Slackeye Slim - El Santo Grial: La Pistola Piadosa

http://www.slackeyeslim.com

http://www.myspace.com/slackeyeslim





Origine du Groupe : North America

Style : Alternative Rock , Psychedelic Country , Folk

Sortie : 2011



By Adam Sheets from http://www.cdbaby.com



Imagine for a moment that instead of becoming a visionary film director, Sergio Leone had chosen to be a record producer. Imagine that all of the vast, meticulously detailed landscapes painted
within the frames of his films were constrained to your mind's eye as you heard only the sounds and the vision of a great artist. Imagine that the music he produced told an epic, violent, but
ultimately human saga of a mythic West that never really existed anywhere, not even in Hollywood. A West stuck somewhere between hard, brutal realism and blatant fantasy, between the costly
mistakes of our past and our apocalyptic future. And while you're at it, imagine that Ennio Morricone wanted to be Link Wray when he grew up.



That's what Wisconsin artist Slackeye Slim's sophomore album El Santo Grial: La Pistola Piadosa sounds like. A concept album about a gun, this was recorded at junkyards and museums throughout the
state of Montana and it represents one of the most visionary, unique, and just plain badass albums to be released in years and it hardly comes as a surprise that Farmageddon Records, this
generation's premier country-punk-roots-rock label, is behind it.



Opening with the spoken word "No One Knows My Name," band leader Joe Frankland sets the tone as one of freedom from the rules and constraints of a dying, corrupt society, but slavery to the dark
side of your own mind and to the tortured thoughts of loneliness. This is a theme throughout the rest of the album- and in Leone's films for that matter. In a sense, this album is reminiscent of
The Wall thematically and while the storyteller here is winning all of his outward battles, he is losing the battle within himself.



On the next track, the brief "Come One! Come All!" Slackeye Slim invites us to "listen to a tale of a gun that came from Heaven." Following this, on "Introducing Drake Savage," we get a
full-fledged lo-fi psychobilly number with plenty of distortion, Duane Eddy-like twang, and semi-supernatural lyrics about "The Chosen One." (I'm not sure if it means anything, but Drake Savage
was also the name of an insane Vietnam veteran portrayed by Gary Busey in the 1996 Chris Farley comedy Black Sheep.)



For the remainder of the album, Slackeye Slim delivers a series of rockers and ballads rooted in guys like Tom Waits, Johnny Cash, Nick Cave, Leonard Cohen and The Cramps alongside melancholy
spoken word vignettes and although there are definite highlights (such as "Vengeance Gonna Be My Name"), this is music that is best appreciated in the context of the record.



Like the best concept albums, El Santo Grial: La Pistola Piadosa offers no definite answers, just more hints laid on top of deepening caverns of doom, destruction, and death. This record has
something important to say about our music, our society, our lives, and our myths. In the end, I think that 20 or 30 years from now critics will look back and see this album, like Honky Tonk
Heroes and Fervor before it, as one of roots music's defining moments; when the metal and punk kids who grew up despising country music until they heard Johnny or Hank or Waylon perfected the
recipe that had been brewing for a decade and finally brought it all together in a seamless blend of traditions old and new, original innovations, and, most importantly, undeniable talent. This
is an album as fierce as it is literate, as punk as it is country, and as good as anything I've heard in years.





Tracklist :

01. No One Knows My Name

02. Come One! Come All!

03. Introducing Drake Savage

04. The Chosen One (Part I)

05. Prayer

06. Vengeance Gonna Be My Name

07. El Mundo, Mi Enimigo

08. El Santo Grial: La Pistola Piadosa

09. The Chosen One (Part II)

10. Judgment Day

11. Make It Right

12. Tomorrow Morning's Gonna Come

13. The Chosen One (Part III)

14. A Song Called Love

Slackeye Slim - El Santo Grial: La Pistola Piadosa

http://www.slackeyeslim.com

http://www.myspace.com/slackeyeslim





Origine du Groupe : North America

Style : Alternative Rock , Psychedelic Country , Folk

Sortie : 2011



By Adam Sheets from http://www.cdbaby.com



Imagine for a moment that instead of becoming a visionary film director, Sergio Leone had chosen to be a record producer. Imagine that all of the vast, meticulously detailed landscapes painted
within the frames of his films were constrained to your mind's eye as you heard only the sounds and the vision of a great artist. Imagine that the music he produced told an epic, violent, but
ultimately human saga of a mythic West that never really existed anywhere, not even in Hollywood. A West stuck somewhere between hard, brutal realism and blatant fantasy, between the costly
mistakes of our past and our apocalyptic future. And while you're at it, imagine that Ennio Morricone wanted to be Link Wray when he grew up.



That's what Wisconsin artist Slackeye Slim's sophomore album El Santo Grial: La Pistola Piadosa sounds like. A concept album about a gun, this was recorded at junkyards and museums throughout the
state of Montana and it represents one of the most visionary, unique, and just plain badass albums to be released in years and it hardly comes as a surprise that Farmageddon Records, this
generation's premier country-punk-roots-rock label, is behind it.



