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October 28, 2012
3018 - MARLEY'S GHOST - Ghost Town (2010) (By Request)
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MARLEY'S GHOST
''GHOST TOWN''
MARCH 2 2010
48:04
1. Travelin' Tear Drop Blues/4:21
2. Goodbye to Old Missoula/3:54
3. My Love Will Not Change/3:29
4. Love and Happiness for You/4:03
5. Poor Old Dirt Farmer/3:05
6. Should I Be Singing the Blues?/3:04
7. Got Leavin' on Her Mind/2:55
8. Here I Am in Love Again/2:47
9. She's Too Good for Me/3:06
10. Less and Less/2:59
11. Which Way Do We Go/3:19
12. Light in the Forest/4:55
13. Goin' Back to Bowling Green/feat. Cowboy Jack Clement/2:29
14. Don't We All Feel Like That/3:38
REVIEW
by j. poet
The quartet of multi-instrumentalists, singer/songwriters, and amateur folklorists known as Marley's Ghost got its start in the San Francisco Bay Area in the late '80s. They usually balance their repertoire between traditional tunes and originals written in a traditional manner, and are known for arrangements that can veer from folk-rock to reggae while dropping in plenty of gospel, blues, country, old-time music, bluegrass, Celtic, and the odd sea shanty along the way. They've been trying to get some national attention for their music for a long time, and although they've been a major draw at folk festivals for more than a decade, the average music fan has remained vaguely disinterested. Perhaps that's why they decided on a change of direction this time out. They've added a drummer to give the tunes a little more punch, and much of the album was recorded with Cowboy Jack Clement in Nashville with arrangements that stick close to country, albeit mostly acoustic country in a more roots music than Nashville style. "My Love Will Not Change," a Shawn Camp/Billy Burnette tune, is midway between a country two-step and a zydeco hoedown and includes some splendid pedal steel from Ed Littlefield, Jr. and sprightly fiddling from guest Hoot Hester. "Love and Happiness for You," an Emmylou Harris tune, has a laid-back Tex-Mex feel, with new member Jerry Fletcher's piano and sideman Jerry Mishkulin's accordion adding to the tune's melancholy feel. John Hartford's "Here I Am in Love Again" and Don Williams' "Which Way Do We Go" get straightforward country arrangements, the latter with a piano part that recalls Floyd Cramer's work on Hank Locklin's "Please Help Me I'm Falling." The band's originals are a bit more adventurous. Mike Phelan's "Should I Be Singing the Blues?" is midway between a '40s torch song and a mellow bit of Texas swing, while Dan Wheetman's "Don't We All Feel Like That" has a slight Latin tinge in its rhythm and brings to mind the southern Appalachian rhumba of Jesse Winchester. The Ghosts show off their usual multi-instrumental dexterity throughout, but it's possible that this change of direction may alienate old fans without necessarily bringing in any new country and Americana listeners.
BIOGRAPHY
by Erik Hage
Marley's Ghost is an eclectic unit steeped in everything from gospel to bluegrass to old-time to Celtic to country -- even reggae. The group originally came together in 1986 when Danny Wheetman was invited by his friend Ed Littlefield Jr. to work on a solo effort in Littlefield's studio in Arlington, WA. Jon Wilcox and Mike Phelan came up from California to help out. (The three had been playing together since St. Patrick's Day of that year.) While working on the solo effort, the three began recording the tracks for what would become the Marley's Ghost debut album Haunting Melodies. Littlefield offered to play steel guitar and the group was born. Vocalist Wheetman plays bass, rhythm guitar, fiddle, harmonica, banjo, Dobro, and lap steel. Wilcox, who holds a law degree from Stanford, sings and plays mandolin and rhythm guitar. Columbus, OH, native Phelan sings and plays lead guitar, fiddle, Dobro, bass, and lap steel. Littlefield sings and plays pedal steel, Highland bagpipes, mandolin, Dobro, and lead guitar. The group released Live at the Freight, a collection commemorating their 15 years together, in January 2001 on Sage Arts Records.
''GHOST TOWN''
MARCH 2 2010
48:04
1. Travelin' Tear Drop Blues/4:21
2. Goodbye to Old Missoula/3:54
3. My Love Will Not Change/3:29
4. Love and Happiness for You/4:03
5. Poor Old Dirt Farmer/3:05
6. Should I Be Singing the Blues?/3:04
7. Got Leavin' on Her Mind/2:55
8. Here I Am in Love Again/2:47
9. She's Too Good for Me/3:06
10. Less and Less/2:59
11. Which Way Do We Go/3:19
12. Light in the Forest/4:55
13. Goin' Back to Bowling Green/feat. Cowboy Jack Clement/2:29
14. Don't We All Feel Like That/3:38
REVIEW
by j. poet
The quartet of multi-instrumentalists, singer/songwriters, and amateur folklorists known as Marley's Ghost got its start in the San Francisco Bay Area in the late '80s. They usually balance their repertoire between traditional tunes and originals written in a traditional manner, and are known for arrangements that can veer from folk-rock to reggae while dropping in plenty of gospel, blues, country, old-time music, bluegrass, Celtic, and the odd sea shanty along the way. They've been trying to get some national attention for their music for a long time, and although they've been a major draw at folk festivals for more than a decade, the average music fan has remained vaguely disinterested. Perhaps that's why they decided on a change of direction this time out. They've added a drummer to give the tunes a little more punch, and much of the album was recorded with Cowboy Jack Clement in Nashville with arrangements that stick close to country, albeit mostly acoustic country in a more roots music than Nashville style. "My Love Will Not Change," a Shawn Camp/Billy Burnette tune, is midway between a country two-step and a zydeco hoedown and includes some splendid pedal steel from Ed Littlefield, Jr. and sprightly fiddling from guest Hoot Hester. "Love and Happiness for You," an Emmylou Harris tune, has a laid-back Tex-Mex feel, with new member Jerry Fletcher's piano and sideman Jerry Mishkulin's accordion adding to the tune's melancholy feel. John Hartford's "Here I Am in Love Again" and Don Williams' "Which Way Do We Go" get straightforward country arrangements, the latter with a piano part that recalls Floyd Cramer's work on Hank Locklin's "Please Help Me I'm Falling." The band's originals are a bit more adventurous. Mike Phelan's "Should I Be Singing the Blues?" is midway between a '40s torch song and a mellow bit of Texas swing, while Dan Wheetman's "Don't We All Feel Like That" has a slight Latin tinge in its rhythm and brings to mind the southern Appalachian rhumba of Jesse Winchester. The Ghosts show off their usual multi-instrumental dexterity throughout, but it's possible that this change of direction may alienate old fans without necessarily bringing in any new country and Americana listeners.
BIOGRAPHY
by Erik Hage
Marley's Ghost is an eclectic unit steeped in everything from gospel to bluegrass to old-time to Celtic to country -- even reggae. The group originally came together in 1986 when Danny Wheetman was invited by his friend Ed Littlefield Jr. to work on a solo effort in Littlefield's studio in Arlington, WA. Jon Wilcox and Mike Phelan came up from California to help out. (The three had been playing together since St. Patrick's Day of that year.) While working on the solo effort, the three began recording the tracks for what would become the Marley's Ghost debut album Haunting Melodies. Littlefield offered to play steel guitar and the group was born. Vocalist Wheetman plays bass, rhythm guitar, fiddle, harmonica, banjo, Dobro, and lap steel. Wilcox, who holds a law degree from Stanford, sings and plays mandolin and rhythm guitar. Columbus, OH, native Phelan sings and plays lead guitar, fiddle, Dobro, bass, and lap steel. Littlefield sings and plays pedal steel, Highland bagpipes, mandolin, Dobro, and lead guitar. The group released Live at the Freight, a collection commemorating their 15 years together, in January 2001 on Sage Arts Records.
3017 - MARLEY'S GHOST - Live At The Freight (2001) (by Request)
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MARLEY'S GHOST
''LIVE AT THE FREIGHT''
JANUARY 20 2001
71:32
1. Battle of the Somme / Shenandoah/3:20
2. Stir it Up/4:50
3. Late in the Day/3:52
4. Sugar Trade/3:22
5. Leopard Skin Pillbox Hat/3:33
6. Old Plank Road/3:09
7. Going to the West/3:56
8. Story of Job/3:07
9. One Love/4:35
10. Dinah / Jordan Am a Hard Road/3:48
11. Shackles and Chains/3:48
12. She'd Rather be Homeless/4:36
13. And It Stoned Me/4:49
14. Mexico/3:29
15. The End Is Not In Sight/3:13
16. One More Shot/3:40
17. Iko Iko/6:20
18. Fiddler's Green/4:05
REVIEW
by Matt Fink
Commemorating 15 years together, Live at the Freight showcases the tragically overlooked Marley's Ghost in all their versatile glory. Recorded live over June 14-15, 2000, at the Freight and Salvage in Berkeley, CA, the loose, warm atmosphere captures the true greatness of the notably eclectic quartet with 18 studio quality tracks that run just over 70 minutes. A true anomaly, Marley's Ghost jump from pedal steel-drenched reggae ("Stir It Up," "One Love") to old-timey ("Dinah/Jordan Am a Hard Road" and jug band blues ("Old Plank Road"), never sounding even remotely awkward when maneuvering between some of the more disparate influences. Most impressive may be the a cappella renditions of "Story of Job" and the sea shanty "Fiddler's Green," highlighting the group's excellent four-part harmonies. Still, Marley's Ghost is probably most at home in the realm of Western-tinged country-folk, where the majority of the tracks ultimately fall. For a band that is unlikely to ever release a proper "greatest hits" album, this set is as close to definitive as is likely to be released. As such, Live at the Freight is recommended as both an introduction for the uninitiated and a centerpiece for hardcore fans.
BIOGRAPHY
by Erik Hage
Marley's Ghost is an eclectic unit steeped in everything from gospel to bluegrass to old-time to Celtic to country -- even reggae. The group originally came together in 1986 when Danny Wheetman was invited by his friend Ed Littlefield Jr. to work on a solo effort in Littlefield's studio in Arlington, WA. Jon Wilcox and Mike Phelan came up from California to help out. (The three had been playing together since St. Patrick's Day of that year.) While working on the solo effort, the three began recording the tracks for what would become the Marley's Ghost debut album Haunting Melodies. Littlefield offered to play steel guitar and the group was born. Vocalist Wheetman plays bass, rhythm guitar, fiddle, harmonica, banjo, Dobro, and lap steel. Wilcox, who holds a law degree from Stanford, sings and plays mandolin and rhythm guitar. Columbus, OH, native Phelan sings and plays lead guitar, fiddle, Dobro, bass, and lap steel. Littlefield sings and plays pedal steel, Highland bagpipes, mandolin, Dobro, and lead guitar. The group released Live at the Freight, a collection commemorating their 15 years together, in January 2001 on Sage Arts Records.
