Top Ten Folk Music Sales |
Top Ten Folk
Raising Sand by Robert Plant, Alison Krauss
Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002). No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies--almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer T Bone Burnette, the third star of the album, who culled mostly lesser-known material from some of the great writers of blues, country, folk, gospel, and R&B, including Tom Waits, Townes Van Zandt, Milt Campbell, the Everly Brothers, Sam Phillips, and A.D. and Rosa Lee Watson. At times, Burnette's spare and deliberate soundscape--incisively crafted by guitarists Marc Ribot and Norman Blake, bassist Dennis Crouch, drummer Jay Bellerose, and multi-instrumentalist Mike Seeger, among others--is nearly as dreamy and subterranean as Daniel Lanois's work with Emmylou Harris (Wrecking Ball). Occasionally, Burnette opts for a fairly straightforward production while still reworking the original song (Plant's own "Please Read the Letter," Mel Tillis's "Stick with Me, Baby"). But much of the new flesh on these old bones is oddly unsettling, if not nightmarish. On the opening track of "Rich Woman," the soft-as-clouds vocals strike an optimistic mood, while the instrumental backing--loose snare, ominous bass line, and insinuating electric guitar lines--create a spooky, sinister undertow. Plant and Krauss trade out the solo and harmony vocals, and while they both venture into new waters here (Krauss as a mainstream blues mama, Plant as a gospel singer and honkytonker), she steals the show in Sam Phillips' new "Sister Rosetta Goes Before Us," where a dramatic violin and tremulous banjo strike a foreboding gypsy tone. When Krauss begins this strange, seductive song in a voice so ethereal that angels will take note, you may stop breathing. That, among other reasons, makes Raising Sand an album to die for. --Alanna Nash Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002). No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies--almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer T Bone Burnette, the third star of the album, who culled mostly lesser-known material from some of the great writers of blues, country, folk, gospel, and R&B, including Tom Waits, Townes Van Zandt, Milt Campbell, the Everly Brothers, Sam Phillips, and A.D. and Rosa Lee Watson. At times, Burnette's spare and deliberate soundscape--incisively crafted by guitarists Marc Ribot and Norman Blake, bassist Dennis Crouch, drummer Jay Bellerose, and multi-instrumentalist Mike Seeger, among others--is nearly as dreamy and subterranean as Daniel Lanois's work with Emmylou Harris (Wrecking Ball). Occasionally, Burnette opts for a fairly straightforward production while still reworking the original song (Plant's own "Please Read the Letter," Mel Tillis's "Stick with Me, Baby"). But much of the new flesh on these old bones is oddly unsettling, if not nightmarish. On the opening track of "Rich Woman," the soft-as-clouds vocals strike an optimistic mood, while the instrumental backing--loose snare, ominous bass line, and insinuating electric guitar lines--create a spooky, sinister undertow. Plant and Krauss trade out the solo and harmony vocals, and while they both venture into new waters here (Krauss as a mainstream blues mama, Plant as a gospel singer and honkytonker), she steals the show in Sam Phillips' new "Sister Rosetta Goes Before Us," where a dramatic violin and tremulous banjo strike a foreboding gypsy tone. When Krauss begins this strange, seductive song in a voice so ethereal that angels will take note, you may stop breathing. That, among other reasons, makes Raising Sand an album to die for. --Alanna Nash Release Date: 23 October, 2007 Audio CD More Info... List Price: $18.98 Our Price: $11.99 
Once by Original Soundtrack
Even those allergic to musicals may be won over by Once, a tender-hearted Irish romance with songs by Czech Republic–born Markéta Irglová and Frames frontman Glen Hansard. (The film's director, John Carney, actually used to play bass in the group.) The trick here is that Irglová and Hansard also play the leads; because their characters are shown busking, writing music, or rehearsing, the songs are smoothly integrated in the film. The overall acoustic mood won't surprise fans of the Frames--some tracks ("Say It to Me," "When Your Mind's Made Up") have even popped up on the band's albums, though the arrangements are more pared-down here, befitting the scruffy, street-musician setting. Being the lesser-known entity, Irglová feels like a