Opening with the spoken word "No One Knows My Name," band leader Joe Frankland sets the tone as one of freedom from the rules and constraints of a dying, corrupt society, but slavery to the dark
side of your own mind and to the tortured thoughts of loneliness. This is a theme throughout the rest of the album- and in Leone's films for that matter. In a sense, this album is reminiscent of
The Wall thematically and while the storyteller here is winning all of his outward battles, he is losing the battle within himself.



On the next track, the brief "Come One! Come All!" Slackeye Slim invites us to "listen to a tale of a gun that came from Heaven." Following this, on "Introducing Drake Savage," we get a
full-fledged lo-fi psychobilly number with plenty of distortion, Duane Eddy-like twang, and semi-supernatural lyrics about "The Chosen One." (I'm not sure if it means anything, but Drake Savage
was also the name of an insane Vietnam veteran portrayed by Gary Busey in the 1996 Chris Farley comedy Black Sheep.)



For the remainder of the album, Slackeye Slim delivers a series of rockers and ballads rooted in guys like Tom Waits, Johnny Cash, Nick Cave, Leonard Cohen and The Cramps alongside melancholy
spoken word vignettes and although there are definite highlights (such as "Vengeance Gonna Be My Name"), this is music that is best appreciated in the context of the record.



Like the best concept albums, El Santo Grial: La Pistola Piadosa offers no definite answers, just more hints laid on top of deepening caverns of doom, destruction, and death. This record has
something important to say about our music, our society, our lives, and our myths. In the end, I think that 20 or 30 years from now critics will look back and see this album, like Honky Tonk
Heroes and Fervor before it, as one of roots music's defining moments; when the metal and punk kids who grew up despising country music until they heard Johnny or Hank or Waylon perfected the
recipe that had been brewing for a decade and finally brought it all together in a seamless blend of traditions old and new, original innovations, and, most importantly, undeniable talent. This
is an album as fierce as it is literate, as punk as it is country, and as good as anything I've heard in years.





Tracklist :

01. No One Knows My Name

02. Come One! Come All!

03. Introducing Drake Savage

04. The Chosen One (Part I)

05. Prayer

06. Vengeance Gonna Be My Name

07. El Mundo, Mi Enimigo

08. El Santo Grial: La Pistola Piadosa

09. The Chosen One (Part II)

10. Judgment Day

11. Make It Right

12. Tomorrow Morning's Gonna Come

13. The Chosen One (Part III)

14. A Song Called Love

Fred Mcdowell - The Alan Lomax Recordings

https://en.wikipedia.org/wiki/Mississippi_Fred_McDowell

https://en.wikipedia.org/wiki/Alan_Lomax





Origine du Groupe : North America

Style : Blues , Country

Sortie : 2011



By Amanda Petrusich from http://pitchfork.com

In September 1959, Fred McDowell-- an overalls-wearing, stoop-shouldered, Panola County cotton farmer-- picked up an old acoustic guitar and wandered over to his neighbor Lonnie Young's house.
Word had spread that the folklorist Alan Lomax (traveling with the English singer Shirley Collins and a 26-pound, two-track reel-to-reel tape machine) was hunting local artists to record for
Atlantic Records. McDowell, who was born around 1904 in Rossville, Tennessee, had grown up imitating the still-nascent sound of the Delta blues, using an old pocketknife (and then a whittled-down
bovine rib bone, and finally the squat neck of a Gibson's gin bottle) as a rudimentary slide. By the time McDowell, then 55, cornered Lomax on Young's porch, his scope (and his skill) had
broadened, and the sound he made-- a mesmerizing, groove-based blues that both nodded to and defied his Delta predecessors-- instantly captivated Lomax, and eventually the world.



Fred McDowell: The Alan Lomax Recordings (available as a download through Global Jukebox, the Alan Lomax Archive's digital imprint, and on LP via Mississippi Records) opens with Bukka White's
"Shake 'Em on Down", a song that McDowell appears to enjoy playing more than he enjoys breathing or eating or maybe doing anything else at all.  Following Lomax's prompt-- "1, 2, 3, go," he
commands in his high, nasal voice-- McDowell locks into a heavy, propulsive groove, while his sister, Fanny Davis, blows into a homemade kazoo that Lomax, in The Land Where the Blues Began,
described as "a fine-toothed comb wrapped in toilet paper" (it sure is loud). "Shake 'Em on Down" is a bracing introduction to the cadence of North Mississippi Hill Country blues: McDowell's
guitar is disorienting and relentless, so rhythmic and mind-bending that if you were to, say, listen to it while driving down a dark road in the rain, you'd likely veer off into a ditch (and then
feel relieved). Davis' kazooing-- itself vaguely lawless-- provides a welcome counterpoint (it's like staring at a fixed point on the horizon while trying not to vomit over the side of a boat),
while Miles Pratcher (of the excellent local square dance band the Pratcher Brothers) assaults a second guitar. The result is mystifying and spectacular.