''LIVE AT THE FREIGHT''
JANUARY 20 2001
71:32
1. Battle of the Somme / Shenandoah/3:20
2. Stir it Up/4:50
3. Late in the Day/3:52
4. Sugar Trade/3:22
5. Leopard Skin Pillbox Hat/3:33
6. Old Plank Road/3:09
7. Going to the West/3:56
8. Story of Job/3:07
9. One Love/4:35
10. Dinah / Jordan Am a Hard Road/3:48
11. Shackles and Chains/3:48
12. She'd Rather be Homeless/4:36
13. And It Stoned Me/4:49
14. Mexico/3:29
15. The End Is Not In Sight/3:13
16. One More Shot/3:40
17. Iko Iko/6:20
18. Fiddler's Green/4:05
REVIEW
by Matt Fink
Commemorating 15 years together, Live at the Freight showcases the tragically overlooked Marley's Ghost in all their versatile glory. Recorded live over June 14-15, 2000, at the Freight and Salvage in Berkeley, CA, the loose, warm atmosphere captures the true greatness of the notably eclectic quartet with 18 studio quality tracks that run just over 70 minutes. A true anomaly, Marley's Ghost jump from pedal steel-drenched reggae ("Stir It Up," "One Love") to old-timey ("Dinah/Jordan Am a Hard Road" and jug band blues ("Old Plank Road"), never sounding even remotely awkward when maneuvering between some of the more disparate influences. Most impressive may be the a cappella renditions of "Story of Job" and the sea shanty "Fiddler's Green," highlighting the group's excellent four-part harmonies. Still, Marley's Ghost is probably most at home in the realm of Western-tinged country-folk, where the majority of the tracks ultimately fall. For a band that is unlikely to ever release a proper "greatest hits" album, this set is as close to definitive as is likely to be released. As such, Live at the Freight is recommended as both an introduction for the uninitiated and a centerpiece for hardcore fans.
BIOGRAPHY
by Erik Hage
Marley's Ghost is an eclectic unit steeped in everything from gospel to bluegrass to old-time to Celtic to country -- even reggae. The group originally came together in 1986 when Danny Wheetman was invited by his friend Ed Littlefield Jr. to work on a solo effort in Littlefield's studio in Arlington, WA. Jon Wilcox and Mike Phelan came up from California to help out. (The three had been playing together since St. Patrick's Day of that year.) While working on the solo effort, the three began recording the tracks for what would become the Marley's Ghost debut album Haunting Melodies. Littlefield offered to play steel guitar and the group was born. Vocalist Wheetman plays bass, rhythm guitar, fiddle, harmonica, banjo, Dobro, and lap steel. Wilcox, who holds a law degree from Stanford, sings and plays mandolin and rhythm guitar. Columbus, OH, native Phelan sings and plays lead guitar, fiddle, Dobro, bass, and lap steel. Littlefield sings and plays pedal steel, Highland bagpipes, mandolin, Dobro, and lead guitar. The group released Live at the Freight, a collection commemorating their 15 years together, in January 2001 on Sage Arts Records.
3016 - MARC JORDAN - Blue Desert (1979) (By Request)
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MARC JORDAN
''BLUE DESERT''
1979
37:33
1. Generalities/4:24
2. I'm A Camera/3:47
3. Twilight/3:42
4. From Nowhere To This Town/3:33
5. Beautiful People/4:29
6. Lost In The Hurrah/5:22
7. Release Yourself/4:15
8. Tattooed Lady/3:45
9. Exile/4:34
Jay Graydon /Arranger, Guitar (Acoustic), Guitar (Electric), Producer, Synthesizer Bass, Synthesizer Strings
Marc Jordan /Vocals
BIOGRAPHY
by John Bush
Originally a film student, Marc Jordan dropped out of Canada's Brock University in 1970 to pursue a music career. He played with a band for a short time, returned to school, but then left for good to travel outside Canada. Upon getting back to Toronto, Jordan was signed by a publisher to a recording, publishing and management contract. After a song-saga double album, Cantata Canada and a tribute album to the Royal Canadian Mounted Police, Warner Bros. signed him and released his 1978 debut Mannequin. Jordan released Blue Desert in 1979, Talking Through Pictures in 1987 and Reckless Valentine in 1993. Cool Jam Black Earth was released in 1996 and Live: Now & Then followed in 1999.
''BLUE DESERT''
1979
37:33
1. Generalities/4:24
2. I'm A Camera/3:47
3. Twilight/3:42
4. From Nowhere To This Town/3:33
5. Beautiful People/4:29
6. Lost In The Hurrah/5:22
7. Release Yourself/4:15
8. Tattooed Lady/3:45
9. Exile/4:34
Jay Graydon /Arranger, Guitar (Acoustic), Guitar (Electric), Producer, Synthesizer Bass, Synthesizer Strings
Marc Jordan /Vocals
BIOGRAPHY
by John Bush
Originally a film student, Marc Jordan dropped out of Canada's Brock University in 1970 to pursue a music career. He played with a band for a short time, returned to school, but then left for good to travel outside Canada. Upon getting back to Toronto, Jordan was signed by a publisher to a recording, publishing and management contract. After a song-saga double album, Cantata Canada and a tribute album to the Royal Canadian Mounted Police, Warner Bros. signed him and released his 1978 debut Mannequin. Jordan released Blue Desert in 1979, Talking Through Pictures in 1987 and Reckless Valentine in 1993. Cool Jam Black Earth was released in 1996 and Live: Now & Then followed in 1999.
3015 - THE LEE BOYS - Testify (2012) (By Request)
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THE LEE BOYS
''TESTIFY''
OCTOBER 23 2012
59:25
1. Smile/4:32
2. Going to Glory/3:48
3. I'm Not Tired/5:45
4. So Much to Live For/4:54
5. Always By My Side/5:15
6. Testify/5:54
7. Sinnerman/6:30
8. Wade in the Water/6:06
9. Praise You/4:26
10. Feel the Music/6:18
11. We Need to Hear From You/5:57
BIOGRAPHY
by Chris True
A family affair, the Lee Boys were one of the leading lights in the ‘Sacred Steel' genre of gospel music. ‘Sacred Steel' was a style of music that had roots in blues and gospel but was stylized by the introduction of steel guitars in the 1930s by Willie and Troman Easton, who brought the instruments into the fray of services at the House of God church in Jacksonville, Florida. The Lee Boys, made up of brothers Alvin (guitar), Derrick (vocals), and Keith (vocals) Lee, as well as nephews Roosevelt Collier (pedal steel), Alvin Cordy, Jr. (bass), and Earl Walker (drums), first got their start honing their chops at the House of God church in Perrine, Florida. The Lee Boys have toured all over the country, and in 2002 they played the Winnipeg Folk Festival and the Blues to Bop Festival in Switzerland. They were also well-received at the 2006 Chicago Blues Festival.
''TESTIFY''
OCTOBER 23 2012
59:25
1. Smile/4:32
2. Going to Glory/3:48
3. I'm Not Tired/5:45
4. So Much to Live For/4:54
5. Always By My Side/5:15
6. Testify/5:54
7. Sinnerman/6:30
8. Wade in the Water/6:06
9. Praise You/4:26
10. Feel the Music/6:18
11. We Need to Hear From You/5:57
BIOGRAPHY
by Chris True
A family affair, the Lee Boys were one of the leading lights in the ‘Sacred Steel' genre of gospel music. ‘Sacred Steel' was a style of music that had roots in blues and gospel but was stylized by the introduction of steel guitars in the 1930s by Willie and Troman Easton, who brought the instruments into the fray of services at the House of God church in Jacksonville, Florida. The Lee Boys, made up of brothers Alvin (guitar), Derrick (vocals), and Keith (vocals) Lee, as well as nephews Roosevelt Collier (pedal steel), Alvin Cordy, Jr. (bass), and Earl Walker (drums), first got their start honing their chops at the House of God church in Perrine, Florida. The Lee Boys have toured all over the country, and in 2002 they played the Winnipeg Folk Festival and the Blues to Bop Festival in Switzerland. They were also well-received at the 2006 Chicago Blues Festival.
3014 - KIMBERLEY DAHME - You Make Me Believe (2009) (By Request)
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KIMBERLEY DAHME
''YOU MAKE ME BELIEVE''
APRIL 3 2009
38:18
1. Can't a Girl Change Her Mind/2:57
2. Rock You Like a Baby/3:33
3. Lighthouse/4:37
4. You Make Me Believe/2:30
5. Something We Do/3:27
6. No Question/2:32
7. Jet Lag City/2:29
8. The Only Man/4:13
9. Love Don't Leave Me Now/4:05
10. It Takes Two to Fall/4:28
11. With You/3:27
''YOU MAKE ME BELIEVE''
APRIL 3 2009
38:18
1. Can't a Girl Change Her Mind/2:57
2. Rock You Like a Baby/3:33
3. Lighthouse/4:37
4. You Make Me Believe/2:30
5. Something We Do/3:27
6. No Question/2:32
7. Jet Lag City/2:29
8. The Only Man/4:13
9. Love Don't Leave Me Now/4:05
10. It Takes Two to Fall/4:28
11. With You/3:27
3013 - JOSEPH ARTHUR - Junkyard Hearts (2012) (By Request)
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JOSEPH ARTHUR
''JUNKYARD HEARTS''
JULY 30 2012
89:39
DISC ONE
1. The Coldest Sea/6:27
2. This Heart Will Swallow Us/5:08
3. Jumping In With You/2:31
4. Take Me Back Home/3:10
5. Hold On Dear/4:06
6. Marmalade Eyes/4:49
7. Queen Of Brooklyn/3:03
8. Glue Sniffer/4:43
9. Dear Lord/4:38
10. Bill Wilson/6:03
11. Tiny Echoes/2:25
DISC TWO
12. Space Needle/5:39
13. Be My Friend/3:37
14. The Termite Song/9:26
15. Favorite Girl/6:13
16. Crackerjack Box/3:30
17. Voices Will Fight/2:23
18. Still The Same/5:25
19. In The Middle Of The Night/6:02
BIOGRAPHY
by MacKenzie Wilson
Ohio native Joseph Arthur was discovered by Peter Gabriel, who signed the folk-rock songwriter to Real World Records in the mid-'90s. Arthur's debut, Big City Secrets, was released in 1997 and went fairly unnoticed, despite an eclectic, brooding sound influenced by the likes of Leonard Cohen, Joe Henry, and the late Jeff Buckley. Gabriel influenced Arthur's music, too, exposing his songwriting to a global palette, roping him into Gabriel's annual WOMAD shows, and giving him a roster of fellow labelmates -- including Ben Harper and Gomez -- to tour with during the decade's latter half. Arthur steadily earned an audience of his own, attracting some attention for his work as a visual artist as well.
In 1999, Arthur released the seven-song EP Vacancy and received a Grammy nomination for Best Recording Package, thanks to the hand-folded design by art director Zachary Larner. The sophomore effort Come to Where I'm From appeared one year later, featuring production from alt-country icon T-Bone Burnett and distribution from Virgin Records. The album showed Arthur's musical fondness for basic country-rock and Americana, and he spent the rest of 2000 headlining club shows across North America and serving as an opening act for The The. Two years later, Arthur issued the four-EP series Junkyard Hearts, a precursor to his third opus, Redemption's Son. North American dates with Tracy Chapman followed in summer 2003, then one year later the critically acclaimed Our Shadows Will Remain appeared.