revelation; she sounds a bit like a folkie Björk on "If You Want Me," and her song "The Hill" is downright heartbreaking. Irglová and Hansard had already made the 2006 album The Swell Seasontogether, so their collaboration here feels really organic--they sound particularly good together on the title track, for instance. Now that's the kind of magic you want from musicals. --Elisabeth Vincentelli Even those allergic to musicals may be won over by Once, a tender-hearted Irish romance with songs by Czech Republic–born Markéta Irglová and Frames frontman Glen Hansard. (The film's director, John Carney, actually used to play bass in the group.) The trick here is that Irglová and Hansard also play the leads; because their characters are shown busking, writing music, or rehearsing, the songs are smoothly integrated in the film. The overall acoustic mood won't surprise fans of the Frames--some tracks ("Say It to Me," "When Your Mind's Made Up") have even popped up on the band's albums, though the arrangements are more pared-down here, befitting the scruffy, street-musician setting. Being the lesser-known entity, Irglová feels like a revelation; she sounds a bit like a folkie Björk on "If You Want Me," and her song "The Hill" is downright heartbreaking. Irglová and Hansard had already made the 2006 album The Swell Seasontogether, so their collaboration here feels really organic--they sound particularly good together on the title track, for instance. Now that's the kind of magic you want from musicals. --Elisabeth Vincentelli Release Date: 22 May, 2007 Audio CD More Info... List Price: $13.98 Our Price: $8.99 
Little Voice by Sara Bareilles
For many listeners, Little Voice will be their first exposure to this soulful singer/songwriter, but it's actually Sara Bareilles' second record. Her first, the self-released Careful Confessions, led to a deal with Epic. Since then, Bareilles has opened for Marc Broussard and Maroon 5. She's also become a bonafide soundtrack queen with tracks featured in female-centric films Girl Play, Loving Annabelle, and Monster-in-Law. As with her out-of-print debut, the UCLA grad wrote every song on her first major label recording (Little Voice features re-worked versions of several demo numbers). Like the portrait on the back of the CD--Bareilles in strappy black dress and lace-free high-tops--the piano-playing chanteuse combines the sweet with the scruffy. While her jazzy pop melodies are radio-ready, her relationship-oriented lyrics can be unexpectedly salty ("Bottle Up" and "Come Round Soon" wouldn't pass FCC muster). A little profanity here and there, however, doesn't indicate tough-girl attitude--Amy Winehouse can rest easy--so much as a desire to express herself freely. As Bareilles explains in "Love Song," "I'm trying to let you hear me as I am." (Not surprisingly, her degree is in communications.) Fans of Sarah McLachlan and Alicia Keyes will find much to like here. --Kathleen C. Fennessy For many listeners, Little Voice will be their first exposure to this soulful singer/songwriter, but it's actually Sara Bareilles' second record. Her first, the self-released Careful Confessions, led to a deal with Epic. Since then, Bareilles has opened for Marc Broussard and Maroon 5. She's also become a bonafide soundtrack queen with tracks featured in female-centric films Girl Play, Loving Annabelle, and Monster-in-Law. As with her out-of-print debut, the UCLA grad wrote every song on her first major label recording (Little Voice features re-worked versions of several demo numbers). Like the portrait on the back of the CD--Bareilles in strappy black dress and lace-free high-tops--the piano-playing chanteuse combines the sweet with the scruffy. While her jazzy pop melodies are radio-ready, her relationship-oriented lyrics can be unexpectedly salty ("Bottle Up" and "Come Round Soon" wouldn't pass FCC muster). A little profanity here and there, however, doesn't indicate tough-girl attitude--Amy Winehouse can rest easy--so much as a desire to express herself freely. As Bareilles explains in "Love Song," "I'm trying to let you hear me as I am." (Not surprisingly, her degree is in communications.) Fans of Sarah McLachlan and Alicia Keyes will find much to like here. --Kathleen C. Fennessy Release Date: 03 July, 2007 Audio CD More Info... List Price: $12.98 Our Price: $9.97 
Jukebox - Deluxe Edition by Cat Power
Release Date: 22 January, 2008 Audio CD More Info... List Price: $18.98 Our Price: $12.99 
Watershed by k.d. lang
