar like an octogenarian bluesman on his first amphetamine rush; his brother Cody drums hard, like a Keith Moon born and bred in Mississippi (their dad is famed producer/musician Jim Dickinson). Linking the two is Chris Chew, who spits out bass fat and heavy. Their music rockets from the rural backwoods to the laser CD player like a jack on a jenny. Songs that evolved through the last century are given new life, ensuring their relevance to another generation.
Enigmatic singer-songwriter Richard Buckner has been highly acclaimed but chiefly a cult phenomenon since his 1994 debut, Bloomed. Our Blood is the first album from Buckner in five years, and the story behind its series of delays is as intriguing as it is unfortunate. Scoring a film that never came to pass? It happened. After that, Our Bloodrecordings were lost due to faulty equipment and later a stolen laptop. Too add insult to injury, while recording at the wrong grange hall, Buckner was briefly questioned as a potential suspect in a murder case involving a torched car with a headless corpse.
Considering all the drama that led up to the oft-delayed release of Old Blood, it’s no wonder that Richard Buckner’s vocals are as world-weary as ever. This weariness with a weathered toughness underneath gives subtle character to the inscrutable wordsmith. At its core, Our Blood is a collection of folksy alt-country laments, but songs such as “Thief” and “Confession” incorporate sparse electronics to haunting effect. Curiously, it is on “Ponder”, a three-minute instrumental piece, that Our Blood is at its bleakest. On “Ponder”, the acoustic and electronic sides of Buckner interplay to reach new heights of heart-wrenching desolation.
mp3 VBR~217 kbps | 64 MB | FSo
After a stretch of 11 years since their last studio recording, The Jayhawks have come together for the new album, Mockingbird Time. The album contains 12 tracks and will be released on September 20 on Rounder Records. The album will include all former bands members with songs written by band leaders Mark Olson and Gary Louris. Louris will also serve as the album’s producer.Mockingbird Time was recorded at The Terrarium Recording Studios in Minneapolis over a month in the winter of 2010. When asked about their return to the studio, Lauris reflected, “The difference from then and now is that Mark and I have both experienced different kinds of music and expanded our palates. So this record has moments of experimentation and a bit of worldliness. I like a well-crafted, in-and-out kind of song, but with Mark, the lyrics dictate the music, and he’ll go off into interesting, asymmetrical compositions. So it’s a nice balance. Certain things were meant to be—like peanut butter and jelly—and Mark and I just work well together. And having done a lot of co-writing during the last six or seven years, I’m more appreciative of the magic that we have together. That doesn’t come along very often for anybody.”
Produced by Kevin “Caveman” Shirley (Silverchair, Aerosmith, Joe Bonamassa), Hiatt’s timeless songwriting is paired with the aggressive blues guitar. Hiatt is back in the studio with his touring combo (Kenny Blevins on drums, Patrick O’Hearn on bass and Doug Lancio on guitars).
They need absolutely no introduction to two generations of music lovers. America led for four decades by Gerry Beckley and Dewey Bunnell are still one of the most beloved groups in the history of pop. As they embark upon their 40th Anniversary Tour, they maintain a large and devoted fan base that attends over 100 concerts and music festival performances a year. For all their success as hit writers of enduring classics like A Horse With No Name, Ventura Highway, Sister Golden Hair, and so many others, Gerry and Dewey have never created a project that paid tribute to their favorite songs and songwriters.
Until now, that is. Back Pages is a rich, joyous collection of a dozen glimmering interpretations. The songlist stretches back in time to the 60s British Invasion (The Zombies Time Of The Season ) right up to right now ( A Road Song, a brand new song by Fountains Of Wayne.) Along the way, America offers new renditions of new standards by Bob Dylan, Paul Simon, James Taylor, Joni Mitchell, Brian Wilson, Jimmy Webb, and more.
Much of Wylie’s earlier work mined the musical styles of the American West including plenty of Western swing, Bakersfield sound, a bit of rockabilly, and some fantastic yodeling. Wylie is, after all, the guy who wrote and performed the famous Yahoo! yodel. Those influences are still here, but this record has a stronger rock component which works really well with Wylie’s voice. Plus there’s some polka. And flamenco. The band moves convincingly through these various styles, and that in and of itself is a characteristic of the West.