After starting his own label, Lonely Astronaut (distributed by Sony), Arthur published a collection of his artwork entitled We Almost Made It, complete with a mostly instrumental accompaniment, The Invisible Parade, during the spring of 2006. A few months later, fans were greeted with his fifth record, Nuclear Daydream, as well as a tour that featured Arthur with a full live band, something he had never done before. Arthur also provided vocals for "Sublime," from the Twilight Singers' iTunes-only five-song EP A Stitch in Time. In April 2007, he partnered with his band once again to record Let's Just Be, the second album released on his own label.
The following year brought even more material, with Arthur releasing no less than four EPs during the first seven months of the year (Could We Survive, Crazy Rain, Vagabond Skies, Foreign Girls) and a full album, Temporary People, in September. In February 2010, Arthur teamed up with Dhani Harrison and Ben Harper to form Fistful of Mercy, a folk-rock trio whose debut album, As I Call You Down, was released later that year. The band toured off and on during 2010 and continued playing sporadic shows in 2011, but that didn't stop Arthur from furthering his solo career with The Graduation Ceremony, which appeared in May 2011. Early the following year, he self-released his next solo work, the double album Redemption City, as a digital download (the LP issue followed later that year).
''JUNKYARD HEARTS''
JULY 30 2012
89:39
DISC ONE
1. The Coldest Sea/6:27
2. This Heart Will Swallow Us/5:08
3. Jumping In With You/2:31
4. Take Me Back Home/3:10
5. Hold On Dear/4:06
6. Marmalade Eyes/4:49
7. Queen Of Brooklyn/3:03
8. Glue Sniffer/4:43
9. Dear Lord/4:38
10. Bill Wilson/6:03
11. Tiny Echoes/2:25
DISC TWO
12. Space Needle/5:39
13. Be My Friend/3:37
14. The Termite Song/9:26
15. Favorite Girl/6:13
16. Crackerjack Box/3:30
17. Voices Will Fight/2:23
18. Still The Same/5:25
19. In The Middle Of The Night/6:02
BIOGRAPHY
by MacKenzie Wilson
Ohio native Joseph Arthur was discovered by Peter Gabriel, who signed the folk-rock songwriter to Real World Records in the mid-'90s. Arthur's debut, Big City Secrets, was released in 1997 and went fairly unnoticed, despite an eclectic, brooding sound influenced by the likes of Leonard Cohen, Joe Henry, and the late Jeff Buckley. Gabriel influenced Arthur's music, too, exposing his songwriting to a global palette, roping him into Gabriel's annual WOMAD shows, and giving him a roster of fellow labelmates -- including Ben Harper and Gomez -- to tour with during the decade's latter half. Arthur steadily earned an audience of his own, attracting some attention for his work as a visual artist as well.
In 1999, Arthur released the seven-song EP Vacancy and received a Grammy nomination for Best Recording Package, thanks to the hand-folded design by art director Zachary Larner. The sophomore effort Come to Where I'm From appeared one year later, featuring production from alt-country icon T-Bone Burnett and distribution from Virgin Records. The album showed Arthur's musical fondness for basic country-rock and Americana, and he spent the rest of 2000 headlining club shows across North America and serving as an opening act for The The. Two years later, Arthur issued the four-EP series Junkyard Hearts, a precursor to his third opus, Redemption's Son. North American dates with Tracy Chapman followed in summer 2003, then one year later the critically acclaimed Our Shadows Will Remain appeared.
After starting his own label, Lonely Astronaut (distributed by Sony), Arthur published a collection of his artwork entitled We Almost Made It, complete with a mostly instrumental accompaniment, The Invisible Parade, during the spring of 2006. A few months later, fans were greeted with his fifth record, Nuclear Daydream, as well as a tour that featured Arthur with a full live band, something he had never done before. Arthur also provided vocals for "Sublime," from the Twilight Singers' iTunes-only five-song EP A Stitch in Time. In April 2007, he partnered with his band once again to record Let's Just Be, the second album released on his own label.
The following year brought even more material, with Arthur releasing no less than four EPs during the first seven months of the year (Could We Survive, Crazy Rain, Vagabond Skies, Foreign Girls) and a full album, Temporary People, in September. In February 2010, Arthur teamed up with Dhani Harrison and Ben Harper to form Fistful of Mercy, a folk-rock trio whose debut album, As I Call You Down, was released later that year. The band toured off and on during 2010 and continued playing sporadic shows in 2011, but that didn't stop Arthur from furthering his solo career with The Graduation Ceremony, which appeared in May 2011. Early the following year, he self-released his next solo work, the double album Redemption City, as a digital download (the LP issue followed later that year).
3012 - HIRT MARTINEZ - Big Bright Street (1977) (By Request)
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HIRTH MARTINEZ
''BIG BRIGHT STREET''
1977
42:52
1. Nothin' Iz New/3:15
2. Love Song/4:27
3. Big Bright Street/3:19
4. The Star/3:09
5. The Mothman Samba/2:31
6. The Moone Toone/5:51
7. The Driver/3:17
8. Cold And Silver Moment/2:53
9. Valley Of The Music/5:14
10. The Circle Song/4:58
11. Only In America, Jim/3:53
REVIEW
by Richard Meyer
If you find this great album, don't pass it up. Especially great are the following cuts: "The Driver," "Valley of the Music, " and "Nuthin' is New."
''BIG BRIGHT STREET''
1977
42:52
1. Nothin' Iz New/3:15
2. Love Song/4:27
3. Big Bright Street/3:19
4. The Star/3:09
5. The Mothman Samba/2:31
6. The Moone Toone/5:51
7. The Driver/3:17
8. Cold And Silver Moment/2:53
9. Valley Of The Music/5:14
10. The Circle Song/4:58
11. Only In America, Jim/3:53
REVIEW
by Richard Meyer
If you find this great album, don't pass it up. Especially great are the following cuts: "The Driver," "Valley of the Music, " and "Nuthin' is New."
3011 - HIRT MARTINEZ - Hirth From Earth (1975) (By Request)
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HIRTH MARTINEZ
''HIRTH FROM EARTH''
1975
44:16
1. Altogether Alone/3:58
2. Winter Again/3:59
3. Djinji/2:48
4. Be Everything/2:32
5. Comin' Round The Moon/3:34
6. It/3:45
7. That's The Way It's Gotta Go/3:37
8. Silent Movies/3:02
9. Pity On The Fool/3:37
10. I Don't Know Why The Hell/2:39
11. Saturday Night/3:21
12. Cold Dark Mornin'/3:39
13. You Are A Star/3:45
REVIEW
by Richard Meyer
This record was produced by Robbie Robertson. His playing along with Garth Hudson's gives this a sound similar to that of the Band but laid over Martinez's unusual songwriting style. It's an idiosyncratic, but wonderful record.
''HIRTH FROM EARTH''
1975
44:16
1. Altogether Alone/3:58
2. Winter Again/3:59
3. Djinji/2:48
4. Be Everything/2:32
5. Comin' Round The Moon/3:34
6. It/3:45
7. That's The Way It's Gotta Go/3:37
8. Silent Movies/3:02
9. Pity On The Fool/3:37
10. I Don't Know Why The Hell/2:39
11. Saturday Night/3:21
12. Cold Dark Mornin'/3:39
13. You Are A Star/3:45
REVIEW
by Richard Meyer
This record was produced by Robbie Robertson. His playing along with Garth Hudson's gives this a sound similar to that of the Band but laid over Martinez's unusual songwriting style. It's an idiosyncratic, but wonderful record.
3010 - GUITAR PETE - Mean Streets (2008) (By Request)
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GUITAR PETE
''MEAN STREETS''
OCTOBER 18 2008
55:18
1. Fire and Rain/5:36
2. Lipstick & Gasoline/4:29
3. Found Guilty/6:45
4. One Foot in the Grave/5:03
5. Slugger's Row/5:35
6. One Sunny Day/4:01
7. Rock Bottom/3:56
8. A Long Way Down/4:14
9. Lucky Me/5:03
10. Shattered Paradise/10:36
BIOGRAPHY
by Evan Cater
Pete Brasino has been playing his rock & roll-flavored brand of blues ever since he was in high school. He began to teach himself to play guitar as a 16-year-old and within six months he had become so proficient with the instrument that his classmates dubbed him Guitar Pete -- the nickname that would become his performing name. Another significant leftover from those early days is his playing style. Because he never had a guitar instructor, the left-handed musician never learned how to string the guitar the way a southpaw traditionally would. Instead, he plays upside down and backwards, holding the guitar lefty but using right-handed fingerings. Brasino's early heavy metal albums, released under the name Guitar Pete's Axe Attack, were not commercial successes, but they caught the attention of high-profile music industry professionals and eventually led to a 1994 recording deal for Brasino's band, Snakeyed Sue. The band's first record was produced by Steve Thompson and Michael Barbiro, producers whose resumes included work with Blues Traveler, Guns N' Roses, and Aretha Franklin. Snakeyed Sue dissolved shortly after the album's release, but four years later, Guitar Pete returned with a solo effort Burning Bridges that provided a showcase for his powerhouse blues sound.
''MEAN STREETS''
OCTOBER 18 2008
55:18
1. Fire and Rain/5:36
2. Lipstick & Gasoline/4:29
3. Found Guilty/6:45
4. One Foot in the Grave/5:03
5. Slugger's Row/5:35
6. One Sunny Day/4:01
7. Rock Bottom/3:56
8. A Long Way Down/4:14
9. Lucky Me/5:03
10. Shattered Paradise/10:36
BIOGRAPHY
by Evan Cater
Pete Brasino has been playing his rock & roll-flavored brand of blues ever since he was in high school. He began to teach himself to play guitar as a 16-year-old and within six months he had become so proficient with the instrument that his classmates dubbed him Guitar Pete -- the nickname that would become his performing name. Another significant leftover from those early days is his playing style. Because he never had a guitar instructor, the left-handed musician never learned how to string the guitar the way a southpaw traditionally would. Instead, he plays upside down and backwards, holding the guitar lefty but using right-handed fingerings. Brasino's early heavy metal albums, released under the name Guitar Pete's Axe Attack, were not commercial successes, but they caught the attention of high-profile music industry professionals and eventually led to a 1994 recording deal for Brasino's band, Snakeyed Sue. The band's first record was produced by Steve Thompson and Michael Barbiro, producers whose resumes included work with Blues Traveler, Guns N' Roses, and Aretha Franklin. Snakeyed Sue dissolved shortly after the album's release, but four years later, Guitar Pete returned with a solo effort Burning Bridges that provided a showcase for his powerhouse blues sound.