In her first quarter-century in the music business, Canadian k.d. lang has gone from straight-up country artist to iconic pop songstress, with many side-steps into pop, jazz, and show tunes along the way. An eight-year break since her last record of originals (2000’s Invincible Summer) has re-channeled and recharged both the songwriter and that brightly toned voice that lies within. In assembling this intimate 11-song album, which features many of her enduring collaborators but is defined by her powerhouse vocals, lang drew inspiration from all her favorite musical styles. The bass- and string-driven "Coming Home" and "I Dream of Spring"--a Spanish-style pop dream accented with Greg Leisz’s signature steel guitar--are easy picks for "Constant Craving"-like success, yet Watershed’s magnetism is captured in the expansion of lang’s songwriting palette: the hushed jazz of "Flame of the Uninspired," the Brazilian jolts of "Upstream," and the absolute rawness of "Jealous Dog," which strips away any studio veneer, leaving that voice as pure and bewitching as ever. --Scott Holter In her first quarter-century in the music business, Canadian k.d. lang has gone from straight-up country artist to iconic pop songstress, with many side-steps into pop, jazz, and show tunes along the way. An eight-year break since her last record of originals (2000’s Invincible Summer) has re-channeled and recharged both the songwriter and that brightly toned voice that lies within. In assembling this intimate 11-song album, which features many of her enduring collaborators but is defined by her powerhouse vocals, lang drew inspiration from all her favorite musical styles. The bass- and string-driven "Coming Home" and "I Dream of Spring"--a Spanish-style pop dream accented with Greg Leisz’s signature steel guitar--are easy picks for "Constant Craving"-like success, yet Watershed’s magnetism is captured in the expansion of lang’s songwriting palette: the hushed jazz of "Flame of the Uninspired," the Brazilian jolts of "Upstream," and the absolute rawness of "Jealous Dog," which strips away any studio veneer, leaving that voice as pure and bewitching as ever. --Scott Holter Release Date: 05 February, 2008 Audio CD More Info... List Price: $18.98 Our Price: $14.99 
Coco by Colbie Caillat
Even without MySpace, singer/songwriter Colbie Caillat is sure to have found an audience, but her oft-accessed page accelerated the process, mostly on the strength of the effervescent "Bubbly." On her first full-length album, the California native conjures up clear skies and warm breezes. Not that the lyrics revolve around her stomping grounds of Malibu and Ventura County, but her mellow melodies sound like products of those places (co-writer Jason Reeves' ukulele playing reinforces the beach music impression). Instead, Caillat sings about love in all its guises, as on "Capri," a tribute to a mother-to-be. The daughter of audio engineer Ken Caillat (Fleetwood Mac's Rumours), who provides production assistance, Colbie combines acoustic pop, light jazz, and blue-eyed soul on Coco. Despite her young age--22 at the time of its release--the record seems likely to attract an older audience, although her sunny singing manages to sound centered and spirited at the same time. Coco doesn't offer anything startlingly new, but its relaxing vibe is hard to resist. --Kathleen C. Fennessy Even without MySpace, singer/songwriter Colbie Caillat is sure to have found an audience, but her oft-accessed page accelerated the process, mostly on the strength of the effervescent "Bubbly." On her first full-length album, the California native conjures up clear skies and warm breezes. Not that the lyrics revolve around her stomping grounds of Malibu and Ventura County, but her mellow melodies sound like products of those places (co-writer Jason Reeves' ukulele playing reinforces the beach music impression). Instead, Caillat sings about love in all its guises, as on "Capri," a tribute to a mother-to-be. The daughter of audio engineer Ken Caillat (Fleetwood Mac's Rumours), who provides production assistance, Colbie combines acoustic pop, light jazz, and blue-eyed soul on Coco. Despite her young age--22 at the time of its release--the record seems likely to attract an older audience, although her sunny singing manages to sound centered and spirited at the same time. Coco doesn't offer anything startlingly new, but its relaxing vibe is hard to resist. --Kathleen C. Fennessy Release Date: 17 July, 2007 Audio CD More Info... List Price: $10.99 Our Price: $7.99 
Once by Original Soundtrack