McDowell's rendition of "Good Morning Little Schoolgirl" (a deeply fucked-up-- if not particularly uncommon-- ode to little girls, made famous, first, by Sonny Boy Williamson, and then again by
the Grateful Dead) is more of a showcase for his nimble guitar work than any rogue sexual proclivities. McDowell's muted delivery of the lyrics ("Good mornin' 'lil school girl/ Can I go home, can
I go home with you?/ Tell your mama and your papa/ Lord, I'm a little school boy, too") is merciful; he's politely disinterested, if not fully disengaged. McDowell reserves his howls of longing
for slightly less uncouth fare, like "Worried Mind Blues", an unrequited love song he imbues with legitimate anguish ("You make me weak and you make me moan," he groans, sounding broken). Mostly,
though, the rhythm is the thing: With his twangy, piercing strums, McDowell establishes himself as a singular player, infinitely more interested in the transcendental than the germane. Somehow,
he manages to make the acoustic guitar-- that purveyor of sweet lullabies!-- sound menacing, not familiar.



After McDowell was featured on one of Lomax's Sounds of the South compilations, he enjoyed considerable acclaim outside of north Mississippi (the timing was right with the folk revival of the
1960s gathering steam) and more than a dozen solo LPs, although none approaches the looseness of his first session for Lomax. In 1971, the Rolling Stones covered McDowell's "You Got to Move" for
Sticky Fingers; it's a sluggish and deliberate rendition, and Jagger's approximation of McDowell's worn, scratchy voice feels both flat and affected. A year later, McDowell died of stomach
cancer; his body, swaddled in a silver lamé suit (a gift from the Stones), is buried at the Hammond Hill Baptist Church, near Como, Miss. Supposedly, Bonnie Raitt-- a guitar student of
McDowell's-- paid for a new headstone after the original misspelled his name.



It's awfully easy to approach archival releases-- and field recordings, especially-- with a detached reverence, at least in part because they were rendered spontaneously on front porches and in
backyards, miles from the formal, self-conscious fussing of the recording studio. Consequently, any and all fidelity issues tend to be heard as sepia-toned, "atmospheric" snafus (oh, crickets!);
judgment is clouded by access, and we feel lucky-- embarrassed, even-- to be privy to these odd little moments at all. Accordingly, what's most remarkable about The Alan Lomax Recordings is its
spectacular re-mastering job (per the Portland-based engineer Timothy Stollenwerk); now, it's possible to divorce these songs from their contexts long enough to be properly flabbergasted by
McDowell's hypnotic, eager performance (although, should you get curious, the collection is also beautifully annotated by Arhoolie Records' Adam Machado and the Lomax Archive's Nathan Salsburg).
None of these tracks was previously unreleased (all have appeared, in one form or another, on various compilations, many long out of print), but The Alan Lomax Recordings still feels revelatory--
and for his part, McDowell still sounds spectacularly alive.





Tracklist :

01. Shake 'em On Down (2:45)

02. Good Morning Little Schoolgirl (2:58)

03. Keep Your Lamps Trimmed And Burning (3:11)

04. Fred McDowell's Blues (4:14)

05. Woke Up This Morning With My Mind On Jesus (3:18)

06. Drop Down Mama (2:53)

07. Going Down To The River (5:04)

08. Wished I Was In Heaven Sitting Down (2:11)

09. When The Train Comes Along (2:52)

10. When You Get Home Please Write Me A Few Of Your Lines (3:25)

11. Worried Mind Blues (3:36)

12. Keep Your Lamps Trimmed And Burning (Instrumental Reprise) (0:34)

Fred Mcdowell - The Alan Lomax Recordings

https://en.wikipedia.org/wiki/Mississippi_Fred_McDowell

https://en.wikipedia.org/wiki/Alan_Lomax





Origine du Groupe : North America

Style : Blues , Country

Sortie : 2011



By Amanda Petrusich from http://pitchfork.com

In September 1959, Fred McDowell-- an overalls-wearing, stoop-shouldered, Panola County cotton farmer-- picked up an old acoustic guitar and wandered over to his neighbor Lonnie Young's house.
Word had spread that the folklorist Alan Lomax (traveling with the English singer Shirley Collins and a 26-pound, two-track reel-to-reel tape machine) was hunting local artists to record for
Atlantic Records. McDowell, who was born around 1904 in Rossville, Tennessee, had grown up imitating the still-nascent sound of the Delta blues, using an old pocketknife (and then a whittled-down
bovine rib bone, and finally the squat neck of a Gibson's gin bottle) as a rudimentary slide. By the time McDowell, then 55, cornered Lomax on Young's porch, his scope (and his skill) had
broadened, and the sound he made-- a mesmerizing, groove-based blues that both nodded to and defied his Delta predecessors-- instantly captivated Lomax, and eventually the world.



