ne would be hard pressed to find a more eagerly awaited or hugely hyped indie release in 2002 than Caitlin Cary’s While You Weren’t Looking. Being a former member of Whiskeytown and band mate of eccentric but prolific tantrum-prone media darling/ whipping boy Grammy nominee Ryan Adams requires a performer to carry more baggage than a camel caravan. While You Weren’t Looking proves Cary can carry the load and then some. The spotlight is on and she proves she belongs right in the center of its brightest illumination.There’s no point in being coy or making vacuous, clever Whiskeytown comparisons. While You Weren’t Looking is an outstanding musical declaration of Cary’s independence. Its strengths are Cary’s highly literate and emotionally rich (in a brainy Richard Thompson way) songwriting and her intimate, pure voice. With primary backing by former Whiskeytowners Mike Daly (guitars), Mike Santoro (bass), Cary’s husband Skillet Gilmore (drums), former Jayhawk Jen Gunderman (keyboards), and a smorgasborg of the Raleigh-Durham area’s finest players (Brian Dennis, Andy Church, Chris Stamey, Greg Readling, Tony Lamm, Lynn Blakey, Mitch Easter), the music is rootsy but rocking, highly melodic and moody, frequently involving deft tempo changes and subtle shifts of emphasis. There is the occasional suggestive Irish lilt.
01. Superette – Touch Me
o2. Blood on the Wall – Mary Susan
03. Envelopes – Life on the Beach
04. La Sera – I Can t Keep You in My Mind
05. Grandaddy – Kim You Bore Me To Death
06. Duplodeck – A Good Man is Hard To Find
07. The Babies – Wild 2
08. PENS – Love Rules
09. Big Troubles – Misery
10. Kell Her – (I Hate it) When You Look at Me
11. Fanzine – Running Around
12. Coloracao Desbotada – Extenso Ambiente
13. Yuck – Cousin Corona
Kevin Bowe and his band The Okemah Prophets, featuring Peter Anderson (The Honeydogs) and Steve Price (ELNo), will release Natchez Trace–his first full-length album of original material in over a decade. Natchez Trace is a sweeping panorama of Tom Petty-style hooks on tracks like “Haven’t You Heard,” along with some very inspired ballads. Bowe and Paul Westerberg (The Replacements) collaborated to write “Everybody Lies,” one of many great musical moments on the record. Also included are a blistering cover of John Lennon’s “I Found Out” alongside a hippie-riffic take on Spirit’s “Nature’s Way”.Natchez Trace draws you deep into its stark, haunting beauty, and the musical performances behind the songs make you take notice. Westerberg, Nels Kline (Wilco), The Meat Puppets, Johnny and Molly of Communist Daughter, Tim O’Reagan (The Jayhawks), Ben Lubeck (Farewell Milwaukee), Chuck Prophet, Freedy Johnston, and Phil Solem (The Rembrandts) all make stellar appearances. Scarlet Rivera (violinist on Bob Dylan’s Desire and his Rolling Thunder Revue tour) adds a gypsy hurricane flair to the track “In Too Deep”.
On this thoroughly enjoyable outing, the elder blues statesman does not stray from the formula that made the Grammy-winning Blues on the Bayou such an artistic and commercial success. Recorded at Dockside Studios in Lafayette, Louisiana, and once again produced by B.B. himself, the disc features a similarly rough and tumble electric trad-blues style. The five new songs are up to his usual standards, and all 14 tracks benefit greatly from the lithe, assured support of B.B.’s touring band, the B.B. King Blues Boys. His voice and guitar playing are supple and slinky; if only we all could be doing such vital, wonderful work at the age of 74.
01. Aaron Neville – The Grand Tour
02. Solomon Burke – He’ll Have to Go
03. Percy Sledge – Take Time to Know Her
04. Esther Phillips – I Saw Me
05. Moses & Joshua Dillard – My Elusive Dream
06. Ann Peebles – Hangin’ On
07. Bobby Sheen – My Shoes Keep Walking Back to You
08. Tami Lynn – Wings Upon Your Horns
09. The Limelights – Before the Next Teardrop Falls
10. Al Green – I’m So Lonesome I Could Cry
11. James Carr – Life Turned Her That Way
12. Candi Staton – He Called Me Baby
13. Z.Z. Hill – The Chokin’ Kind
14. Joe Simon – Yours, Love
15. Cookie Jackson – Your Good Girl’s Gonna Go Bad
16. Arthur Alexander – Detroit City
17. Tony Borders – Gentle On My Mind
18. Bettye Swann – Don’t Touch Me
19. Clarence Carter – Set Me Free
20. Little Milton – Behind Closed Doors
21. Millie Jackson – If You’re Not Back In Love By Monday
22. Joe Tex – Skip a Rope
23. Brook Benton – She Even Woke Me Up to Say Goodbye
Since becoming crown prince of the blues in the late 80s, Cray has won Grammies and played alongside 12-bar aristocrats such as BB King but has often seemed on cruise control. As a suited-up Mad Men cover shot suggests, he has his mojo back. Won’t Be Coming Home puts Cray in the driveway watching his woman’s tail light vanish, pitting weary vocals against stinging guitar. I’m Done Crying, a slow, soul-soaked epic with strings, has him testifying magnificently. Producer Kevin Shirley keeps things taut and gritty (the sessions took just a fortnight) and Cray burns with urgency.