Release Date: 04 December, 2007 Audio CD More Info... List Price: $18.98 Our Price: $11.99 
Watershed Deluxe Limited Edition by k.d. lang
Release Date: 05 February, 2008 Audio CD More Info... List Price: $23.98 Our Price: $22.99 
Music for the Motion Picture Into the Wild by Eddie Vedder
Taking a break from his day job fronting rock heavyweight Pearl Jam, Eddie Vedder immerses himself into the big-screen story of a young man who gives all his money to charity and hitchhikes to a new life--and his eventual death--in the wilds of Alaska. Prompted by the film's creator, Sean Penn, to contribute to the musical score, the Seattle musician tackled the entire project, playing every instrument on the soundtrack's nine original and two cover songs. Vedder contemplates the traveler "setting forth in the universe" in the opener "Setting Forth," then tracks in the remaining songs the realizations and disillusionments that follow. A wish comes true in banjo-plucked "No Ceiling" to "up and disappear," while affluence is questioned on the hard-rocking "Far Behind," with Vedder singing, "Empty pockets will/Allow a greater sense of wealth." No song in the album's first half exceeds two-and-a-half minutes, remedied by Vedder's pertinent five-minute stamp on the remake of Indio's "Hard Sun," complete with eerie backing vocals by Sleater-Kinney's Corin Tucker. The songwriter puts wealth on the hot seat in "Society," questioning, "If less is more/How you keepin' score?" The darkly sung folk song bookends the reticent declaration "Guaranteed," wonderfully delivered and quietly strummed, in which the prodigal Vedder wraps the journey in one line: "Leave it to me as I find a way to be/Consider me a satellite forever orbiting." (The record is packaged like a hardcover book, with vivid photography and lyrics.) --Scott Holter Taking a break from his day job fronting rock heavyweight Pearl Jam, Eddie Vedder immerses himself into the big-screen story of a young man who gives all his money to charity and hitchhikes to a new life--and his eventual death--in the wilds of Alaska. Prompted by the film's creator, Sean Penn, to contribute to the musical score, the Seattle musician tackled the entire project, playing every instrument on the soundtrack's nine original and two cover songs. Vedder contemplates the traveler "setting forth in the universe" in the opener "Setting Forth," then tracks in the remaining songs the realizations and disillusionments that follow. A wish comes true in banjo-plucked "No Ceiling" to "up and disappear," while affluence is questioned on the hard-rocking "Far Behind," with Vedder singing, "Empty pockets will/Allow a greater sense of wealth." No song in the album's first half exceeds two-and-a-half minutes, remedied by Vedder's pertinent five-minute stamp on the remake of Indio's "Hard Sun," complete with eerie backing vocals by Sleater-Kinney's Corin Tucker. The songwriter puts wealth on the hot seat in "Society," questioning, "If less is more/How you keepin' score?" The darkly sung folk song bookends the reticent declaration "Guaranteed," wonderfully delivered and quietly strummed, in which the prodigal Vedder wraps the journey in one line: "Leave it to me as I find a way to be/Consider me a satellite forever orbiting." (The record is packaged like a hardcover book, with vivid photography and lyrics.) --Scott Holter Release Date: 18 September, 2007 Audio CD More Info... List Price: $18.98 Our Price: $12.99 
Dirt Farmer by Levon Helm
Levon Helm's early solo albums, made in the 1970s after the Band initially broke up, were hit-and-miss affairs, but his first solo studio release in 25 years represents a rich return to his Southern roots. With co-production and musical support from daughter Amy (of Ollabelle) and multi-instrumentalist Larry Campbell (long a mainstay of Bob Dylan's band), Helm gives organic unity and rough-hewn vitality to a selection of Cajun fiddle waltzes, country blues, hardscrabble folk, and some more contemporary material (from the likes of Steve Earle and Buddy and Julie Miller). Following his recovery from throat cancer, Helm's voice has a slightly different timbre, but his phrasing is unmistakable as the same vocalist who sang "The Night They Drove Old Dixie Down" and "Rag Mama Rag." With Amy providing harmony and duet vocals and Levon's drumming evoking his signature work with the Band, Helm takes material from a variety of sources and makes it all his own. --Don McLeese Levon Helm's early solo albums, made in the 1970s after the Band initially broke up, were hit-and-miss affairs, but