Fred McDowell: The Alan Lomax Recordings (available as a download through Global Jukebox, the Alan Lomax Archive's digital imprint, and on LP via Mississippi Records) opens with Bukka White's
"Shake 'Em on Down", a song that McDowell appears to enjoy playing more than he enjoys breathing or eating or maybe doing anything else at all.  Following Lomax's prompt-- "1, 2, 3, go," he
commands in his high, nasal voice-- McDowell locks into a heavy, propulsive groove, while his sister, Fanny Davis, blows into a homemade kazoo that Lomax, in The Land Where the Blues Began,
described as "a fine-toothed comb wrapped in toilet paper" (it sure is loud). "Shake 'Em on Down" is a bracing introduction to the cadence of North Mississippi Hill Country blues: McDowell's
guitar is disorienting and relentless, so rhythmic and mind-bending that if you were to, say, listen to it while driving down a dark road in the rain, you'd likely veer off into a ditch (and then
feel relieved). Davis' kazooing-- itself vaguely lawless-- provides a welcome counterpoint (it's like staring at a fixed point on the horizon while trying not to vomit over the side of a boat),
while Miles Pratcher (of the excellent local square dance band the Pratcher Brothers) assaults a second guitar. The result is mystifying and spectacular.



McDowell's rendition of "Good Morning Little Schoolgirl" (a deeply fucked-up-- if not particularly uncommon-- ode to little girls, made famous, first, by Sonny Boy Williamson, and then again by
the Grateful Dead) is more of a showcase for his nimble guitar work than any rogue sexual proclivities. McDowell's muted delivery of the lyrics ("Good mornin' 'lil school girl/ Can I go home, can
I go home with you?/ Tell your mama and your papa/ Lord, I'm a little school boy, too") is merciful; he's politely disinterested, if not fully disengaged. McDowell reserves his howls of longing
for slightly less uncouth fare, like "Worried Mind Blues", an unrequited love song he imbues with legitimate anguish ("You make me weak and you make me moan," he groans, sounding broken). Mostly,
though, the rhythm is the thing: With his twangy, piercing strums, McDowell establishes himself as a singular player, infinitely more interested in the transcendental than the germane. Somehow,
he manages to make the acoustic guitar-- that purveyor of sweet lullabies!-- sound menacing, not familiar.



After McDowell was featured on one of Lomax's Sounds of the South compilations, he enjoyed considerable acclaim outside of north Mississippi (the timing was right with the folk revival of the
1960s gathering steam) and more than a dozen solo LPs, although none approaches the looseness of his first session for Lomax. In 1971, the Rolling Stones covered McDowell's "You Got to Move" for
Sticky Fingers; it's a sluggish and deliberate rendition, and Jagger's approximation of McDowell's worn, scratchy voice feels both flat and affected. A year later, McDowell died of stomach
cancer; his body, swaddled in a silver lamé suit (a gift from the Stones), is buried at the Hammond Hill Baptist Church, near Como, Miss. Supposedly, Bonnie Raitt-- a guitar student of
McDowell's-- paid for a new headstone after the original misspelled his name.



It's awfully easy to approach archival releases-- and field recordings, especially-- with a detached reverence, at least in part because they were rendered spontaneously on front porches and in
backyards, miles from the formal, self-conscious fussing of the recording studio. Consequently, any and all fidelity issues tend to be heard as sepia-toned, "atmospheric" snafus (oh, crickets!);
judgment is clouded by access, and we feel lucky-- embarrassed, even-- to be privy to these odd little moments at all. Accordingly, what's most remarkable about The Alan Lomax Recordings is its
spectacular re-mastering job (per the Portland-based engineer Timothy Stollenwerk); now, it's possible to divorce these songs from their contexts long enough to be properly flabbergasted by
McDowell's hypnotic, eager performance (although, should you get curious, the collection is also beautifully annotated by Arhoolie Records' Adam Machado and the Lomax Archive's Nathan Salsburg).
None of these tracks was previously unreleased (all have appeared, in one form or another, on various compilations, many long out of print), but The Alan Lomax Recordings still feels revelatory--
and for his part, McDowell still sounds spectacularly alive.





Tracklist :

01. Shake 'em On Down (2:45)

02. Good Morning Little Schoolgirl (2:58)

03. Keep Your Lamps Trimmed And Burning (3:11)

04. Fred McDowell's Blues (4:14)

05. Woke Up This Morning With My Mind On Jesus (3:18)

06. Drop Down Mama (2:53)

07. Going Down To The River (5:04)

08. Wished I Was In Heaven Sitting Down (2:11)

09. When The Train Comes Along (2:52)

10. When You Get Home Please Write Me A Few Of Your Lines (3:25)

11. Worried Mind Blues (3:36)

12. Keep Your Lamps Trimmed And Burning (Instrumental Reprise) (0:34)

David Grissom - Loud Music

http://davidgrissom.com

http://www.myspace.com/davidgrissommusic

Origine du Groupe : North America

Style : Blues Rock , Folk , Country

Sortie : 2007

From http://www.cdbaby.com


David Grissom is a Texas based Guitar Player and Songwriter who has toured and recorded with artists such as Storyville, Joe Ely, John Mellencamp, the Allman Brothers Band, and the
Dixie Chicks. His songs have been recorded by John Mayall, Trisha Yearwood, Webb Wilder, Lee Ann Womack and others. After playing on hundreds of records for other artists, his first solo CD "Loud
Music" will be released in June 2007.