Over the course of her first albums, including her fourth, 1992’s Every Time You Say Goodbye, Alison Krauss probably did more than any of her contemporaries to attract mainstream-country attention to bluegrass. A traditionalist might say this is because Krauss and her band, Union Station, offer a kind of “bluegrass-lite” that’s cut with pop sensibility, absent any manic-fast picking, and awash in Krauss’s goes-down-easy vocal. Nonetheless, this is a solid album that pushed Krauss deservedly further into the limelight. Highlights include the title track, Union Station banjo picker Ron Block’s fine gospel number “Shield of Faith,” and the traditional instrumental “Cluck Old Hen.”
With their 5th studio album One More Turn Blues Blend are presenting a breathtaking, versatile masterpiece: 60s soul, bluegrass, americana, jazz ballads, Chicago- and New Orleans Blues. Those who join this great panorama will be enchanted by the emotionality, the delight in playing and the pure pleasure and passion for blues and rootsmusic which is accompanied by the powerful and pumping wind section the big band of the HR (hessian broadcasting) has to offer.
Once upon a time, Allison Moorer was a country artist who sang for a major record label. It might be easy then, to see her switch to Sugar Hill as a back-to-the-basics move, a reconnection with her country roots. Moorer, however, isn’t that predictable, and The Duel — while many things — isn’t country. In fact, the opening cut — “I Ain’t Giving Up on You” — sounds a lot like classic rock and most of the album follows this course. This is interesting, in that Moorer’s a strong writer, and it would’ve been easy to fall back on a tasteful country-folk production and become a fairly typical singer/songwriter. Instead, Moorer’s plucky vocals, along with Adam Landry’s electric guitar work and R.S. Field’s steady backbeat, turn a song like “Melancholy Polly” into an easy-rolling romp. Another factor that makes the songs on The Duel so effective is that Moorer, besides being good at penning lyrics, is smart enough to write catchy hooks. This means that the listener doesn’t have to be into the lyrics of “When Will You Ever Come Down” to enjoy the intriguing chord progressions. Even when country elements enter the picture, like John Davis’ steel on “One on the House,” one is reminded of Neil Young’s Harvest more than country. Moorer seems to have found a comfortable spot to express her artistic whim at her new label, and The Duel is the happy result.
New 2CD release from the British guitarist, songwriter, producer and former Dire Straits leader. Privateering is Knopfler’s first double album, each song an original. They cover a wide range of locations and characters from both sides of the Atlantic and move through a number of genres which include several new Blues originals. The album is a soulful and heartfelt collection masterfully performed by a group of world class players. In addition to what has become Knopfler’s long-time band, hand-picked guest aces include Kim Wilson (harp) of the Fabulous Thunderbirds, Tim O’Brien (mandolin), singer Ruth Moody of The Wailin’ Jennys, Paul Franklin (pedal steel) and Scotland’s Phil Cunningham (accordion). Twenty new titles were recorded at the artist’s British Grove Studios in London with the following players: Richard Bennett (guitar), Jim Cox (piano) Guy Fletcher (keyboards), John McCusker (fiddle), Mike McGoldrick (whistle and flute), Glenn Worf (bass) and Ian Thomas (drums). Knopfler was assisted by co-producers Guy Fletcher and Chuck Ainlay.
