Rounder
Näytetään tulokset 25–48 / 58
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Ingram Jack - Midnight Hotel (CD)
€18,00Quick ViewFrom the artist who brought us numerous hit songs including ”Wherever You Are”, ”Barefoot and Crazy,” ”Love You” and ”Barbie Doll,” along with ”Seeing Stars,” an incredible duet with songstress Patty Griffin, comes this concept project from Texas native Jack Ingram. On his eighth studio album, ’Midnight Motel’, Ingram finds the creative freedom to write his most expressive and emotionally raw songs to date. While the atmospheric yet, straightforward instrumentation brings a new found intimacy to the music of the artist who was named ”Best New Male Vocalist” by the Academy of Country Music in 2008. ’Midnight Motel’ ties together the razor’s edge felt in Ingram’s startlingly personal vocals and countless late nights spent writing music while on road.
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Seegers Doug - Going Down to the River (CD)
€18,00Quick ViewDoug Seegers’ 2014 debut solo album GOING DOWN TO THE RIVER is raw, rootsy and emotionally charged.
A brilliant 62-year-old singer who struggled with homelessness for years, Seegers found acclaim when Swedish music star Jill Johnson discovered him in a Nashville food pantry. The two subsequently recorded a duet that climbed to the top of the music charts in Sweden. This remarkable project – produced by Will Kimbrough (Todd Snider, Kate Campbell) at Nashville’s legendary Sound Emporium studios – features collaborations with multi-Grammy winners Buddy Miller and Emmylou Harris, both whom have championed the formerly down-and-out singer. This personal, introspective album includes ten Seeger originals and two covers, including a duet with Harris on the Gram Parsons original ’She.’ the album examines the full gamut of emotions from lonely despair to exalted salvation and melds such diverse moods as a Texas swing dance floor gem (’Hard Working Man’) to woe-is-me lament (’Pour Me’) to shuffling honky-tonk (’Baby Lost Her Way Home Again’)
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LaFarge Pokey - Something in the Water (CD)
€18,00Quick ViewPokey LaFarge makes original Midwestern music. With one foot deep in the heart of the American musical tradition and the other firmly planted in the present, he continually challenges the notion that tradition-bearers fail to push musical boundaries. An eclectic writer and performer, he incorporates elements of early jazz, ragtime, country blues, Western swing, and beyond, transcending the confines of genre to present a sound very much his own. Something In The Water follows on the heels of his last album but comes with an evolution in sound. Treated with a heavier dose of catchy rhythms and traditional drum kit percussion throughout, the 12 tracks on Something In The Water see LaFarge’s sound imbued with new life. Produced by kindred spirit Jimmy Sutton, Something In The Water showcases Pokey LaFarge’s peerless gifts as a songwriter, performer, and entertainer, and further solidifies his place at the forefront of American music.
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Gregg Allman - Southern Blood (CD)
€15,00Quick View2017 release, the final studio album from the late, great rock icon. Southern Blood serves as a remarkable final testament from an artist whose contributions have truly shaped rock ’n’ roll throughout the past four decades.
This is Allman’s first all-new recording since 2011’s Grammy Award-nominated solo landmark, Low Country Blues. Produced by Don Was and recorded in Muscle Shoals where Duane Allman and the earliest seeds of the Allman Brothers Band were sown, Southern Blood is among the most uniquely personal of the Rock & Roll Hall of Famer’s career.
This emotionally expansive collection of songs written by friends and favorite artists including Jackson Browne, Willie Dixon, Jerry Garcia & Robert Hunter, Lowell George and Spooner Oldham & Dan Penn serves as a salutary farewell to his legion of devoted fans and admirers.
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Guthrie Woody - American Radical Patriot 7CD + 10” (CD)
€140,00Quick View”Varauksia! limited boxi! Ilmestyy 22.10. Woody Guthrie: Radical American Patriot is a collection of material recorded ”in service” of the U.S. Government. Here are his complete Library of Congress interviews and musical performances recorded by Alan Lomax (released in their entirety for the first time); his songs written while employed by the Bonneville Power Administration, including a previously unreleased, minor key version of ”Pastures of Plenty”; a set of previously unheard home demonstration recordings of songs made for a late 1940s public health service VD education program; three radio skits, including two for the Office of War Information during the Second World War; and a number of other radio performances made in support of the war effort. It’s a sweeping overview both of a transitional period in American history, and of the prolific, multi-faceted life of Woody Guthrie.”