Tracklist :
01 - Lonesome Dove

02 - Loud Music

03 - Wide Lode

04 - Hi-tex

05 - Sake and Venom

06 - Nothin Makes a Man Go Crazy

07 - Whiskey Cryin

08 - Boots Like To Boogie

09 - Lucy G

10 - Mister Quincey

11 - Midnight Drive
10. A Riot Of Emotion

David Grissom - Loud Music

http://davidgrissom.com

http://www.myspace.com/davidgrissommusic

Origine du Groupe : North America

Style : Blues Rock , Folk , Country

Sortie : 2007

From http://www.cdbaby.com


David Grissom is a Texas based Guitar Player and Songwriter who has toured and recorded with artists such as Storyville, Joe Ely, John Mellencamp, the Allman Brothers Band, and the
Dixie Chicks. His songs have been recorded by John Mayall, Trisha Yearwood, Webb Wilder, Lee Ann Womack and others. After playing on hundreds of records for other artists, his first solo CD "Loud
Music" will be released in June 2007.

Tracklist :
01 - Lonesome Dove

02 - Loud Music

03 - Wide Lode

04 - Hi-tex

05 - Sake and Venom

06 - Nothin Makes a Man Go Crazy

07 - Whiskey Cryin

08 - Boots Like To Boogie

09 - Lucy G

10 - Mister Quincey

11 - Midnight Drive
10. A Riot Of Emotion

CW Stoneking - Jungle Blues

http://cwstoneking.com

http://www.myspace.com/cwstoneking

Origine du Groupe : Australia

Style : Blues , Country , Folk , Jazz

Sortie : 2008

Jungle Blues (2008) est un album à la croisée des chemins entre blues, jazz et jungle music. Un disque contemporain qui semble provenir d’un autre temps, signé par C.W. Stoneking, un artiste
talentueux et réellement original.



Accompagné de son banjo et parfois de quelques cuivres, C.W. Stoneking chante du blues à l’ancienne, du blues originel comme on en entend parfois en illustration sonore dans des documentaires sur
la ségrégation aux États-Unis. Sur cet album, C.W. Stoneking aborde aussi la jungle music, musique exotique en vogue avant guerre et qui n’a bien sûr rien à voir avec le dérivé de techno qui
porte la même appellation.



On est d’abord surpris par cette musique aux sonorités très rétro puis, une fois la surprise passée, on est séduit par cette atmosphère, souvent festive, et par la voix de vieux chanteur noir
américain de ce trentenaire blanc australien. Les plus belles réussites de cet album sont sans doute « Jungle Lullaby », « Brave Son Of America » et « The Love Me Or Die » mais il est difficile
de détacher des chansons de cet album très cohérent, inspiré par un naufrage au large des cotes africaines. On ressent aussi un certain plaisir intellectuel à l’écoute de ce disque unique qui ne
ressemble à rien de ce que l’on entend habituellement. L’envie est donc grande de faire découvrir cet artiste à ses amis ce qui fait de Jungle Blues le cadeau idéal.



Rédacteur en chef : Boris Plantier

powered by webzinemaker

Tracklist :   

1 - Jungle Blues

2 - Talkin’ Lion Blues

3 - Jungle Lullaby

4 - Brave Son Of America

5 - Jailhouse Blues

6 - Housebound Blues

7 - I Heard The Marchin Of The Drum

8 - The Love Me Or Die

9 - Early In The Mornin

10 - The Greatest Liar

 

CW Stoneking - Jungle Blues

http://cwstoneking.com

http://www.myspace.com/cwstoneking

Origine du Groupe : Australia

Style : Blues , Country , Folk , Jazz

Sortie : 2008

Jungle Blues (2008) est un album à la croisée des chemins entre blues, jazz et jungle music. Un disque contemporain qui semble provenir d’un autre temps, signé par C.W. Stoneking, un artiste
talentueux et réellement original.



Accompagné de son banjo et parfois de quelques cuivres, C.W. Stoneking chante du blues à l’ancienne, du blues originel comme on en entend parfois en illustration sonore dans des documentaires sur
la ségrégation aux États-Unis. Sur cet album, C.W. Stoneking aborde aussi la jungle music, musique exotique en vogue avant guerre et qui n’a bien sûr rien à voir avec le dérivé de techno qui
porte la même appellation.



