Originally from Chicago, Lauren has had a passion for singing throughout her entire life. Growing up in a household that was rich in music, her influences were widely varied from artists such as Susan Tedeschi, Bonnie Raitt, The Pointer Sisters, Eva Cassidy, Etta
James, Joss Stone, Jason Mraz, Black Eyed Peas, Christina Aguilera, and many more.
This is a beautifully observed recording featuring the 5-String Banjo of Ian Carmichael, on a journey of exploration through the American, Irish and Scottish traditions. It moves through moments of full out swing with America on its mind, to reflections from the Scottish highlands and time spent in Ireland. Memories of old tunes return and are given new expression with Colored Aristocracy in particular standing out. It’s full of depth and space and delicate picking.Ian’s compositional skills are equally explored on tracks like Ten Years On which we include below. The opening Eliza Ross’s Reel learned from piper Iain MacInnes is paired with the well covered slow reel Castle Kelly to great effect. Ten Years On is an accomplished gem that shows the 5-String banjo to be right at home among the melodies of these shores.
Though many feel that the Stones were at their best when playing loose, sloppy rock & roll à la Exile on Main St., with this 1972 release on Rolling Stones Records the unrehearsed style of the album is more of a hindrance than a call to ragged glory. Not an official Rolling Stones release, the assembled band does contain three-fifths of the group (Mick Jagger, Bill Wyman, and Charlie Watts) along with session man extraordinaire Nicky Hopkins and guitarist Ry Cooder. The band stumbles through keyboard-dominated original numbers such as “Boudoir Stomp” and “Edward’s Thrump Up,” as well as more conventional cuts like a cover of Elmore James’ “It Hurts Me Too.” Yet the songs never get beyond giving the listener the impression they were thrown together during a drunken night’s rehearsals. In that sense the album is a bit of a letdown; though any Stones fan would surely clamor for lost material from the band’s golden age, Jamming With Edward instead makes one wish it had never been released.
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