Library

Genere: Folk

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Genere: Rock

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Genere: Rock

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Genere: Rock

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Trama: `Scratch My Back' is Peter Gabriel's new orchestral covers album and it has a very gentle, introspective pace to it. The theory is that he covers various artists work and they will return the favour to offer us another album of Gabriel covers later on. He has also deliberately chosen to forego the use of drums and guitar, the theory being that these self imposed restrictions will encourage creativity overall as they are worked around. To be honest the album opener `Heroes' left me pretty cold and although I enjoy the original `The Boy in The Bubble', the version on offer here doesn't do it full justice. It isn't until the 4th, 5th and 6th tracks that this album comes into its own and `Flume', `Listening Wind' and `The Power of the Heart' all offer up some moving piano and orchestral playing, accompanied by Gabriel's own unique, almost fragile vocals. In fact, his vocals suit this raw, pared back style of music perfectly. This album has got a slight melancholy feel to it throughout and if you are a fan of his previous work then this may be lacking in a certain passion at times. But taken on face value, and with repeated listening, this album offers up some inspired reworking of other artists tracks and although it has been a long time in the making (Gabriel is renowned now for his long gestation periods between albums) it is still a credible addition to his catalogue of music. I do, however, have to agree with other reviewers who hanker for the delights of `Up' and hope this will be forthcoming soon. This special edition CD has an additional disc with four extra tracks on it, three from the album that are remixed and `Waterloo Sunset'. Although they are good, they are very similar to the album versions and you don't get much more for your money and this isn't the best value special edition I have ever come across. But for big fans of Peter Gabriel that want to experience all his latest album has to offer it goes without saying you should buy this.

Genere: Rock

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Genere: Blues

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Genere: Jazz

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Genere: Jazz

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Genere: Jazz

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Trama: Bonus Edition CD & DVD, 2 Special Tracks Feat. Hamilton & Yamandu plus La Vie en Rose & Video Content

Genere: Jazz

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Genere: Jazz

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Trama: Modern jazz classics remastered by their original engineer. The Rudy Van Gelder Remasters Series features 24-bit remastering as well as original and new liner notes.

Genere: Jazz

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Trama: The sound is atrocious and the piano is out of tune, yet this live trio recording from September 9, 1955, in Carmel, California, was a bestselling album. Garner brings a wealth of imagination to every performance of every song. On uptempo numbers like "I'll Remember April" and "Red Top" he hammers away with intense left-handed figures while unleashing relentless cascades of improvised lines with his right. On ballads like "Teach Me Tonight" and "April in Paris" he plays with the softest of touches, changing tempo from verse to verse for dramatic effect. His performance of "Autumn Leaves" is so over-the-top it could have gone to parody, but not in the hands of this master entertainer. His humming, grunting vocal accompaniment--he seems to be commenting on "They Can't Take That Away from Me" as he plays it--provides a kind of side show to the performance. More than 30 years later it's still starkly original work. <I>--John Swenson</I>

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Genere: R&B

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Genere: Jazz

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Genere: Classical

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Genere: Jazz

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Genere: Jazz

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Trama: Originally released in March 1964, this collaboration between saxophonist Stan Getz and guitarist João Gilberto came at seemingly the end of the bossa nova craze Getz himself had sparked in 1962 with <I>Jazz Samba</I>, his release with American guitarist Charlie Byrd. <I>Jazz Samba</I> remains the only jazz album to reach number one in the pop charts. In fact, the story goes that Getz had to push for the release of <I>Getz/Gilberto</I> since the company did not want to compete with its own hit; it was a good thing he did. <I>Getz/Gilberto</I>, which featured composer Antonio Carlos Jobim on piano, not only yielded the hit "Girl from Ipanema" (sung by Astrud Gilberto, the guitarist's wife, who had no professional experience) but also "Corcovado" ("Quiet Night")--an instant standard, and the definitive version of "Desafinado." <I>Getz/Gilberto</I> spent 96 weeks in the charts and won four Grammys. It remains one of those rare cases in popular music where commercial success matches artistic merit. Bossa nova's "cool" aesthetic--with its understated rhythms, rich harmonies, and slightly detached delivery--had been influenced, in part, by cool jazz. Gilberto in particular was a Stan Getz fan. Getz, with his lyricism, the bittersweet longing in his sound, and his restrained but strong swing, was the perfect fit. His lines, at once decisive and evanescent, focus the rest of the group's performance without overpowering. A classic. <I>--Fernando Gonzalez</I>

Genere: Folk

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Genere: Country

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Genere: Country

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Genere: Country

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Genere: Country

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Genere: Jazz

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Trama: I bought the cassette in the early 90's and couldn't believe my ears. I liked Dizzy's works and had other albums. But this one is my favorite. Maybe because of his death, maybe beause of the title, and maybe because it is great fun to listen to. What a personality, voice and trumpet...even in his older years. I love his Cuban influences in his music. This is the essence of Dizzy. I even enjoyed his comments when he missed a few notes. I wore the cassette tape out and now own the CD. He had class. Get it and enjoy the historical Diz!