On est d’abord surpris par cette musique aux sonorités très rétro puis, une fois la surprise passée, on est séduit par cette atmosphère, souvent festive, et par la voix de vieux chanteur noir
américain de ce trentenaire blanc australien. Les plus belles réussites de cet album sont sans doute « Jungle Lullaby », « Brave Son Of America » et « The Love Me Or Die » mais il est difficile
de détacher des chansons de cet album très cohérent, inspiré par un naufrage au large des cotes africaines. On ressent aussi un certain plaisir intellectuel à l’écoute de ce disque unique qui ne
ressemble à rien de ce que l’on entend habituellement. L’envie est donc grande de faire découvrir cet artiste à ses amis ce qui fait de Jungle Blues le cadeau idéal.



Rédacteur en chef : Boris Plantier

powered by webzinemaker

Tracklist :   

1 - Jungle Blues

2 - Talkin’ Lion Blues

3 - Jungle Lullaby

4 - Brave Son Of America

5 - Jailhouse Blues

6 - Housebound Blues

7 - I Heard The Marchin Of The Drum

8 - The Love Me Or Die

9 - Early In The Mornin

10 - The Greatest Liar

 

V.A - Introducing Townes Van Zandt Via the Great Unknown

http://www.myspace.com/thetownesvanzandtproject

Origine du Groupe : V.A

Style : Country/Alt-Country & Americana, Country/General, Folk/General

Sortie : 2009

The ideas simple, get a eclectic bunch of unknown (mostly) indie artists together and record an album of Townes van Zandt songs, we’ve already had one van Zandt tribute recording this year from
the great Earle senior, which I blogged about back in March.



Do we need another one ? Absolutely and this one is coming at it from a different angle, does it work – in a word yes. Why? Well the power of Townes writing tends to transcend most music and in
this instance the covers are not half bad either.



The packaging for the CD is great too, the accompanying booklet giving plenty of information on the unknowns encouraging the buyer to go do some research, unknown of course is a relative term and
there are of course some recognisable artists on the CD, here’s the full tracklist.



by simon2307

permalink



Tracklist :

1 Lessons In Time (AU) – At My Window

2 Thomas Denver Jonsson (SWE) – To Live Is To Fly

3 Loophole & Ciaran Kirby (IRL) – Lungs

4 Great Lake Swimmers (CAN) – Our Mother The Mountain

5 Fort King & My Hawaii (US) – Loretta

6 Christina Kulukundis (UK/US) – If I Needed You

7 J. Tillman (US) – My Proud Mountains

8 Gustav Haggren (SWE) – Fare Thee Well, Miss Carousel

9 Kevin Tihista (US) – Still Looking For You

10 Kate Maki (CAN) – I’ll Be Here In The Morning

11 Anders Parker (US) – No Place To Fall

12 Telafonica (AU) – St. John The Gambler

13 Nick Jones (US) – Don’t Take It To Bad

14 The Wheel (US) – She Came And She Touched Me

15 Stephen Duffy & The Lilac Time (UK) – Pancho And Lefty

16 Pacific Ocean Fire (UK) – You Are Not Needed Now

17 Chris Mills (US) – Tecumseh Valley

18 The Be Good Tanyas (CAN) – Waiting Around To Die

19 Jad Fair (US) – Turnstyled, Junkpiled

V.A - Introducing Townes Van Zandt Via the Great Unknown

http://www.myspace.com/thetownesvanzandtproject

Origine du Groupe : V.A

Style : Country/Alt-Country & Americana, Country/General, Folk/General

Sortie : 2009

The ideas simple, get a eclectic bunch of unknown (mostly) indie artists together and record an album of Townes van Zandt songs, we’ve already had one van Zandt tribute recording this year from
the great Earle senior, which I blogged about back in March.



Do we need another one ? Absolutely and this one is coming at it from a different angle, does it work – in a word yes. Why? Well the power of Townes writing tends to transcend most music and in
this instance the covers are not half bad either.



The packaging for the CD is great too, the accompanying booklet giving plenty of information on the unknowns encouraging the buyer to go do some research, unknown of course is a relative term and
there are of course some recognisable artists on the CD, here’s the full tracklist.



by simon2307

permalink



Tracklist :

1 Lessons In Time (AU) – At My Window

2 Thomas Denver Jonsson (SWE) – To Live Is To Fly

3 Loophole & Ciaran Kirby (IRL) – Lungs

4 Great Lake Swimmers (CAN) – Our Mother The Mountain

5 Fort King & My Hawaii (US) – Loretta

6 Christina Kulukundis (UK/US) – If I Needed You

7 J. Tillman (US) – My Proud Mountains

8 Gustav Haggren (SWE) – Fare Thee Well, Miss Carousel

9 Kevin Tihista (US) – Still Looking For You

10 Kate Maki (CAN) – I’ll Be Here In The Morning

11 Anders Parker (US) – No Place To Fall

12 Telafonica (AU) – St. John The Gambler

13 Nick Jones (US) – Don’t Take It To Bad

14 The Wheel (US) – She Came And She Touched Me

15 Stephen Duffy & The Lilac Time (UK) – Pancho And Lefty

16 Pacific Ocean Fire (UK) – You Are Not Needed Now

17 Chris Mills (US) – Tecumseh Valley

18 The Be Good Tanyas (CAN) – Waiting Around To Die

19 Jad Fair (US) – Turnstyled, Junkpiled

Avalon Blues - A Tribute To The Music Of Mississippi John Hurt

http://fr.wikipedia.org/wiki/Mississippi_John_Hurt

Origine du Groupe : V.A

Style : Blues , Folk , Country , Alternative Rock

Sortie : 2001

Avalon Blues est un album hommage à la musique de Mississippi John Hurt, le célèbre bluesman.