Legendary rock band Lynyrd Skynyrd releases a fiery slice of Southern style guitar rock heaven in Last of a Dyin’ Breed. This is the kind of record guaranteed to feed the needs of the multi-generational Skynyrd Nation, and continue the renewed vigor the band exhibited with their previous album, 2009’s God & Guns. For the passionate, longtime fans of the band, this is Skynyrd at the top of their game, complete with instantly memorable songs, more hooks than a tackle box, and a blistering three-guitar attack at full power.Led by core members Gary Rossington (guitar), Johnny Van Zant (vocals) and Rickey Medlocke (guitar), along with longtime drummer Michael Cartellone, Skynyrd has recorded an album that continues to build on the legacy that began over 35 years ago in Jacksonville, Florida. Joining them in the studio and on the road are new bassist Johnny Colt (Black Crowes, Train) guitarist Mark “Sparky” Matejka (a “Nashville cat, just a pickin’ fool,” according to Rossington), and keyboardist Peter Keys.
1. Ride Me Down Easy
2. I Been to Georgia On a Fast Train
3. Willy the Wandering Gypsy and Me
4. Black Rose
5. Woman Is the Wonder of the World
6. Love You Til the Cows Come Home
7. Sweet Mama
8. Street Walkin Woman
9. Fit to Kill and Going Out of Style
10. One Moving Part
11. Bottom Dollar
12. I M Just an Old Chunk of Coal
13. Oklahoma Wind
14. You Can T Beat Jesus Christ
15. Old Five and Dimers Like Me
The San Francisco-based quartet Tin Hat isn’t in itself a new project. Formed in in 1997 as Tin Hat Trio and then rechristened Tin Hat in 2004, the outfit had five albums under its belts prior to recording the song cycle the rain is a handsome animal. What separates the new release from the others, however, is that it’s the first time a Tin Hat recording has largely oriented itself around the singing of violinist Carla Kihlstedt (even if past recordings have included vocals by Willie Nelson, Tom Waits, and Mike Patton in addition to Kihlstedt). The album’s lyrics are derived from the poetry of e.e. cummings (yes, the famously lower-case poet), but there’s no need to be scared off by the recording’s literary connection. Elements of klezmer, tango, jazz, and even blues inform Tin Hat’s music. Reich’s playing on “a cloud on a leaf” calls to mind Piazzolla, while the interplay between Kihlstedt’s strings and Goldberg’s clarinets reveals Tin Hat’s connection to klezmer and related musical forms. The intimate tone of the album is established at the outset when “a cloud on a leaf” presents a samba-slash-tango of the kind one would more likely encounter in a small cafe than formal concert hall. Kihlstedt’s voice also humanizes the material by being less operatic and conservatory-like and more natural in its delivery, and she’s certainly up to the vocal challenge, too, as the upward ascent she effortlessly scales in “2 little whos” makes clear.
1. The Changeling (Alternate Version)
2. Love Her Madly (Alternate Version)
3. Cars Hiss By My Window (Alternate Version)
4. L.A. Woman (Alternate Version)
5. The WASP (Texas Radio And The Big Beat) (Alternate Version)
6. Been Down So Long (Alternate Version)
7. Riders On The Storm (Alternate Version)
8. She Smells So Nice / Rock Me
Patterson Hood, one return with his third solo album, Heat Lightning Rumbles in the Distance, due out in September 2012. The songs on the album began in the form of a novel Hood was working on, a fictional but semi-autobiographical account of a dark time in the singer’s late twenties. The book remained unfinished, but the characters and events he began chronicling in written form translated well into song. Hood is joined by all the other members of Drive-By Truckers on the album, as well as members of Centro-Matic; songwriter Kelly Hogan; and Hood’s father, David Hood, onetime Muscle Shoals bass player.
mp3 320 kbps | 103 MB | UJ
The 19th installment in John Zorn’s Masada Book 2: The Book of Angels is a doozy. As with the rest of the series, these are Zorn pieces given to an extraordinary talent (or set of talents) to perform, re-imagine, or demolish, and acoustic/electric bassist and oudist Shanir Ezra Blumenkranz has done all three with his batch of songs.Blumenkranz, part of New York’s vibrant “experimental” scene, here performs on the gimbri, a three-stringed Middle Eastern bass lute. He’s essential to the material, which is a hearty dose of Jewish progressive rock, but his collaborators do their best to steal the show.Kenny Grohowski is an absolute madman behind the drum kit, unleashing maelstroms of double-bass blasts and triplets and frenetic, unyielding drum fills. The guitarists are masters unto themselves — check out Aram Bajakian’s Kef and Eyal Maoz’s Edom if you get the chance — and their intonations are very bit as vital as their technical abilities.Outside of the “ritualistic Jewish rock” tag that comes with Zorn and his cohorts, the obvious comparison here is one to prog-fusion giants such as Mahavishnu Orchestra. But particularly with the percussion, there’s a much more frantic, metallic, Zach Hill-ish vibe, and Abraxas will appeal to progressive ears new and old.