Genere: Jazz

Durata: 37:29

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Genere: Country

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Trama: Jimmie Dale Gilmore's tremulous, twangy whine is a beautiful thing, full of loneliness and humble awe. On <I>After Awhile</I> he uses it to fine advantage, on definitive versions of his standards, "Tonight I Think I'm Gonna Go Downtown" and "Treat Me Like a Saturday Night," as well as on a driving cover of Butch Hancock's "My Mind's Got a Mind of Its Own," which includes hot mandolin from Richard Bowden. After awhile, though, the stripped-down arrangements and melodies here can start to sound alike. Thankfully, the bluesy "Midnight Train," with snarling electric guitar from James Pennebaker, heats things back up and then some. <i>--David Cantwell</i>

Genere: Country

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Trama: Jimmie Dale Gilmore's third Elektra album comes as a corrective of sorts to fellow ex-Flatlander Joe Ely's ambitious but disappointing <i>Letter to Laredo</i>. While <I>Braver Newer World</I> doesn't quite cohere like Gilmore's brilliant 1991 disc <I>After Awhile</I>, its risks generally pay off. Produced by T-Bone Burnett, the disc initially seems to indicate a full-scale embrace of hippie-ism that's perfectly in tune with Gilmore's Zen-country leanings. Sitars twang, French horns evoke sticky pop psychedelia, and the artist revives as best he can a painfully earnest folksong "Sally," by Texas pal A.B. Strehli. Gilmore's Buddhism reaches full flower here on the title cut and a Strehli ballad, "Come Fly Away," making interesting implications about his collaboration with Burnett, one of rock's most famous drunken seekers. Burnett's wife Sam Phillips contributes one of the best songs here, "Where Is Love Now," which in turn gets one of <I>World</I>'s most adventurous treatments; the Beck-like beatbox and deep-dish Orbisonisms of (presumably) Burnett's guitar are a striking backdrop for a voice and lyric that drip high lonesomeness. Some of Gilmore's fundamental roots are also on display here, on a yowling lo-fi take on the ancient blues number "Long Snake Moan" and a version of Ely's "Because of the Wind" that, somewhat surprisingly, fails to light a real fire under the players. Still, the overall anything-goes approach makes <I>World</I> both a good document of this period in Gilmore's evolution and a fine introduction for those who've missed him in the past. <I>--Rickey Wright</I>

Genere: Country

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Trama: Here's the stuff honky-tonk heroes are made of: wistful heartbreak classics like Harlan Howard's "Pick Me Up on Your Way Down," Johnny Cash's "Train of Love," Hank Snow's "I'm Movin' On," Ernest Tubb's "Walking the Floor over You," and seven others sung by Jimmie Dale Gilmore, the Texas troubadour and member of the Flatlanders who was born with a teardrop in his voice. There are no surprises on <I>Come On Back</I>, just rewards, as Gilmore and producer Joe Ely rely on tried-and-true arrangements that frame the singer's angelic warble with deft touches of baritone guitar twang, tasteful slide lines, and sparks of bright fiddle. But the disc's more than a Biblical reading of country's cryin' side. These tunes were also favorites of Gilmore's late father, a roadhouse guitarist who died from Lou Gehrig's disease. And that makes Jimmie Dale's readings of Hank Williams's "I'll Never Get Out of This World Alive" and the gospel closer "Peace in the Valley" all the more poignant. <I>--Ted Drozdowski</I>

Genere: Jazz

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Genere: Jazz

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Genere: Rock

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Trama: I once saw the Gluey Brothers play live out in Jawbone Canyon. It was one of those all night EOM desert parties. The Gluey Brothers were amazing and they played 'til the sun came up.<p>Well now I see they have a release that's in DTS Surround. I just couldn't pass this up! The music is an intense blend of funk, rap and rock with a snide grin. And the production is immaculate. The closest I can come up with is the Red Hot Chili Peppers meet the Beastie Boys on nitrous, but really the Gluey Brothers are so much more. <p>Highly recommended