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Martin Steve & Edie Brickell - Love Has Come For You (CD)
€18,00Quick Viewhis is a fine bluegrass album by two very good musicians. The album contains 13 compact songs featuring Brickell’s vocals, Steve Martin’s banjo and some very discreet percussion, plus some richer string arrangements at times. The songs are original and listenable, and many tell a story as bluegrass songs so often do. They are all original compositions with Martin’s music and Brickell’s lyrics and are unpretentious and straightforward but have genuine quality about them. Melodies and words are interesting and at times arresting, and the performances are very good indeed.It has been said before but it’s worth repeating that Steve Martin is genuinely a very good banjo player and musician. Edie Brickell, too, is a terrific singer with an individual style which I love, and she writes thoughtful, quirky and intelligent lyrics. This adds up to good songs, very well performed. My only reservation is that, somehow, I found that listening to the whole album at once got a bit much and I could have done with a little more variety to leaven the experience, but in smaller batches of a few songs at a time it’s really good.Recommended to anyone who likes original and intelligent bluegrass music.
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Son Volt - Honky Tonk (LP)
€22,00Quick ViewUncle Tupelo pretty much established the subgenre of alt-country in 1990 with the release of No Depression, and the band’s two main songwriters and singers, Jay Farrar and Jeff Tweedy, seemed to fulfill the promise that Gram Parsons, the Flying Burrito Brothers, and the Sweetheart of the Rodeo-era Byrds had mapped out over two decades before, a perfect synthesis of rock and country. When Uncle Tupelo split in 1993, Tweedy, always more on the pop side of things, formed Wilco, which enjoyed commercial and critical success, while Farrar, who mapped out the moodier, more hangdog country side of things, formed Son Volt, a band with no aspirations for the charts, indie or otherwise, and while Son Volt’s albums have been strong, interesting, and decidedly uncommercial ever since, they all lead, it seems, to this new one, Honky Tonk, which arrives at last squarely in country territory (more specifically, the Bakersfield country of Buck Owens and Merle Haggard), with nary an electric guitar in sight. Full of slow and midtempo waltzes and shuffles, and framed and led by pedal steel guitars and twin fiddles, along with Farrar’s weary, never-in-a-big-hurry, laid-back (but somehow mysteriously intense) vocals, Honky Tonk is full of a beautiful, thoughtful, and almost Zen-like approach to life, all set against a classic old-school Bakersfield country backdrop. Songs here like Hearts and Minds,” ”Wild Side,” ”Bakersfield,” ”Angel of the Blues,” and ”Shine On” aren’t rave-ups, and aren’t bitter barroom apologies, but are filled instead with a kind of stubborn hope and joy, made perhaps even more powerful for being from the 21st century while sounding like they came from the century before. The whole album accumulates in a powerful, meditative way, and its themes are less about drinking and trying to forget the past than they are about making peace with the past and trying to remember it and use it as a spark and a springboard to the future. Honky Tonk is country facing forward informed by the past.”
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Son Volt - Honky Tonk (CD)
€18,00Quick ViewUncle Tupelo pretty much established the subgenre of alt-country in 1990 with the release of No Depression, and the band’s two main songwriters and singers, Jay Farrar and Jeff Tweedy, seemed to fulfill the promise that Gram Parsons, the Flying Burrito Brothers, and the Sweetheart of the Rodeo-era Byrds had mapped out over two decades before, a perfect synthesis of rock and country. When Uncle Tupelo split in 1993, Tweedy, always more on the pop side of things, formed Wilco, which enjoyed commercial and critical success, while Farrar, who mapped out the moodier, more hangdog country side of things, formed Son Volt, a band with no aspirations for the charts, indie or otherwise, and while Son Volt’s albums have been strong, interesting, and decidedly uncommercial ever since, they all lead, it seems, to this new one, Honky Tonk, which arrives at last squarely in country territory (more specifically, the Bakersfield country of Buck Owens and Merle Haggard), with nary an electric guitar in sight. Full of slow and midtempo waltzes and shuffles, and framed and led by pedal steel guitars and twin fiddles, along with Farrar’s weary, never-in-a-big-hurry, laid-back (but somehow mysteriously intense) vocals, Honky Tonk is full of a beautiful, thoughtful, and almost Zen-like approach to life, all set against a classic old-school Bakersfield country backdrop. Songs here like Hearts and Minds,” ”Wild Side,” ”Bakersfield,” ”Angel of the Blues,” and ”Shine On” aren’t rave-ups, and aren’t bitter barroom apologies, but are filled instead with a kind of stubborn hope and joy, made perhaps even more powerful for being from the 21st century while sounding like they came from the century before. The whole album accumulates in a powerful, meditative way, and its themes are less about drinking and trying to forget the past than they are about making peace with the past and trying to remember it and use it as a spark and a springboard to the future. Honky Tonk is country facing forward informed by the past.”