Ben Harper y interprète Sliding Delta à la guitare. Pour lui, sans Mississippi John Hurt, il n'aura jamais fait de musique, son influence est très importante chez Ben Harper.

Dans cet album on peut retrouver également Taj Mahal ou encore Beck.



par Les collaborations

permalink

Mississippi John Hurt - Lonesome Valley

envoyé par soulpatrol. 

Tracklist :

1. Frankie &  Albert - Chirs Smither

2. Avalon, My Home Town - Bruce Cockburn

3. Angels Laid Him Away - Lucinda Williams

4. Here Am I, Oh Lord, Send Me - Alvin Youngblood Hart

5. Candy Man - Steve & Justin Earle

6. Monday Morning Blues - Peter Case & Dave Alvin

7. Sliding Delta - Ben Harper

8. Chicken - Geoff Muldaur (with Jenni & Claire Muldaur)

9. Make Me A Pallet On Your Floor - Mark Selby

10. Stagolee - Beck

11. Since I've Laid My Burden Down - Victoria Williams

12. Pay Day - Bill Morrissey

13. My Creole Belle - Taj Mahal

14. Beulah Land - Gillian Welch

15. I'm Satisfied - John Hiatt

 

Avalon Blues - A Tribute To The Music Of Mississippi John Hurt

http://fr.wikipedia.org/wiki/Mississippi_John_Hurt

Origine du Groupe : V.A

Style : Blues , Folk , Country , Alternative Rock

Sortie : 2001

Avalon Blues est un album hommage à la musique de Mississippi John Hurt, le célèbre bluesman.

Ben Harper y interprète Sliding Delta à la guitare. Pour lui, sans Mississippi John Hurt, il n'aura jamais fait de musique, son influence est très importante chez Ben Harper.

Dans cet album on peut retrouver également Taj Mahal ou encore Beck.



par Les collaborations

permalink

Mississippi John Hurt - Lonesome Valley

envoyé par soulpatrol. 

Tracklist :

1. Frankie &  Albert - Chirs Smither

2. Avalon, My Home Town - Bruce Cockburn

3. Angels Laid Him Away - Lucinda Williams

4. Here Am I, Oh Lord, Send Me - Alvin Youngblood Hart

5. Candy Man - Steve & Justin Earle

6. Monday Morning Blues - Peter Case & Dave Alvin

7. Sliding Delta - Ben Harper

8. Chicken - Geoff Muldaur (with Jenni & Claire Muldaur)

9. Make Me A Pallet On Your Floor - Mark Selby

10. Stagolee - Beck

11. Since I've Laid My Burden Down - Victoria Williams

12. Pay Day - Bill Morrissey

13. My Creole Belle - Taj Mahal

14. Beulah Land - Gillian Welch

15. I'm Satisfied - John Hiatt

 

Holly Golightly & The Brokeoffs - Dirt Don't Hurt

http://hollygolightly.com

http://www.myspace.com/hollygolightlyandthebrokeoffs

Origine du Groupe : U.K

Style : Folk , Country , Blues

Sortie : 2008

Holly Golightly has enough experience not to draw from it. She released her first solo album in 1995, after spending a few years in Thee Headcoatees; since then, she has kept up a steady pace of
new material, at least one of these per year: singles comps, odd and ends packages, live shows, and (oh yeah) traditional albums. That rate of production often seems crucial to the palatability
of her new old-timey music, preventing her from overthinking her songs or her performances while keeping everything loose and tossed off. As a result, she sounds a lot less manicured and a lot
more convincing than upstarts like Langhorne Slim or Scott H. Biram.



In fact, writing on her web site, she sounds almost apologetic explaining that it took five days to record Dirt Don't Hurt, her second collaboration with the Brokeoffs. Their previous effort, You
Can't Buy a Gun When You're Crying (which, you have to admit, is useful advice), was wrapped up in four days. And while she does admit "it may seem a little over-produced to some!" Golightly
hasn't gone all Dave Fridmann on us: That extra day doesn't ruin the antique luster of her songs, but just focuses the collection considerably. It's still a heartily ramshackle affair, with pots
and pans for percussion, rudimentary banjo picking, and what sound like first take on every track. The album's clattery rawness is its chief appeal.