Genere: Jazz

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Genere: Jazz

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Trama: Combine this with the King of Swing's earlier-era <I>Live at Carnegie Hall</I> recording and you have not only Benny Goodman's two best works, but two jazz cornerstones. <i>B.G. in Hi-Fi</i> was recorded five years after the clarinetist had his last permanent big band (he'd work mostly with smaller combos from here on out), but all the players found on this disc are superb. And, though the big-band style may have been way past its prime in '54, Goodman certainly isn't. On tunes like "Get Happy"--one of the more spirited romps on this disc--he swings with vigor and topnotch playing. Eight cuts feature a big band; the remaining 12 are quintets. Four previously unreleased tracks (including a great rendition of "Ain't Misbehavin'" played by his quintet) are included. Excellent sound throughout, and some truly swinging, classic tunes. <i>--Jason Verlinde</i>

Genere: Jazz

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Genere: Jazz

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Genere: Folk

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Genere: Folk

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Trama: Like Lyle Lovett, John Gorka is a singer-songwriter with a warped view of relationships and a wicked but deadpan sense of humor, both disguised by a dry baritone that doesn't seem to fit comfortably in any musical format. With <I>Out of the Valley</I> Gorka moves out of the folkie ghetto into the peculiar gospel-swing-chamber-music niche that only Lovett seems to inhabit. Producer John Jennings, who helped make a star of another ex-folkie, Mary Chapin Carpenter, makes this transition remarkably smooth, and the result is a major step forward for this underappreciated talent. <i>--Geoffrey Himes</i>

Genere: Folk

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Genere: Rock

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Genere: Rock

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Trama: Improvisation had been the Grateful Dead's tie-dyed calling card since their beginnings as the house band for novelist Ken Kesey's mythic mid-60s "acid tests." So, after the fair-to-middling artistic results of their initial three studio-recorded albums, the band opted to release their first-ever concert collection--and irrevocably changed the course of their entire career. Propelled by the epic classic, "Dark Star," as well as folk-tinged "Death Don't Have No Mercy,' and the fusion-ish "The Eleven," <I>Live Dead</I> showcased the instinctual, probing interplay between Jerry Garcia, bassist Phil Lesh, and the rest of the band, and finally captured the Dead's special magic for all to hear. <I>--Billy Altman</I>

Genere: R&B

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Trama: For a while there, the helium-voiced Macy Gray seemed to be coasting instead of crashing down the walls between funk, rock, and R&B the way scads of breathless music pundits once said she would. That was before will.i.am and a handful of other skillful knob-twisters entered her life. Now, multi-genre destruction and utter domination once again seem possible: <I>Big,</I> as its title suggests, is a huge record--bold in all the right places and subdued where it needs to be; scruffy around the edges but slick below the surface; at once nonchalant and reckless to the bone. Gray, in her way, is a vocal Timbaland--it's tempting to think she's too imposing to make a random-seeming hook-up work, but she stretches her singular gift around pretty much any collaborator a producer can throw at her, and with style to burn. On <I>Big,</I> those tossed on for the challenge include Natalie Cole, who lights up opener "Finally Made Me Happy"; Nas, who gives up the grit likably on "Ghetto Love"; and Fergie, who coos efficiently throughout "Glad You're Here." As vibes go, the one given off here is cool, casual, and slightly crazy--all Macy, in other words. She does her thing up right, and she does it <I>Big.</I> <I>--Tammy La Gorce</I>

Genere: Rock

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Genere: Rock

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Genere: R&B

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Trama: Al Green is one of those artists whose range and scope, like those of James Brown or Johnny Cash, seem almost too large for a three- or four-CD retrospective. But like Brown's Star Time or Cash's Essential set, Anthology is a deeply satisfying overview of an important artist's work. In addition to its generous helping of hits, intriguing rarities (a great early single of "I Want to Hold Your Hand," a live medley of "Let's Stay Together" and the Carpenters' "We've Only Just Begun"), and early hints of the gospel career that would follow this set's final late-'70s tracks, the box offers interview excerpts that both outline Green's working methods and underscore his crazy-like-a-fox eccentricity. It's worth the price of the set to hear the singer explain the many practical lessons he learned from rock and soul. --Rickey Wright