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Roomful Of Blues - Hook, Line & Sinker (CD)
€20,00Quick View”Roomful of Blues have been playing their blistering take on the jump blues for over 35 years and through numerous personnel changes. Only saxman Rich Lataille is left from the band’s best-known lineup, and even he joined after Roomful of Blues had been playing beer joints for three years, but their sound still remains as rough and tough as ever and that’s a good thing indeed. On Hook, Line & Sinker they’re doing what they’ve always done, and as the provocative album cover suggests, they remain capable of delivering a platter full of sly, sexy stompers. There aren’t any originals this time around; instead they trot out a bunch of juke joint classics and infuse them with their own special brand of soulful grit. Chris Vachon’s slinky guitar pulls you into the opener, ”That’s a Pretty Good Love,” a tune made popular by Big Maybelle. Vachon’s long, serpentine solo complements the song’s smoldering message. Vocalist Phil Pemberton shines on ”Kill Me,” with a soulful, growling vocal worthy of the Don & Dewey original, while he shows off his tender side on Floyd Dixon’s ”Time Brings About a Change,” which features an intricate late-night piano solo by Travis Colby. But like all good Roomful albums, it’s the uptempo numbers that really make you want to hit the replay button. Vachon lets loose on the smokin’ instrumental ”Gate Walks to Board,” then steps aside to let Lataille, Mark Earley, and trumpeter Doug Woolverton trade wailing solos. They play the bouncy title track, a tune by Dave BartholomewPearl King that Smiley Lewis had a hit on, with the pedal to the metal. Gatemoth Brown’s ”She Walks Right In” gets the full jump blues treatment, with John Turner’s acoustic bass pushing the band into overdrive and the horn section wailing like a chorus of desperate drunks at closing time on Saturday night. ~ j. poet, Rovi”
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Allman Gregg - Low Country Blues (CD)
€20,00Quick ViewGiven his place in the pantheon of American rock music, Gregg Allman’s solo career away from the Allman Brothers Band has been generally disappointing. Perhaps that’s why it took nearly a decade between his previous album, 1997’s Searching for Simplicity (its title alone indicates his frustrations) and 1988’s over-produced yet underwhelming Just Before the Bullets Fly. A whopping 14 years later, Allman joins forces with roots producer to the stars T-Bone Burnett, hoping that some of the latter’s mojo can rub off on a singer who is one of the great white soul and blues vocalists in rock music. For the most part it does, as the duo choose 11 relatively obscure covers from classic artists such as Bobby Blue” Bland, Junior Wells, and B.B. King that have clearly influenced Allman’s musical approach. The backing is organic but far from stripped-down with horns, multiple guitars, and even background vocalists supporting the singer’s patented crusty growl. From the opening raw thump of the ominous Sleepy John Estes’ ”Floating Bridge” to a peppy yet intense take on Muddy Waters’ ”I Can’t be Satisfied” and a fiery reworking of Magic Sam’s ”My Love Is Your Love,” Allman sounds invested and inspired by this material and his musical surroundings. Veterans such as Dr. John (credited here with his real name, Mac Rebennack), Doyle Bramhall II, and Burnett’s often used rhythm section of drummer Jay Bellerose and Dennis Crouch on bass keep a taut yet easygoing lock on the groove. That’s particularly evident on the predominantly acoustic version of Skip James’ ”Devil Got My Woman.” The horns that appear on five tunes never overpower the sound yet help propel Allman’s soul-searing performance of Bland’s ”Blind Man.” Ditto for Otis Rush’s slow blues ”Checking on My Baby,” which brings the vocalist back to his ”Stormy Monday”-styled beginnings. One original co-written with Allman Brothers Band guitarist Warren Haynes, ”Just Another Rider,” while not a terrible song, pales in comparison with the rest of the material and could have been saved for the next Brothers album, where it might make a better fit. Allman is credited with B-3 on the majority of the tunes, but his contributions are generally mixed so low as to be nearly inaudible. His organ can be heard on a low-down run-through of Amos Milburn’s ”Tears, Tears, Tears” that captures a sweet, jazzy noir West Coast blues. It adds up to Allman’s best and surely most focused and cohesive solo release, and one where the template can hopefully be repeated in less time than it took this to appear. ~ Hal Horowitz, Rovi”