Some explanation may be required: The Brokeoffs isn't a real backing band, as the pluralized name might suggest. Instead, it's just some dude named Lawyer Dave, who has been playing upright bass
for Golightly for about a decade now. He provides the clatter, even sings in a cough on menacing opener "Bottom Below". Their sandpaper and satin voices blend nicely on the country lament "Up Off
the Floor" and they imbue "Indeed You Do" and "Slow Road" with a folksy eeriness that lurches and claws at the recriminating lyrics. The slapdash "Gettin' High for Jesus" puts the pot in
pots-and-pans. A Holly/Lawyer original, it could be a cover of some late-60s hippie novelty hit by, say, Country Joe & the Fish.



At times Dirt Don't Hurt gets away from them: The clamor becomes grating (the demonstrative metal smacks that kick off ("Three Times Under"), the murder-and-mayhem storytelling sounds like
dress-up ("My 45"), and the duo risk the sort of preciousness that sinks some of their sepia-toned peers (the clucks and bocks on "Cluck Old Hen"). But more often than not, they make virtues of
these shortcomings, as on the closer "I Wanna Hug Ya, Kiss Ya, Squeeze Ya". This Claudia Swann cover ought to sound unbearably saccharine, but thanks to the rumbling electric guitar and Holly and
Lawyer's Mickey & Sylvia vocal trade-offs, it's the album's highlight-- the reconciliation after all the bickering-- underscoring how well the duo play old songs as if they wrote them and
write new songs that sound decades old.



by Stephen M. Deusner

permalink

Tracklist :

01.Bottom Below

02.Up Off The Floor

03.Burn Your Fun

04.Slow Road

05.My .45

06.Cluck Old Hen

07.Indeed You Do

08.Gettin' High For Jesus

09.Three Times Under

10.Accuse Me

11.Boat's Up The River

12.For All This

13.Cora

14.Hug You, Kiss You, Squeeze You

 

Holly Golightly & The Brokeoffs - Dirt Don't Hurt

http://hollygolightly.com

http://www.myspace.com/hollygolightlyandthebrokeoffs

Origine du Groupe : U.K

Style : Folk , Country , Blues

Sortie : 2008

Holly Golightly has enough experience not to draw from it. She released her first solo album in 1995, after spending a few years in Thee Headcoatees; since then, she has kept up a steady pace of
new material, at least one of these per year: singles comps, odd and ends packages, live shows, and (oh yeah) traditional albums. That rate of production often seems crucial to the palatability
of her new old-timey music, preventing her from overthinking her songs or her performances while keeping everything loose and tossed off. As a result, she sounds a lot less manicured and a lot
more convincing than upstarts like Langhorne Slim or Scott H. Biram.



In fact, writing on her web site, she sounds almost apologetic explaining that it took five days to record Dirt Don't Hurt, her second collaboration with the Brokeoffs. Their previous effort, You
Can't Buy a Gun When You're Crying (which, you have to admit, is useful advice), was wrapped up in four days. And while she does admit "it may seem a little over-produced to some!" Golightly
hasn't gone all Dave Fridmann on us: That extra day doesn't ruin the antique luster of her songs, but just focuses the collection considerably. It's still a heartily ramshackle affair, with pots
and pans for percussion, rudimentary banjo picking, and what sound like first take on every track. The album's clattery rawness is its chief appeal.



Some explanation may be required: The Brokeoffs isn't a real backing band, as the pluralized name might suggest. Instead, it's just some dude named Lawyer Dave, who has been playing upright bass
for Golightly for about a decade now. He provides the clatter, even sings in a cough on menacing opener "Bottom Below". Their sandpaper and satin voices blend nicely on the country lament "Up Off
the Floor" and they imbue "Indeed You Do" and "Slow Road" with a folksy eeriness that lurches and claws at the recriminating lyrics. The slapdash "Gettin' High for Jesus" puts the pot in
pots-and-pans. A Holly/Lawyer original, it could be a cover of some late-60s hippie novelty hit by, say, Country Joe & the Fish.



At times Dirt Don't Hurt gets away from them: The clamor becomes grating (the demonstrative metal smacks that kick off ("Three Times Under"), the murder-and-mayhem storytelling sounds like
dress-up ("My 45"), and the duo risk the sort of preciousness that sinks some of their sepia-toned peers (the clucks and bocks on "Cluck Old Hen"). But more often than not, they make virtues of
these shortcomings, as on the closer "I Wanna Hug Ya, Kiss Ya, Squeeze Ya". This Claudia Swann cover ought to sound unbearably saccharine, but thanks to the rumbling electric guitar and Holly and
Lawyer's Mickey & Sylvia vocal trade-offs, it's the album's highlight-- the reconciliation after all the bickering-- underscoring how well the duo play old songs as if they wrote them and
write new songs that sound decades old.



by Stephen M. Deusner

permalink

Tracklist :

01.Bottom Below

02.Up Off The Floor

03.Burn Your Fun

04.Slow Road

05.My .45

06.Cluck Old Hen

07.Indeed You Do

08.Gettin' High For Jesus

09.Three Times Under

10.Accuse Me

11.Boat's Up The River

12.For All This

13.Cora

14.Hug You, Kiss You, Squeeze You