Genere: Pop

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Trama: The great soul singer made his secular comeback with 2002's I Can't Stop, but Everything's OK is truly Al Green's return to form. Green left the concert stage for the pulpit in 1979, and while his pretty falsetto reading of Joe Cocker's "You Are So Beautiful" could easily be holy praise, he makes it clear in his asides that he's keeping things on a strictly earthly plane this time. Twenty-eight years after "Love and Happiness," these satisfying songs glide on those emotions as Green celebrates joy and carnal desire. He couldn't be clearer than in numbers like "I Wanna Hold You." When he sings about lovemaking his voice seems buoyed by helium, it's so light, high, and soaring. Green and producer Willie Mitchell made magic together at Memphis's Hi Records in the '70s with their mix of Green's buttery tones and ecstatic cries and deep percussion-, horn-, and keyboard-swathed grooves. They do it again here repeatedly, capturing the élan of their heyday on numbers like the title track and "Build Me Up." If Green's new missionary work is putting a little love in our hearts during these turbulent, conflicted times, this reassuringly titled CD is a great start. --Ted Drozdowski

Genere: Jazz

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Genere: Jazz

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Genere: Country

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Trama: Nanci Griffith and Darius Rucker make a very odd couple. She's the skinny, angel-voiced troubadour of Texas coffee houses, while he's the brawny, gruff-voiced leader of Hootie and the Blowfish. Yet they both benefit from their duet on Griffith's 1997 album, <i>Blue Roses from the Moon</i>. She rarely gets to hear her songs delivered with such soul-flavoured power and he rarely gets to sing something as well written as Griffith's loving description of the Texas landscape, "Gulf Coast Highway". Not everything on Griffith's album is as well written as that 1988 song and the first half of the album is dominated by new songs with unfocused lyrics and undernourished melodies. In the second half, however, the veteran singer-songwriter digs into the details of a relationship gone wrong and extracts tunes that dispel the misty wispiness of her worst work and provide the tough-minded clarity of her best. Songs such as "Not My Way Home" and "Is This All There Is" capture that awkward stage in a relationship when you're still fond of a person even as you realise the essential magic is gone. Best of all are the songs where Griffith throws off her sensitive introspection and attacks the music with the forcefulness of her new pal Rucker. She wrote the bouncy, tongue-in-cheek honky-tonk two-step, "Maybe Tomorrow", with her hero, Harlan Howard, and she gives an ex-lover a carefree kiss-off on the country-rocker, "Morning Train". On songs such as these, her energy is abetted by her producer, Don Gehman (John Mellencamp, REM, Tracy Chapman) and by three of Buddy Holly's Crickets--guitarist Sonny Curtis, drummer Jerry Allison and bassist Joe Mauldin--who play on half of the album's songs. <i>--Geoffrey Himes </i>

Genere: Country

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Trama: Once Nanci Griffith moved away from "folkabilly" in favor of an uptown middle-of-the-road sound, her albums often took on a self-important archness that detoured their journey from her heart to ours. The fact that she titled this one after a Carson McCullers novel telegraphs bad omens until you remember that many of her best, early records also honored her literary heroes. <I>Clock Without Hands</I>, her first album of mostly original material since 1997, turns out to be an elegant and gratifying surprise. While the production is a bit too pristine and dry, and Griffith's sometimes irritating delivery goes over the top on "Shaking Out the Snow," the album is a thoughtful and effective meditation on the awakening and thawing of a heart grown cold. With two songs meant for a seriously ill parent and three set in Vietnam--one a deeply felt tribute to ex-husband Eric Taylor, whose life was forever changed there--Griffith seems to be making amends, healing old wounds, and finding the strength to move on. This is a beautifully wrought record about the mysteries of love, longing laid bare, and the importance of living in the moment. It may be the most honest album of Griffith's career; certainly it's one of her most enjoyable. <I>--Alanna Nash</I>

Genere: Country

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Trama: Nanci Griffith has worn her success well. Along with Lyle Lovett, she has sold the most records of any Texas singer/songwriter, and she has done so on her own terms. <I>Flyer</I> is a jaunty, sometimes driving collection of original songs exploring the politics of the heart and featuring a number of effective guest artists, most notably members of the Counting Crows, Dire Straits, and even R.E.M. But <I>Flyer</I> remains central to her growing body of work for the songs, some of Griffith's most poetic and concise, moving at once beyond a purely Texas folk style and into folk-rock, and yet staying true to her narrative gifts. <I>--Roy Kasten</I>

Genere: Country

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Trama: The album cover shows Nanci Griffith standing outside a Woolworth's, holding a book of poetry--a recurring motif in her album art--while lovers dance behind her. That combination of the most quotidian, small-town details and the most committed but rarely pretentious poetic ambition is the key to Griffith's art. Her fourth and final album for Philo, a quiet masterpiece of the Texas singer-songwriter's style, weaves together a spunky, newgrass sound (courtesy of Bela Fleck and Mark O'Connor) and songs of leaving home and leaving lovers. <I>--Roy Kasten</I>