3009 - GLASS HAMMER - Anthology 2000-2011 (2012)
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GLASS HAMMER
''ANTHOLOGY 2000-2011''
JUNE 14 2012
87:01
1. Empty Space Revealer/6:45
2. As I Walk/2:35
3. One King/6:07
4. So Close, So Far/9:50
5. A Cup of Trembling (Live At Nearfest 2003)/8:03
6. Having Caught a Glimpse/13:22
7. Through a Glass Darkly (Live 2006)/6:48
8. Life By Light/7:34
9. A Bitter Wind/4:35
10. If the Stars/10:28
11. Nothing Box/10:54
BIOGRAPHY
by Gary Hill
Glass Hammer began in 1992 when Tennessee musicians Steve Babb and Fred Schendel got together and began writing for a progressive rock concept album. That album, Journey of the Dunadan, was released the following year. Since the two men were basically the entire lineup of the group and played all of the instruments on the album, they would need to recruit musicians to perform the material live. Schendel had played with a drummer named Walter Moore in his last group the Obvious. They brought him in to augment the live lineup. Michelle Young (who had sung on one song on the album) became keyboardist for this version of the group. In 1994 they recorded a second disc, Perelandra, with David Carter being added to the lineup during that recording. The CD was released the following year and shortly thereafter, Young left the group. The next Glass Hammer album, On to Evermore, was released in 1998 followed two years later by Chronometree.
''ANTHOLOGY 2000-2011''
JUNE 14 2012
87:01
1. Empty Space Revealer/6:45
2. As I Walk/2:35
3. One King/6:07
4. So Close, So Far/9:50
5. A Cup of Trembling (Live At Nearfest 2003)/8:03
6. Having Caught a Glimpse/13:22
7. Through a Glass Darkly (Live 2006)/6:48
8. Life By Light/7:34
9. A Bitter Wind/4:35
10. If the Stars/10:28
11. Nothing Box/10:54
BIOGRAPHY
by Gary Hill
Glass Hammer began in 1992 when Tennessee musicians Steve Babb and Fred Schendel got together and began writing for a progressive rock concept album. That album, Journey of the Dunadan, was released the following year. Since the two men were basically the entire lineup of the group and played all of the instruments on the album, they would need to recruit musicians to perform the material live. Schendel had played with a drummer named Walter Moore in his last group the Obvious. They brought him in to augment the live lineup. Michelle Young (who had sung on one song on the album) became keyboardist for this version of the group. In 1994 they recorded a second disc, Perelandra, with David Carter being added to the lineup during that recording. The CD was released the following year and shortly thereafter, Young left the group. The next Glass Hammer album, On to Evermore, was released in 1998 followed two years later by Chronometree.
3008 - GARY CLARK JR. - Blak And Blu (2012) (By Request)
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GARY CLARK JR.
''BLAK AND BLU''
OCTOBER 22 2012
66:55
1/Ain't Messin 'Round
Gary Clark Jr./4:09
2/When My Train Pulls In
Gary Clark Jr./7:45
3/Blak and Blu
Brian Jackson / Gary Clark Jr. / Don Robey / Gil Scott-Heron/4:06
4/Bright Lights
Gary Clark Jr./5:24
5/Travis County
Gary Clark Jr./3:38
6/The Life
Gary Clark Jr./5:05
7/Glitter Ain't Gold (Jumpin' for Nothin')
Mike Elizondo / Doyle Bramhall II / Gary Clark Jr. / Justin Stanley / Ali Tamposi/4:18
8/Numb
Gary Clark Jr./5:26
9/Please Come Home
Gary Clark Jr./4:16
10/Things Are Changin'
Gary Clark Jr./3:59
11/Third Stone from the Sun/If You Love Me Like You Say
Jimi Hendrix / Little Johnny Taylor/9:37
12/You Saved Me
Gary Clark Jr./6:11
13/Next Door Neighbor Blues
Gary Clark Jr./3:01
Stevie Blacke /Strings
Gary Clark Jr. /Bass, Congas, Drums, Guitar, Guitar (Acoustic), Percussion, Trumpet, Vocals
Danny T. Levin Flugelhorn, Trombone, Trumpet
Mike Elizondo Bass, Fuzz Guitar, Keyboards, Percussion
J.J. Johnson Drums, Percussion
David Moyer Sax (Baritone), Sax (Tenor)
Scott Nelson Bass
Zac Rae Hammond B3, Keyboards, Piano, Vibraphone, Wurlitzer
Satnam Ramgotra Percussion, Tabla
BIOGRAPHY
by Jason Ankeny
by Steve Leggett Texas guitarist Gary Clark Jr. has been compared to guitar icons like Jimi Hendrix and Stevie Ray Vaughan, and his playing is a powerful and inspired mix of blues roots with contemporary soul and hip-hop, and when he’s rolling at his best, he sounds like nothing so much as a natural hybrid of both the past and the future of the blues. Born and raised in Austin, Texas, Clark first picked up a guitar at the age of 12 and spent his teens playing whatever gig he could get in the Austin area, eventually meeting Clifford Antone, promoter and owner of Antone’s, the city’s premier blues club, who began featuring Clark at his venue. An amazing live performer, Clark soon became one of the brightest players on Austin’s blues and rock scene. He released an independent album, 2005’s Tribute, followed by a pair of self-produced albums in 2008 for Hotwire Unlimited, 110 and Worry No More. An EP, Gary Clark Jr., also appeared from Hotwire in 2010. But Clark was far from just a one-trick pony guitar gunslinger. He could also sing, write, and arrange. He wrote the original score for the film Full Count and also appeared as an actor in John Sayles' 2007 film Honeydripper. In 2010, Clark was selected by Eric Clapton to perform at the Crossroads Guitar Festival, and a DVD of the show featuring Clark led to a recording deal with Warner Bros. Clark was soon in the studio working on his major-label debut. An EP called Bright Lights was released in 2011 in advance of the new album, Blak and Blu, which appeared in the fall of 2012.
''BLAK AND BLU''
OCTOBER 22 2012
66:55
1/Ain't Messin 'Round
Gary Clark Jr./4:09
2/When My Train Pulls In
Gary Clark Jr./7:45
3/Blak and Blu
Brian Jackson / Gary Clark Jr. / Don Robey / Gil Scott-Heron/4:06
4/Bright Lights
Gary Clark Jr./5:24
5/Travis County
Gary Clark Jr./3:38
6/The Life
Gary Clark Jr./5:05
7/Glitter Ain't Gold (Jumpin' for Nothin')
Mike Elizondo / Doyle Bramhall II / Gary Clark Jr. / Justin Stanley / Ali Tamposi/4:18
8/Numb
Gary Clark Jr./5:26
9/Please Come Home
Gary Clark Jr./4:16
10/Things Are Changin'
Gary Clark Jr./3:59
11/Third Stone from the Sun/If You Love Me Like You Say
Jimi Hendrix / Little Johnny Taylor/9:37
12/You Saved Me
Gary Clark Jr./6:11
13/Next Door Neighbor Blues
Gary Clark Jr./3:01
Stevie Blacke /Strings
Gary Clark Jr. /Bass, Congas, Drums, Guitar, Guitar (Acoustic), Percussion, Trumpet, Vocals
Danny T. Levin Flugelhorn, Trombone, Trumpet
Mike Elizondo Bass, Fuzz Guitar, Keyboards, Percussion
J.J. Johnson Drums, Percussion
David Moyer Sax (Baritone), Sax (Tenor)
Scott Nelson Bass
Zac Rae Hammond B3, Keyboards, Piano, Vibraphone, Wurlitzer
Satnam Ramgotra Percussion, Tabla
BIOGRAPHY
by Jason Ankeny
by Steve Leggett Texas guitarist Gary Clark Jr. has been compared to guitar icons like Jimi Hendrix and Stevie Ray Vaughan, and his playing is a powerful and inspired mix of blues roots with contemporary soul and hip-hop, and when he’s rolling at his best, he sounds like nothing so much as a natural hybrid of both the past and the future of the blues. Born and raised in Austin, Texas, Clark first picked up a guitar at the age of 12 and spent his teens playing whatever gig he could get in the Austin area, eventually meeting Clifford Antone, promoter and owner of Antone’s, the city’s premier blues club, who began featuring Clark at his venue. An amazing live performer, Clark soon became one of the brightest players on Austin’s blues and rock scene. He released an independent album, 2005’s Tribute, followed by a pair of self-produced albums in 2008 for Hotwire Unlimited, 110 and Worry No More. An EP, Gary Clark Jr., also appeared from Hotwire in 2010. But Clark was far from just a one-trick pony guitar gunslinger. He could also sing, write, and arrange. He wrote the original score for the film Full Count and also appeared as an actor in John Sayles' 2007 film Honeydripper. In 2010, Clark was selected by Eric Clapton to perform at the Crossroads Guitar Festival, and a DVD of the show featuring Clark led to a recording deal with Warner Bros. Clark was soon in the studio working on his major-label debut. An EP called Bright Lights was released in 2011 in advance of the new album, Blak and Blu, which appeared in the fall of 2012.