With his debut album TOO CLOSE TO HEAVEN (2008) german based musician Dad Horse Ottn set the base for an individual genre. THE DAD HORSE EXPERIENCE’s style was tagged as Outlaw- or Underground Gospel; Ottn himself calls it Keller-Gospel, an unconventional mixture of Southern Gospel with european elements from Punk, Trash and Polka, played with banjo, basspedal and kazoo. Now with his second album DEAD DOG ON A HIGHWAY Ottn goes forth in the developement of his unique style. The album was produced by Rolf Kirschbaum, who is well known for his collaborations with Taj Mahal, Holmes Brothers, Sandy Dillon amongst many others, and was recorded at Hörwerk Tonstudio in Bookholzberg (Germany) by Andree Klose. Self-taught musician Ottn recruited the support of skilled players from the german music scene including Hanno Jannsen (drums), Rolf Kirschbaum (slide, percussion) and Don Voigt (mandolin, violin) along with a good bunch of backing vocalists who transform the much-lauded intensity of the one man band’s stage performance into the musical language of a studio album.
The band’s latest release Peyton on Patton is a bit of a different look at The Rev. The album is a tribute to the legendary Delta Bluesman Charley Patton. Peyton on Patton is a largely solo affair with the Rev’s growling vocals and searing guitar work placed front and center on these rural blues classics.
Washboard Breezy, the Rev’s fantastic wife, contributes washboard percussion on just a couple of these tracks, but her vocals on “Elder Greene Blues” are a real highlight. Aaron “Cuz” Persinger contributes in a starkly different manner, drumming with just his hands on a century-old tobacco barrel.
2011 album from the Oscar-winning actor, performer and songwriter. A musician before his acting career took off, Bridges’ award-winning and critically acclaimed role in 2009’s Crazy Heart introduced his musical talents to a wider audience. Working with producer T-Bone Burnett again, this self-titled album picks up where Crazy Heart left off, proving that Jeff Bridges is a man for all seasons. Blue Note.
This is a brand new compilation of classic live tracks including rare performances and versions not previously available on CD.Willy DeVille was one of the finest American songwriters of his generation. Drawing influences from Blues, Rock, Cajun, Latin, Country and more he created a rich blend of music that acknowledged its roots but was uniquely DeVille. He was also a consummate live performer with a style, charisma and presence that few could match. This new compilation brings together these two elements to give you “Come A Little Bit Closer – The Best Of Willy DeVille Live”. Tracks are taken from performances ranging from Amsterdam in 1977, through concerts at Nijmegen and Montreux in the 80s and 90s and into the 21st century with concerts from Berlin and back to Amsterdam in 2005.
Eilen Jewell’s fourth CD release (including her 2010 tribute album to Loretta Lynn ‘Butcher Holler’) is titled ‘Queen Of The Minor Key’ & has combination of Americana styles. She has featured many established musicians in this album for the first time, hopefully to be major player in the music scene.
On his 2011 album Field Songs, Iowa troubadour William Elliott Whitmore documents a vanishing American landscape with all the heartfelt soul and quiet fury one could hope for. “Heartland firebrand blows fuse, fights for truth” heralded Spin Magazine when describing Whitmore, who utilizes a powerful singing voice beyond his years and a stark dramatic sound rooted in bluegrass, blues and folk protest music. These songs vividly evoke a life of struggle, humble resilience and family bond inspired by life on his family s farm along the Mississippi River.“Field Song”, has more than a hint of Springsteen’s widescreen grandeur. Telling an alternative history of agricultural America, it follows the original pioneers out west, tracing their progress through the rigorous decades .
The great thing about a Ruthie Foster song is that you never quite know where it’s going to go. It might start as a quiet ballad before morphing into an up-tempo song built on a New Orleans-style rhythm, as on “Woke Up This Mornin’,” from her first live album, Live At Antone’s.In this performance recorded at Austin’s famed blues club Antone’s, opening number “Stone Love,” an original composition, exemplifies her standing in the blues world: the soulful, 1960s-inspired number is nothing fancy – just Foster getting the chance show that she’s not a “blues singer,” but rather a singer, period, capable of zeroing in on the heart of a song regardless of genre.The highlight of both the CD and the DVD is Foster’s original “Runaway Soul,” from her 2002 album of the same name.
Pass in Time: the Definitive Collection is bound to do well because, frankly, people like Beth Orton. It’s as simple as that. While she hasn’t exactly set the world on fire since first coming to our attention as one half of Spill alongside William Orbit, she’s always boasted a most reliable voice that, while neither particularly unique nor entrancing, can sell a song most efficaciously.