Genere: Country

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Genere: Country

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Genere: Country

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Trama: During the '80s, Texas singer-songwriter Nanci Griffith graduated from modest folk celebrity to find herself signed to a major label and making thoughtful, better-heeled studio albums that were critical favorites but commercial anomalies in the country market where she was initially positioned. This 1993 project finds her returning to her roots, reunited with the producer behind his earlier folk triumphs, Jim Rooney. Taking its title from Truman Capote's first novel, <I>Other Voices, Other Rooms</I> is a gentle but whip-smart anthology of excellent songs from acknowledged masters (Bob Dylan, Tom Paxton, John Prine, Townes Van Zandt, Woody Guthrie, the Carter Family, the Weavers, Gordon Lightfoot) and lesser-known but hardly less-skilled writers including Kate Wolf, Frank Christian, and Vince Bell. Griffith's clear-eyed vocals and unswerving intelligence are well served by members of her own band, augmented by vocal cameos from a roomful of fellow folk veterans including Prine, Arlo Guthrie, the Indigo Girls, and John Gorka, among others. <I>--Sam Sutherland</I>

Genere: Country

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Trama: Some find the Texas thrush a bit precious. (Maybe it's the way she sings "When I woke up this mawwwwwnin'" on this album's "You Were on My Mind"). Still, the sequel to her popular <i>Other Voices, Other Rooms</i> provides an easy-to-take introduction to some classic folk songs and performers. The likes of Lucinda Williams, Richard Thompson, Jimmie Dale Gilmore, and John Prine add depth and range to the good-natured song swap. <i>--Steven Stolder</i>

Genere: Country

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Trama: Nanci Griffith's 1978 debut for Philo is certainly not as consistent as her mid 80s albums; however, it should not be overlooked by fans of introspective, personal story songs. "Alabama Soft Spoken Blues" may be her single most beautiful melody, with "Michael's Song" and "West Texas Sun" not far behind. There's an innocence and delicacy to Griffith's voice, and she's well-served by producer Mike Williams's acoustic colourings. These nine songs reveal Griffith's beginnings, point to where she would venture and satisfy through their luminous, lyrical grace. <I>--Roy Kasten</I>

Genere: Country

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Trama: On her first live collection in nearly a decade and a half, Texas country-folk queen Nanci Griffith and her longtime band, the Blue Moon Orchestra, bring renewed middle-aged gravitas and introspection to original back-catalog Griffith favorites like "I Wish It Would Rain," "Listen to the Radio," and "There's a Light Beyond These Woods." Griffith brings similar grace and authority to songs by others--John Prine's "Speed of the Sound of Loneliness," Townes Van Zandt's "White Freight Liner," and Dylan's "Boots of Spanish Leather"--that she's nearly made her own over the years. On various cuts she gets able assists from musical compatriots Emmylou Harris, Tom Russell, and Andrew Hardin. Though the four new songs (make that <I>eight</I> new songs if you fall for the clever marketing snag and shell out the extra dough for the concert DVD) don't immediately resonate with quite the same vitality as the aforementioned oldies, they'll no doubt grow on Griffith fans in years to come. <I>--Bob Allen</I>

Genere: Jazz

Durata: 42:00

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Genere: Folk

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Trama: Few records hit this hard. Guthrie's theme is the Great Depression's devastation, as visited on the land and people of America's heartland. Guthrie raises the talking blues form to a new level of realism and poetry, and he charges some of his strongest story songs ("Tom Joad" and "Pretty Boy Floyd") with a vividness songwriters like Springsteen and Dylan have chased ever since. Need to decide on one Guthrie album? This is it. --<I>Roy Francis Kasten</I>

Genere: Blues

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Genere: Blues

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Trama: Silvertone Records has done a smart job of resurrecting Buddy Guy's career. When the label signed the Chicago blues guitar master in 1990, the 54-year-old legend hadn't had an American release in nine years. Silvertone introduced him to a new audience by having him play duets with such rock-star admirers as Eric Clapton, Mark Knopfler, and Jeff Beck on the 1991 album, <I>Damn Right, I've Got the Blues</I>. In 1996 the label unleashed the hardcore Buddy Guy stretching out on vintage blues numbers in a live setting on <I>Live! The Real Deal</I>. The payoff is not only a terrific blues album but also an album built on the kind of financial foundation that will insure many more to come. <I>--Geoffrey Himes</I>

Genere: Blues

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