3007 - FRESHLYGROUND - Nomvula (2004) (By Request)
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FRESHLYGROUND
''NOMVULA''
2004
65:42
1/I Am The Man/4:54
2/Nomvula (After The Rain)/4:44
3/Manyana/5:11
4/Vanish/5:17
5/Zithande/4:37
6/I'd Like/6:23
7/Doo Be Doo/5:12
8/Things Have Changed/4:15
9/Buttercup/5:34
10/Human Angels/6:23
11/Father Please/4:01
12/Mowbray Kaap/6:01
13/Touch In The Night/2:42
Peter Cohen /Drums
Nokukhanya Dlamini /Vocals (Background)
Ivo Ivanov /Violin
Annie Kossman /Violin
Nonhlanhla Mdluli /Vocals (Background)
Godfrey Mgcina /Percussion
Inoocent Modiba /Vocals (Background)
''NOMVULA''
2004
65:42
1/I Am The Man/4:54
2/Nomvula (After The Rain)/4:44
3/Manyana/5:11
4/Vanish/5:17
5/Zithande/4:37
6/I'd Like/6:23
7/Doo Be Doo/5:12
8/Things Have Changed/4:15
9/Buttercup/5:34
10/Human Angels/6:23
11/Father Please/4:01
12/Mowbray Kaap/6:01
13/Touch In The Night/2:42
Peter Cohen /Drums
Nokukhanya Dlamini /Vocals (Background)
Ivo Ivanov /Violin
Annie Kossman /Violin
Nonhlanhla Mdluli /Vocals (Background)
Godfrey Mgcina /Percussion
Inoocent Modiba /Vocals (Background)
3006 - BONNIE WHITMORE - Embers To Ashes (2011) (By Request)
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BONNIE WHITMORE
''EMBERS TO ASHES''
FEBRUARY 25 2011
35:47
1. Cotton Sheets/2:48
2. Embers to Ashes/3:35
3. Cowboy Lullaby/4:11
4. Tin Man/3:29
5. GTO/2:42
6. Please Take the Words Back/2:45
7. She Walks/2:43
8. Cry On My Pillow/4:58
9. You Gonna Miss Me/4:24
10. Love Too Sweet/4:13
Tracks by Bonnie Whitmore, except
"GTO" and "Cowboy Lullaby" Bonnie Whitmore and Amanda Shires,
"You Gonna Miss Me" Bonnie and Eleanor Whitmore, and
"Love Too Sweet" Bonnie Whitmore and Brent Mitchell
Chris Materson /Guitar (12 String Electric), Guitar (Acoustic), Guitar (Baritone), Guitar (Electric), Guitar (Resonator), Harmonium, Vocals (Background)
George Reiff /Bass
Rich Hinman /Pedal Steel
Falcon Valdez /Drums, Percussion
Bonnie Whitmore /Guitar (Acoustic), Vocals
Eleanor Whitmore /Fiddle, Vocals (Background)
''EMBERS TO ASHES''
FEBRUARY 25 2011
35:47
1. Cotton Sheets/2:48
2. Embers to Ashes/3:35
3. Cowboy Lullaby/4:11
4. Tin Man/3:29
5. GTO/2:42
6. Please Take the Words Back/2:45
7. She Walks/2:43
8. Cry On My Pillow/4:58
9. You Gonna Miss Me/4:24
10. Love Too Sweet/4:13
Tracks by Bonnie Whitmore, except
"GTO" and "Cowboy Lullaby" Bonnie Whitmore and Amanda Shires,
"You Gonna Miss Me" Bonnie and Eleanor Whitmore, and
"Love Too Sweet" Bonnie Whitmore and Brent Mitchell
Chris Materson /Guitar (12 String Electric), Guitar (Acoustic), Guitar (Baritone), Guitar (Electric), Guitar (Resonator), Harmonium, Vocals (Background)
George Reiff /Bass
Rich Hinman /Pedal Steel
Falcon Valdez /Drums, Percussion
Bonnie Whitmore /Guitar (Acoustic), Vocals
Eleanor Whitmore /Fiddle, Vocals (Background)
3005 - THE BLACKS - In Sickness and Health (2010) (By Request)
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THE BLACKS
''IN SICKNESS AND HEALTH''
MARCH 9 2010
19:33
1. Ten Years/0:56
2. I'm In Love/3:24
3. Can't Explain/5:11
4. Young and Beautiful (Teresa's Song)/3:48
5. Bottled & Flat/2:54
6. If It All Falls Through/3:20
BIOGRAPHY
by Jason Ankeny
The Blacks, a Chicago-based insurgent country band, were formed in 1994 by singer/guitarist Danny McDonough, a former member of psychedelic hard rockers Cornmother, who quit the latter group after discovering the music of Hank Williams, Tom Waits, and Louis Armstrong. Teaching himself basic drumming and trumpeting skills, he began writing songs on a four-track recorder; after several months, he met DePaul University symphonic music student and bassist Gina Black at a local concert, and days later they played together for the first time.
Within weeks Black dropped out of DePaul, and after McDonough adopted the surname Black as well, the couple began performing as the Black Family, making their live debut in late 1995. After going through a series of drummers, the group (now shortened to simply The Blacks) recruited James Emmenegger, becoming a four-piece with the addition of guitarist Nora O'Connor; upon playing hundreds of live dates across the Midwest, the group signed with the Bloodshot label, issuing its Eric "Roscoe" Ambel-produced debut, Dolly Horrorshow, in 1998. Just Like Home followed two years later.
''IN SICKNESS AND HEALTH''
MARCH 9 2010
19:33
1. Ten Years/0:56
2. I'm In Love/3:24
3. Can't Explain/5:11
4. Young and Beautiful (Teresa's Song)/3:48
5. Bottled & Flat/2:54
6. If It All Falls Through/3:20
BIOGRAPHY
by Jason Ankeny
The Blacks, a Chicago-based insurgent country band, were formed in 1994 by singer/guitarist Danny McDonough, a former member of psychedelic hard rockers Cornmother, who quit the latter group after discovering the music of Hank Williams, Tom Waits, and Louis Armstrong. Teaching himself basic drumming and trumpeting skills, he began writing songs on a four-track recorder; after several months, he met DePaul University symphonic music student and bassist Gina Black at a local concert, and days later they played together for the first time.
Within weeks Black dropped out of DePaul, and after McDonough adopted the surname Black as well, the couple began performing as the Black Family, making their live debut in late 1995. After going through a series of drummers, the group (now shortened to simply The Blacks) recruited James Emmenegger, becoming a four-piece with the addition of guitarist Nora O'Connor; upon playing hundreds of live dates across the Midwest, the group signed with the Bloodshot label, issuing its Eric "Roscoe" Ambel-produced debut, Dolly Horrorshow, in 1998. Just Like Home followed two years later.
3004 - THE BLACKS - Just Like Home (2000) (By Request)
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THE BLACKS
''JUST LIKE HOME''
JANUARY 1 2000
39:27
1. Head On a String/1:51
2. Call/4:32
3. Fake Out Jesus/2:41
4. How He Cried/3:37
5. I'd Like to Say/4:05
6. Off the Couch/3:05
7. Goin' Out West (Tom Waits cover)/4:25
8. To A Sucker/3:06
9. Valentine's Day/3:02
10. I Asked My Mom/1:35
11. Foggy Minded Breakdown/3:12
12. Rest My Bones/Diablo/3:01
13. Head on a String (reprise)/1:15
All Tracks By Danny & Gina Black
Andrew Bird /Violin
Danny Black /Banjo, Guitar, Lap Steel Guitar, Musical Saw, Organ (Hammond), Trumpet, Vocals
Gina Black /Bass (Upright), Bowed Bass, Guitar, Organ (Hammond), Piano, Vocals
James Emmenegger /Drums (Snare)
REVIEW
by Tim Sheridan
The Blacks deal in what might be described as country-goth, a rather spooky off-shoot of the alt-country movement. Their second offering is filled with the same moody, ramshackle sprit that made their first album so rewarding. While there is a bit too much reliance on the bull-horn distortion effect on vocals, it's a solid effort overall. Danny Black's impassioned voice helps drive home tunes like "Head on a String" and the clever "Fake Out Jesus." The dull cover of Tom Waits' "Goin' Out West," however, has nothing on the original.
BIOGRAPHY
by Jason Ankeny
The Blacks, a Chicago-based insurgent country band, were formed in 1994 by singer/guitarist Danny McDonough, a former member of psychedelic hard rockers Cornmother, who quit the latter group after discovering the music of Hank Williams, Tom Waits, and Louis Armstrong. Teaching himself basic drumming and trumpeting skills, he began writing songs on a four-track recorder; after several months, he met DePaul University symphonic music student and bassist Gina Black at a local concert, and days later they played together for the first time.
Within weeks Black dropped out of DePaul, and after McDonough adopted the surname Black as well, the couple began performing as the Black Family, making their live debut in late 1995. After going through a series of drummers, the group (now shortened to simply The Blacks) recruited James Emmenegger, becoming a four-piece with the addition of guitarist Nora O'Connor; upon playing hundreds of live dates across the Midwest, the group signed with the Bloodshot label, issuing its Eric "Roscoe" Ambel-produced debut, Dolly Horrorshow, in 1998. Just Like Home followed two years later.
''JUST LIKE HOME''
JANUARY 1 2000
39:27
1. Head On a String/1:51
2. Call/4:32
3. Fake Out Jesus/2:41
4. How He Cried/3:37
5. I'd Like to Say/4:05
6. Off the Couch/3:05
7. Goin' Out West (Tom Waits cover)/4:25
8. To A Sucker/3:06
9. Valentine's Day/3:02
10. I Asked My Mom/1:35
11. Foggy Minded Breakdown/3:12
12. Rest My Bones/Diablo/3:01
13. Head on a String (reprise)/1:15
All Tracks By Danny & Gina Black
Andrew Bird /Violin
Danny Black /Banjo, Guitar, Lap Steel Guitar, Musical Saw, Organ (Hammond), Trumpet, Vocals
Gina Black /Bass (Upright), Bowed Bass, Guitar, Organ (Hammond), Piano, Vocals
James Emmenegger /Drums (Snare)
REVIEW
by Tim Sheridan
The Blacks deal in what might be described as country-goth, a rather spooky off-shoot of the alt-country movement. Their second offering is filled with the same moody, ramshackle sprit that made their first album so rewarding. While there is a bit too much reliance on the bull-horn distortion effect on vocals, it's a solid effort overall. Danny Black's impassioned voice helps drive home tunes like "Head on a String" and the clever "Fake Out Jesus." The dull cover of Tom Waits' "Goin' Out West," however, has nothing on the original.
BIOGRAPHY
by Jason Ankeny
The Blacks, a Chicago-based insurgent country band, were formed in 1994 by singer/guitarist Danny McDonough, a former member of psychedelic hard rockers Cornmother, who quit the latter group after discovering the music of Hank Williams, Tom Waits, and Louis Armstrong. Teaching himself basic drumming and trumpeting skills, he began writing songs on a four-track recorder; after several months, he met DePaul University symphonic music student and bassist Gina Black at a local concert, and days later they played together for the first time.
Within weeks Black dropped out of DePaul, and after McDonough adopted the surname Black as well, the couple began performing as the Black Family, making their live debut in late 1995. After going through a series of drummers, the group (now shortened to simply The Blacks) recruited James Emmenegger, becoming a four-piece with the addition of guitarist Nora O'Connor; upon playing hundreds of live dates across the Midwest, the group signed with the Bloodshot label, issuing its Eric "Roscoe" Ambel-produced debut, Dolly Horrorshow, in 1998. Just Like Home followed two years later.
3003 - THE BLACKS - Dolly Horrorshow (1998) (By Request)
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THE BLACKS
''DOLLY HORRORSHOW''
SEPTEMBER 22 1998
37:00
1. Dolly/2:34
2. Teresa Leaves Lonesome Town/3:26
3. New New Waltzing Blues/3:49
4. Dear Little Girl/2:47
5. Horrorshow/4:04
6. Tortured Holiday/3:19
7. Crazy/3:07
8. Moan/2:41
9. Take Me Now/3:31
10. Never Coming Back/2:15
11. I'll Meet You in Church Sunday Morning/2:54
12. He's Gone/2:34
REVIEW
by Tim Sheridan
With a power chord and a plaintive croon, this fine disc is off and running. From the barroom harmonies of "Dolly" to a riveting interplay of lounge smoothness and punk rage on "Horrorshow," the Blacks prove to be one of the more interesting on the "insurgent country" scene. Leaders and multi-instrumentalists Gina and Danny Black create a fine dynamic, backed by Nora O'Connor on guitar and organ and James Emmenegger on drums. The blissfully sinful cover of Bill Monroe's "I'll Meet You in Church Sunday Morning" is perfect for a beer-stained singalong.
BIOGRAPHY
by Jason Ankeny
The Blacks, a Chicago-based insurgent country band, were formed in 1994 by singer/guitarist Danny McDonough, a former member of psychedelic hard rockers Cornmother, who quit the latter group after discovering the music of Hank Williams, Tom Waits, and Louis Armstrong. Teaching himself basic drumming and trumpeting skills, he began writing songs on a four-track recorder; after several months, he met DePaul University symphonic music student and bassist Gina Black at a local concert, and days later they played together for the first time.
Within weeks Black dropped out of DePaul, and after McDonough adopted the surname Black as well, the couple began performing as the Black Family, making their live debut in late 1995. After going through a series of drummers, the group (now shortened to simply The Blacks) recruited James Emmenegger, becoming a four-piece with the addition of guitarist Nora O'Connor; upon playing hundreds of live dates across the Midwest, the group signed with the Bloodshot label, issuing its Eric "Roscoe" Ambel-produced debut, Dolly Horrorshow, in 1998. Just Like Home followed two years later.
''DOLLY HORRORSHOW''
SEPTEMBER 22 1998
37:00
1. Dolly/2:34
2. Teresa Leaves Lonesome Town/3:26
3. New New Waltzing Blues/3:49
4. Dear Little Girl/2:47
5. Horrorshow/4:04
6. Tortured Holiday/3:19
7. Crazy/3:07
8. Moan/2:41
9. Take Me Now/3:31
10. Never Coming Back/2:15
11. I'll Meet You in Church Sunday Morning/2:54
12. He's Gone/2:34
REVIEW
by Tim Sheridan
With a power chord and a plaintive croon, this fine disc is off and running. From the barroom harmonies of "Dolly" to a riveting interplay of lounge smoothness and punk rage on "Horrorshow," the Blacks prove to be one of the more interesting on the "insurgent country" scene. Leaders and multi-instrumentalists Gina and Danny Black create a fine dynamic, backed by Nora O'Connor on guitar and organ and James Emmenegger on drums. The blissfully sinful cover of Bill Monroe's "I'll Meet You in Church Sunday Morning" is perfect for a beer-stained singalong.
BIOGRAPHY
by Jason Ankeny
The Blacks, a Chicago-based insurgent country band, were formed in 1994 by singer/guitarist Danny McDonough, a former member of psychedelic hard rockers Cornmother, who quit the latter group after discovering the music of Hank Williams, Tom Waits, and Louis Armstrong. Teaching himself basic drumming and trumpeting skills, he began writing songs on a four-track recorder; after several months, he met DePaul University symphonic music student and bassist Gina Black at a local concert, and days later they played together for the first time.
Within weeks Black dropped out of DePaul, and after McDonough adopted the surname Black as well, the couple began performing as the Black Family, making their live debut in late 1995. After going through a series of drummers, the group (now shortened to simply The Blacks) recruited James Emmenegger, becoming a four-piece with the addition of guitarist Nora O'Connor; upon playing hundreds of live dates across the Midwest, the group signed with the Bloodshot label, issuing its Eric "Roscoe" Ambel-produced debut, Dolly Horrorshow, in 1998. Just Like Home followed two years later.
3002 - BILLY THORPE - Tangier (2010) (By Request)
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BILLY THORPE
''TANGIER''
2010
49:28
1 - Marrakesh/4:51
2 - A River Knows/4:22
3 - Since You've Been Gone/5:25
4 - Gypsy/5:01
5 - Tangier/5:16
6 - Fatima/7:14
7 - Long Time/4:49
8 - In A New World/4:40
9 - We Will Be There/3:06
10 - Out Of Here/4:37
All Tracks By Thorpe
Joe Accaria /Drums, Percussion
Mohamed Al Alaoui /Oud
Anna Albert /Violin
Vanessa Amorosi /Guest Artist, Vocals
Melissa Barnard /Cello
Dario Bortolin /Bass
Julia Broom /Violin
Brian Cadd /Guest Artist, Vocals
Caron Chan /Violin
Brielle Clapson /Violin
Sophie Cole /Violin
Nigel Crocker /Trombone
Ngaire De Korte /Cor Anglais, Oboe
Paul DeMarco /Drums, Percussion
Daniel Denholm /Orchestration, Producer, Score Preparation
Thomas Dethlefs /Violin
Nicole Divall /Viola
Lachlan Doley /Clavinet, Organ (Hammond)
James Eccles /Viola
Pedro Eustache /Flute, Nai
Alice Evans /Violin
Andrew Evans /Violin
Steve Fitzmaurice /Sax (Tenor)
Mick Fleetwood /Drums, Percussion
Mariana Green /Violin
Euan Harvey /French Horn
Ashley Irwin /Orchestration, Score Preparation
Ben Jacks /French Horn
Victoria Jacono /Violin
Shauna Jensen /Vocals (Background)
Graham Jesse /Sax (Soprano)
Belinda Jezek /Violin
Mark Kennedy /Drums, Percussion
Stephen King /Viola
James K. Lee /Score Preparation
Leah Lynn /Cello
Haydn Mackay /Flute, Piccolo
Adam Malone /Trumpet
Maggie McKinney /Vocals (Background)
Narine Melconian /Violin
Michele O'Young /Violin
Leigh Middenway /Violin
Oliver Miller /Violin
Alexandra Mitchell /Violin
Connie Mitchell /Guest Artist, Vocals
Christopher Moore /Viola
Ian Moss /Guest Artist, Guitar (Electric), Vocals
Airena Nakamura /Violin
Jackie Orasacky /Orchestration
Jackie Orsascky /Arranger
Jackie Orszaczky /Bass
Brett Page /Trombone
Dave Panichi /Trombone
Paul Panichi /Trumpet
Mirabai Peart /Violin
Dai Pritchard /Guitar
Melinda Schneider /Guest Artist, Vocals
Marnie Sebire /French Horn
Moustafa Serange /Drums, Percussion
Veronique Serret /Leader, Orchestra Contractor, Violin
Rob Shannon /Tabla
Julie Simonds /Score Preparation
Denis Simsek /Darabukka
Hamish Stuart /Drums, Percussion
Simon Sweeney /Trumpet
James Tawadros /Drums, Percussion
Joseph Tawadros /Oud
Jennifer Taylor /Violin
Jack Thompson /Narrator
Julian Thompson /Cello
Billy Thorpe /Arranger, Drums, Guitar, Percussion, Producer, Vocals
Richard Tognetti /Soloist, Violin
Warwick Tyrrell /Trombone
Timo-Veikko Valve /Cello
Gregory Van Der Struik /Trombone
Bree Van Reyke /Drums, Percussion
Adrian Wallis /Cello
Natsuko Yoshimoto /Violin
Stephanie Zarka /Violin
REVIEW
2010 posthumous release from the Australian Rock/Blues singer, songwriter and guitarist. Tangier was the album that Thorpe had been finalizing work on when he died of a heart attack in 2007. Tangier is a hypnotic, beautiful, bewildering musical trip. Prepare to be swept away on an aural journey like no other, bringing together dozens of musicians from different cultures, orchestras, choirs, epic symphonic pieces from another time and place, other worldly sounds and rhythms, rock jams, funk outs, unforgettable ballads. Centre stage in this musical maelstrom is the unmistakable voice and spirit of the irrepressible and visionary Billy Thorpe. Features guest appearances from Mick Fleetwood, , Egypt's Tawadros Brothers, Venezuelan-born flautist Pedro Eustache, Sydney violinist Richard Tognetti, as well as Australian singers Vanessa Amorosi, Brian Cadd, Connie Mitchell, Ian Moss and Melinda Schneider.
BIOGRAPHY
by Ed Nimmervoll
Billy Thorpe is one of the enigmas of Australian music, a man of many careers. It began in Brisbane when the young Thorpe was overheard by a television producer playing his guitar and singing at the back of his parents' Brisbane store. At the age of ten he was appearing regularly on Queensland television and appearing on the same stage as many of the top artists of the day.
When he was 17 he moved to Sydney as a solo country/pop singer just as the Beatles were breaking. Always one to recognize opportunity knocking, Thorpe teamed up with instrumental band the Aztecs and together they became one of the first Australian groups to contribute to the new '60s era of pop, in June 1964 scoring a huge national hit with their version of the Rolling Stones' version of "Poison Ivy." After a couple more era-influenced hits, Billy Thorpe & the Aztecs gravitated toward releasing songs that showed off Thorpe's fine singing voice and scored another major hit with a straight ballad version of "Over the Rainbow" from the film The Wizard of Oz, and in July 1965 a version of the Platters' "Twilight Time." By now the original Aztecs had been replaced by other musicians. Thorpe also became the star of his own national TV show, It's All Happening. In the space of two years he had scored nine major hits.
When the TV show was canceled Thorpe slipped into a middle-of-the-road cabaret circuit, all but forgotten by his pop fans. By December 1968 Thorpe had decided to try his luck in England, and accepted some gigs in Melbourne for extra cash before leaving. He never got to England. Thorpe became so enamored by the rock/blues scene flourishing in Melbourne at that time, he became an integral part of it. The new "General Custer" lookalike Thorpe played long, extended electric guitar solos and boasted the loudest band in the land. The boogie rock style they evolved was a direct influence on the latter-day AC/DC. With this version of the Aztecs, Billy Thorpe hit the big time again with the song "Most People I Know (Think That I'm Crazy)," an Australian rock classic. In November 1973 the Aztecs also became the first rock band to play the Sydney Opera House.
After "Most People I Know" was unsuccessfully been released in England Thorpe set his sights on the U.S., disbanding the Aztecs and adopting more of an adult rock-oriented style. In 1979 Thorpe signed a U.S. deal with American producer Spencer Proffer and recorded the ambitious science fiction/rock opera concept album Children of the Sun, which achieved Top 20 status in America, selling 500,000 copies. The follow-up album, 21st Century Man, also gained a U.S. gold record. The years that followed saw Thorpe concentrated on non-music business activities as diverse as electronics and toys, before forming Zoo with Mick Fleetwood in 1990. Anytime he visited Australia the "Most People I Know" Aztecs fans were ready to flock to any show Thorpe was prepared to mount. There's a ready-made audience there anytime "Thorpie" wants it.
In July 1996 Thorpe returned to Australia to live and authored two highly entertaining, best-selling books that only scratch the surface of his life and career, Sex Thugs and Rock'n'Roll and, naturally, Most People I Know. The singer spent the next decade touring and performing at benefit shows, including one in 2005 whose proceeds went to help victims of the devastating 2004 Indian Ocean tsunami. Sadly, on February 28, 2007, at the age of 60, Thorpe suffered a major heart attack and died later that day.
''TANGIER''
2010
49:28
1 - Marrakesh/4:51
2 - A River Knows/4:22
3 - Since You've Been Gone/5:25
4 - Gypsy/5:01
5 - Tangier/5:16
6 - Fatima/7:14
7 - Long Time/4:49
8 - In A New World/4:40
9 - We Will Be There/3:06
10 - Out Of Here/4:37
All Tracks By Thorpe
Joe Accaria /Drums, Percussion
Mohamed Al Alaoui /Oud
Anna Albert /Violin
Vanessa Amorosi /Guest Artist, Vocals
Melissa Barnard /Cello
Dario Bortolin /Bass
Julia Broom /Violin
Brian Cadd /Guest Artist, Vocals
Caron Chan /Violin
Brielle Clapson /Violin
Sophie Cole /Violin
Nigel Crocker /Trombone
Ngaire De Korte /Cor Anglais, Oboe
Paul DeMarco /Drums, Percussion
Daniel Denholm /Orchestration, Producer, Score Preparation
Thomas Dethlefs /Violin
Nicole Divall /Viola
Lachlan Doley /Clavinet, Organ (Hammond)
James Eccles /Viola
Pedro Eustache /Flute, Nai
Alice Evans /Violin
Andrew Evans /Violin
Steve Fitzmaurice /Sax (Tenor)
Mick Fleetwood /Drums, Percussion
Mariana Green /Violin
Euan Harvey /French Horn
Ashley Irwin /Orchestration, Score Preparation
Ben Jacks /French Horn
Victoria Jacono /Violin
Shauna Jensen /Vocals (Background)
Graham Jesse /Sax (Soprano)
Belinda Jezek /Violin
Mark Kennedy /Drums, Percussion
Stephen King /Viola
James K. Lee /Score Preparation
Leah Lynn /Cello
Haydn Mackay /Flute, Piccolo
Adam Malone /Trumpet
Maggie McKinney /Vocals (Background)
Narine Melconian /Violin
Michele O'Young /Violin
Leigh Middenway /Violin
Oliver Miller /Violin
Alexandra Mitchell /Violin
Connie Mitchell /Guest Artist, Vocals
Christopher Moore /Viola
Ian Moss /Guest Artist, Guitar (Electric), Vocals
Airena Nakamura /Violin
Jackie Orasacky /Orchestration
Jackie Orsascky /Arranger
Jackie Orszaczky /Bass
Brett Page /Trombone
Dave Panichi /Trombone
Paul Panichi /Trumpet
Mirabai Peart /Violin
Dai Pritchard /Guitar
Melinda Schneider /Guest Artist, Vocals
Marnie Sebire /French Horn
Moustafa Serange /Drums, Percussion
Veronique Serret /Leader, Orchestra Contractor, Violin
Rob Shannon /Tabla
Julie Simonds /Score Preparation
Denis Simsek /Darabukka
Hamish Stuart /Drums, Percussion
Simon Sweeney /Trumpet
James Tawadros /Drums, Percussion
Joseph Tawadros /Oud
Jennifer Taylor /Violin
Jack Thompson /Narrator
Julian Thompson /Cello
Billy Thorpe /Arranger, Drums, Guitar, Percussion, Producer, Vocals
Richard Tognetti /Soloist, Violin
Warwick Tyrrell /Trombone
Timo-Veikko Valve /Cello
Gregory Van Der Struik /Trombone
Bree Van Reyke /Drums, Percussion
Adrian Wallis /Cello
Natsuko Yoshimoto /Violin
Stephanie Zarka /Violin
REVIEW
2010 posthumous release from the Australian Rock/Blues singer, songwriter and guitarist. Tangier was the album that Thorpe had been finalizing work on when he died of a heart attack in 2007. Tangier is a hypnotic, beautiful, bewildering musical trip. Prepare to be swept away on an aural journey like no other, bringing together dozens of musicians from different cultures, orchestras, choirs, epic symphonic pieces from another time and place, other worldly sounds and rhythms, rock jams, funk outs, unforgettable ballads. Centre stage in this musical maelstrom is the unmistakable voice and spirit of the irrepressible and visionary Billy Thorpe. Features guest appearances from Mick Fleetwood, , Egypt's Tawadros Brothers, Venezuelan-born flautist Pedro Eustache, Sydney violinist Richard Tognetti, as well as Australian singers Vanessa Amorosi, Brian Cadd, Connie Mitchell, Ian Moss and Melinda Schneider.
BIOGRAPHY
by Ed Nimmervoll
Billy Thorpe is one of the enigmas of Australian music, a man of many careers. It began in Brisbane when the young Thorpe was overheard by a television producer playing his guitar and singing at the back of his parents' Brisbane store. At the age of ten he was appearing regularly on Queensland television and appearing on the same stage as many of the top artists of the day.
When he was 17 he moved to Sydney as a solo country/pop singer just as the Beatles were breaking. Always one to recognize opportunity knocking, Thorpe teamed up with instrumental band the Aztecs and together they became one of the first Australian groups to contribute to the new '60s era of pop, in June 1964 scoring a huge national hit with their version of the Rolling Stones' version of "Poison Ivy." After a couple more era-influenced hits, Billy Thorpe & the Aztecs gravitated toward releasing songs that showed off Thorpe's fine singing voice and scored another major hit with a straight ballad version of "Over the Rainbow" from the film The Wizard of Oz, and in July 1965 a version of the Platters' "Twilight Time." By now the original Aztecs had been replaced by other musicians. Thorpe also became the star of his own national TV show, It's All Happening. In the space of two years he had scored nine major hits.
When the TV show was canceled Thorpe slipped into a middle-of-the-road cabaret circuit, all but forgotten by his pop fans. By December 1968 Thorpe had decided to try his luck in England, and accepted some gigs in Melbourne for extra cash before leaving. He never got to England. Thorpe became so enamored by the rock/blues scene flourishing in Melbourne at that time, he became an integral part of it. The new "General Custer" lookalike Thorpe played long, extended electric guitar solos and boasted the loudest band in the land. The boogie rock style they evolved was a direct influence on the latter-day AC/DC. With this version of the Aztecs, Billy Thorpe hit the big time again with the song "Most People I Know (Think That I'm Crazy)," an Australian rock classic. In November 1973 the Aztecs also became the first rock band to play the Sydney Opera House.
After "Most People I Know" was unsuccessfully been released in England Thorpe set his sights on the U.S., disbanding the Aztecs and adopting more of an adult rock-oriented style. In 1979 Thorpe signed a U.S. deal with American producer Spencer Proffer and recorded the ambitious science fiction/rock opera concept album Children of the Sun, which achieved Top 20 status in America, selling 500,000 copies. The follow-up album, 21st Century Man, also gained a U.S. gold record. The years that followed saw Thorpe concentrated on non-music business activities as diverse as electronics and toys, before forming Zoo with Mick Fleetwood in 1990. Anytime he visited Australia the "Most People I Know" Aztecs fans were ready to flock to any show Thorpe was prepared to mount. There's a ready-made audience there anytime "Thorpie" wants it.
In July 1996 Thorpe returned to Australia to live and authored two highly entertaining, best-selling books that only scratch the surface of his life and career, Sex Thugs and Rock'n'Roll and, naturally, Most People I Know. The singer spent the next decade touring and performing at benefit shows, including one in 2005 whose proceeds went to help victims of the devastating 2004 Indian Ocean tsunami. Sadly, on February 28, 2007, at the age of 60, Thorpe suffered a major heart attack and died later that day.
3001 - ALEJANDRO ESCOVEDO - Bourbonitis Blues (1999) (By Request)
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ALEJANDRO ESCOVEDO
''BOURBONITIS BLUES''
MAY 14 1999
38:12
1/I Was Drunk
Alejandro Escovedo/4:53
2/Irene Wilde
Ian Hunter/2:51
3/California Blues
Jimmie Rodgers/3:20
4/Guilty
Alejandro Escovedo/4:54
5/Amsterdam
John Cale/3:43
6/Everybody Loves Me
Alejandro Escovedo/3:25
7/Pale Blue Eyes
Lou Reed/6:15
8/Sacramento & Polk
Alejandro Escovedo/4:43
9/Sex Beat
Jeffrey Lee Pierce/4:08
Alejandro Escovedo /Guitar (Acoustic), Guitar (Electric), Vocals
Glenn Fukunaga /Bass
Joe Eddy Hines /Guitar (Acoustic), Guitar (Electric)
Kelly Hogan /Vocals
Jon Langford /Guitar (Acoustic), Vocals
Bill McCullough /Pedal Steel
Hector Muñoz /Drums
David Perales /Violin, Vocals (Background)
Chris Phillips /Drums, Percussion
Tom V. Ray /Bass
Chris Stamey /Bass, Guitar, Harmonium
Brian Standefer /Cello
Melissa Swingle /Harmonica, Vocals (Background)
REVIEW
by Mark Deming
After Alejandro Escovedo's relationship with Rykodisc came to a sudden halt following the release of an album by his glam punk side project Buick MacKane, he released two stopgap albums while writing the material for 2001's masterful A Man Under the Influence. More Miles Than Money: Live 1994-96 was a superb document of Escovedo's startlingly intimate live shows, but Bourbonitis Blues sounds like an odds-and-ends EP of covers, live tracks, and a few token new cuts that was somehow stretched to a 38-minute LP. The disc only features four original songs (one of which, "Guilty," is a remake of a tune from With These Hands), and while "I Was Drunk" is excellent, "Sacramento and Polk" and "Everybody Loves Me" suggest he was saving most of his A-list material for his next proper album. The rest of Bourbonitis Blues is filled up with covers, most of which are well worth hearing, especially his heart-rendering reading of Ian Hunter's "Irene Wilde," and a slow, ominous take on the Gun Club's "Sex Beat." But since Jon Langford happens to be singing lead on the take of "California Blues" featured here, it's not certain just what it's doing on an Alejandro Escovedo record. There isn't anything bad on Bourbonitis Blues, but there isn't a lot that's truly distinguished, either, and it's something of disappointment coming from one of the best singer/songwriters to emerge in the 1990s.
BIOGRAPHY
by John Bush
Alejandro Escovedo's family tree includes former Santana percussionist Pete Escovedo and Pete's daughter Sheila E (also Prince's former drummer and later a pop star). He began his music career with the Nuns, a mid-'70s punk band based in San Francisco. He co-founded the pioneering cowpunk band Rank and File in 1979, which moved to Austin, Texas in 1981 after a stint in New York City. The band released Sundown on Slash Records in 1982, but shortly after, Escovedo left to form the True Believers with brother Javier. The band recorded two albums for EMI and toured the country, often as an opening act for Los Lobos. However, EMI opted not to release the second album, which eventually led to the group's breakup. (It eventually surfaced as a bonus item when Rykodisc reissued the first set on CD in 1994.) Escovedo released a solo album in 1992 on Watermelon Records, Gravity, uniting his wide variety of styles; the album was produced by Stephen Bruton of Bonnie Raitt's band. Escovedo also began gigging periodically with the band Buick MacKane, which fused old-school punk with '70s glam rock; after Rykodisc released Escovedo's With These Hands in 1996, they followed it up with Buick MacKane's long-awaited album. After Escovedo parted ways with Rykodisc, he signed in 1998 with the Chicago-based alt-country label Bloodshot, which released the live album More Miles Than Money: Live 1994-1996 and the acclaimed studio set A Man Under the Influence. In April 2003, Escovedo collapsed following a show in Phoenix, AZ, after which it was subsequently revealed that he had been diagnosed with Hepatitis C in the late '90s but had not sought treatment. An outpouring of support from musicians led to a series of successful benefit concerts to help pay Escovedo's medical expenses and keep his music before the public, followed by a tribute album, Por Vida: A Tribute to the Songs of Alejandro Escovedo, which was released in 2004. In 2006, Escovedo released Boxing Mirror and toured with the Alejandro Escovedo String Quintet to promote the album. His next album, Real Animal, was produced by Tony Visconti and released in June 2008. Escovedo re-teamed with Visconti for 2010's Street Songs of Love. Visconti also produced his follow-up, Big Station, which was released in the early summer of 2012.
''BOURBONITIS BLUES''
MAY 14 1999
38:12
1/I Was Drunk
Alejandro Escovedo/4:53
2/Irene Wilde
Ian Hunter/2:51
3/California Blues
Jimmie Rodgers/3:20
4/Guilty
Alejandro Escovedo/4:54
5/Amsterdam
John Cale/3:43
6/Everybody Loves Me
Alejandro Escovedo/3:25
7/Pale Blue Eyes
Lou Reed/6:15
8/Sacramento & Polk
Alejandro Escovedo/4:43
9/Sex Beat
Jeffrey Lee Pierce/4:08
Alejandro Escovedo /Guitar (Acoustic), Guitar (Electric), Vocals
Glenn Fukunaga /Bass
Joe Eddy Hines /Guitar (Acoustic), Guitar (Electric)
Kelly Hogan /Vocals
Jon Langford /Guitar (Acoustic), Vocals
Bill McCullough /Pedal Steel
Hector Muñoz /Drums
David Perales /Violin, Vocals (Background)
Chris Phillips /Drums, Percussion
Tom V. Ray /Bass
Chris Stamey /Bass, Guitar, Harmonium
Brian Standefer /Cello
Melissa Swingle /Harmonica, Vocals (Background)
REVIEW
by Mark Deming
After Alejandro Escovedo's relationship with Rykodisc came to a sudden halt following the release of an album by his glam punk side project Buick MacKane, he released two stopgap albums while writing the material for 2001's masterful A Man Under the Influence. More Miles Than Money: Live 1994-96 was a superb document of Escovedo's startlingly intimate live shows, but Bourbonitis Blues sounds like an odds-and-ends EP of covers, live tracks, and a few token new cuts that was somehow stretched to a 38-minute LP. The disc only features four original songs (one of which, "Guilty," is a remake of a tune from With These Hands), and while "I Was Drunk" is excellent, "Sacramento and Polk" and "Everybody Loves Me" suggest he was saving most of his A-list material for his next proper album. The rest of Bourbonitis Blues is filled up with covers, most of which are well worth hearing, especially his heart-rendering reading of Ian Hunter's "Irene Wilde," and a slow, ominous take on the Gun Club's "Sex Beat." But since Jon Langford happens to be singing lead on the take of "California Blues" featured here, it's not certain just what it's doing on an Alejandro Escovedo record. There isn't anything bad on Bourbonitis Blues, but there isn't a lot that's truly distinguished, either, and it's something of disappointment coming from one of the best singer/songwriters to emerge in the 1990s.
BIOGRAPHY
by John Bush
Alejandro Escovedo's family tree includes former Santana percussionist Pete Escovedo and Pete's daughter Sheila E (also Prince's former drummer and later a pop star). He began his music career with the Nuns, a mid-'70s punk band based in San Francisco. He co-founded the pioneering cowpunk band Rank and File in 1979, which moved to Austin, Texas in 1981 after a stint in New York City. The band released Sundown on Slash Records in 1982, but shortly after, Escovedo left to form the True Believers with brother Javier. The band recorded two albums for EMI and toured the country, often as an opening act for Los Lobos. However, EMI opted not to release the second album, which eventually led to the group's breakup. (It eventually surfaced as a bonus item when Rykodisc reissued the first set on CD in 1994.) Escovedo released a solo album in 1992 on Watermelon Records, Gravity, uniting his wide variety of styles; the album was produced by Stephen Bruton of Bonnie Raitt's band. Escovedo also began gigging periodically with the band Buick MacKane, which fused old-school punk with '70s glam rock; after Rykodisc released Escovedo's With These Hands in 1996, they followed it up with Buick MacKane's long-awaited album. After Escovedo parted ways with Rykodisc, he signed in 1998 with the Chicago-based alt-country label Bloodshot, which released the live album More Miles Than Money: Live 1994-1996 and the acclaimed studio set A Man Under the Influence. In April 2003, Escovedo collapsed following a show in Phoenix, AZ, after which it was subsequently revealed that he had been diagnosed with Hepatitis C in the late '90s but had not sought treatment. An outpouring of support from musicians led to a series of successful benefit concerts to help pay Escovedo's medical expenses and keep his music before the public, followed by a tribute album, Por Vida: A Tribute to the Songs of Alejandro Escovedo, which was released in 2004. In 2006, Escovedo released Boxing Mirror and toured with the Alejandro Escovedo String Quintet to promote the album. His next album, Real Animal, was produced by Tony Visconti and released in June 2008. Escovedo re-teamed with Visconti for 2010's Street Songs of Love. Visconti also produced his follow-up, Big Station, which was released in the early summer of 2012.
October 27, 2012
3000 - BLITZEN TRAPPER - American Goldwing (2011)
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BLITZEN TRAPPER
''AMERICAN GOLDWING''
SEPTEMBER 13 2011
37:43
1. Might Find It Cheap/3:12
2. Fletcher/3:27
3. Love The Way You Walk Away/3:40
4. Your Crying Eyes/3:01
5. My Home Town/2:39
6. Girl In A Coat/3:39
7. American Goldwing/3:09
8. Astronaut/4:05
9. Taking It Easy Too Long/2:56
10. Street Fighting Sun/4:39
11. Stranger In A Strange Land/3:17
All Tracks By Eric Earley
REVIEW
by James Christopher Monger
After nearly a decade of flirtation, Blitzen Trapper finally took the plunge and dove headfirst into the lake in crafting American Goldwing, a straight-up, mid-'70s inspired Southern rock album that fuses the Saturday night swagger of Lynyrd Skynyrd with the stoic peasantry of The Band. Similar in sound and feel to fellow Pacific Northwesterners the Decemberists’ King is Dead, but sporting a darker patina of authenticity (which is odd, considering neither group has roots in the deep south), American Goldwing comes out of the gate howling with “Might Find It Cheap,” a taut and infectious, summer boot-stomper that sounds tailor-made to buckle the speakers in a second generation Pontiac Firebird. What follows is a lovingly balanced set of rural rockers (“Street Fighting Sun”) and dirt road ballads (“Girl in a Coat”) that sound about as far from the murky introspection of 2010’s Destroyer of the Void as one would expect from a band that continuously tries to reinvent themselves within their own psych-folk/alt-country/indie rock universe, and almost always succeeds.
BIOGRAPHY
by Kenyon Hopkin Blitzen Trapper's music went through various genres with each record, bouncing from indie folk to art rock to experimental folk before settling into a rich, dusty brand of Neil Young-inspired alt country. The band formed in 2000 in Portland, Oregon, with songwriter Eric Earley leading a lineup that also included Erik Menteer (guitar, keyboard), Brian Adrian Koch (drums, vocals), Michael Van Pelt (bass), Drew Laughery (keyboard), and Marty Marquis (keyboard, vocals). Before signing a record contract in 2007, the band released three albums on its own dime: an eponymous effort in 2003, Field Rexx in 2005, and the highly acclaimed Wild Mountain Nation in 2007. The latter album landed the group a record deal with Sub Pop.
With Sub Pop's help, the group hit a creative peak with 2008's Furr, a collection of 13 songs that found Blitzen Trapper boiling down its many influences into a cohesive, unique Americana sound. The Black River Killer EP followed in 2009, and the group spent part of that year working on a new full-length release, which arrived one year later in the form of Destroyer of the Void. When it came time to record the band's third Sub Pop release, American Goldwing, Blitzen Trapper opened the studio doors to outside collaborators for the first time, with Tchad Blake mixing the record and Gregg Williams co-producing. Musically, though, the guys kept things entirely within the family, reaching back to their '70s country and Southern rock influences without losing their contemporary appeal.
''AMERICAN GOLDWING''
SEPTEMBER 13 2011
37:43
1. Might Find It Cheap/3:12
2. Fletcher/3:27
3. Love The Way You Walk Away/3:40
4. Your Crying Eyes/3:01
5. My Home Town/2:39
6. Girl In A Coat/3:39
7. American Goldwing/3:09
8. Astronaut/4:05
9. Taking It Easy Too Long/2:56
10. Street Fighting Sun/4:39
11. Stranger In A Strange Land/3:17
All Tracks By Eric Earley
REVIEW
by James Christopher Monger
After nearly a decade of flirtation, Blitzen Trapper finally took the plunge and dove headfirst into the lake in crafting American Goldwing, a straight-up, mid-'70s inspired Southern rock album that fuses the Saturday night swagger of Lynyrd Skynyrd with the stoic peasantry of The Band. Similar in sound and feel to fellow Pacific Northwesterners the Decemberists’ King is Dead, but sporting a darker patina of authenticity (which is odd, considering neither group has roots in the deep south), American Goldwing comes out of the gate howling with “Might Find It Cheap,” a taut and infectious, summer boot-stomper that sounds tailor-made to buckle the speakers in a second generation Pontiac Firebird. What follows is a lovingly balanced set of rural rockers (“Street Fighting Sun”) and dirt road ballads (“Girl in a Coat”) that sound about as far from the murky introspection of 2010’s Destroyer of the Void as one would expect from a band that continuously tries to reinvent themselves within their own psych-folk/alt-country/indie rock universe, and almost always succeeds.
BIOGRAPHY
by Kenyon Hopkin Blitzen Trapper's music went through various genres with each record, bouncing from indie folk to art rock to experimental folk before settling into a rich, dusty brand of Neil Young-inspired alt country. The band formed in 2000 in Portland, Oregon, with songwriter Eric Earley leading a lineup that also included Erik Menteer (guitar, keyboard), Brian Adrian Koch (drums, vocals), Michael Van Pelt (bass), Drew Laughery (keyboard), and Marty Marquis (keyboard, vocals). Before signing a record contract in 2007, the band released three albums on its own dime: an eponymous effort in 2003, Field Rexx in 2005, and the highly acclaimed Wild Mountain Nation in 2007. The latter album landed the group a record deal with Sub Pop.
With Sub Pop's help, the group hit a creative peak with 2008's Furr, a collection of 13 songs that found Blitzen Trapper boiling down its many influences into a cohesive, unique Americana sound. The Black River Killer EP followed in 2009, and the group spent part of that year working on a new full-length release, which arrived one year later in the form of Destroyer of the Void. When it came time to record the band's third Sub Pop release, American Goldwing, Blitzen Trapper opened the studio doors to outside collaborators for the first time, with Tchad Blake mixing the record and Gregg Williams co-producing. Musically, though, the guys kept things entirely within the family, reaching back to their '70s country and Southern rock influences without losing their contemporary appeal.