his first solo studio release in 25 years represents a rich return to his Southern roots. With co-production and musical support from daughter Amy (of Ollabelle) and multi-instrumentalist Larry Campbell (long a mainstay of Bob Dylan's band), Helm gives organic unity and rough-hewn vitality to a selection of Cajun fiddle waltzes, country blues, hardscrabble folk, and some more contemporary material (from the likes of Steve Earle and Buddy and Julie Miller). Following his recovery from throat cancer, Helm's voice has a slightly different timbre, but his phrasing is unmistakable as the same vocalist who sang "The Night They Drove Old Dixie Down" and "Rag Mama Rag." With Amy providing harmony and duet vocals and Levon's drumming evoking his signature work with the Band, Helm takes material from a variety of sources and makes it all his own. --Don McLeese Release Date: 30 October, 2007 Audio CD More Info... List Price: $16.98 Our Price: $12.99 |
Contemporary Folk
Raising Sand by Robert Plant, Alison Krauss
Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002). No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies--almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer T Bone Burnette, the third star of the album, who culled mostly lesser-known material from some of the great writers of blues, country, folk, gospel, and R&B, including Tom Waits, Townes Van Zandt, Milt Campbell, the Everly Brothers, Sam Phillips, and A.D. and Rosa Lee Watson. At times, Burnette's spare and deliberate soundscape--incisively crafted by guitarists Marc Ribot and Norman Blake, bassist Dennis Crouch, drummer Jay Bellerose, and multi-instrumentalist Mike Seeger, among others--is nearly as dreamy and subterranean as Daniel Lanois's work with Emmylou Harris (Wrecking Ball). Occasionally, Burnette opts for a fairly straightforward production while still reworking the original song (Plant's own "Please Read the Letter," Mel Tillis's "Stick with Me, Baby"). But much of the new flesh on these old bones is oddly unsettling, if not nightmarish. On the opening track of "Rich Woman," the soft-as-clouds vocals strike an optimistic mood, while the instrumental backing--loose snare, ominous bass line, and insinuating electric guitar lines--create a spooky, sinister undertow. Plant and Krauss trade out the solo and harmony vocals, and while they both venture into new waters here (Krauss as a mainstream blues mama, Plant as a gospel singer and honkytonker), she steals the show in Sam Phillips' new "Sister Rosetta Goes Before Us," where a dramatic violin and tremulous banjo strike a foreboding gypsy tone. When Krauss begins this strange, seductive song in a voice so ethereal that angels will take note, you may stop breathing. That, among other reasons, makes Raising Sand an album to die for. --Alanna Nash Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002). No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies--almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer T Bone Burnette, the third star of the album, who culled mostly lesser-known material from some of the great writers of blues, country, folk, gospel, and R&B, including Tom Waits, Townes Van Zandt, Milt Campbell, the Everly Brothers, Sam Phillips, and A.D. and Rosa Lee Watson. At times, Burnette's spare and deliberate soundscape--incisively crafted by guitarists Marc Ribot and Norman Blake, bassist Dennis Crouch, drummer Jay Bellerose, and multi-instrumentalist Mike Seeger, among others--is nearly as dreamy and subterranean as Daniel Lanois's work with Emmylou Harris (Wrecking Ball). Occasionally, Burnette opts for a fairly straightforward production while still reworking the original song (Plant's own "Please Read the Letter," Mel Tillis's "Stick with Me, Baby"). But much of the new flesh on these old bones is oddly unsettling, if not nightmarish. On the opening track of "Rich Woman," the soft-as-clouds vocals strike an optimistic mood, while the instrumental backing--loose snare, ominous bass line, and insinuating electric guitar lines--create a spooky, sinister undertow. Plant and Krauss trade out the solo and harmony vocals, and while they both venture into new waters here (Krauss as a mainstream blues mama, Plant as a gospel singer and honkytonker), she steals the show in Sam Phillips' new "Sister Rosetta Goes Before Us," where a dramatic violin and tremulous banjo strike a foreboding gypsy tone. When Krauss begins this strange, seductive song in a voice so ethereal that angels will take note, you may stop breathing. That, among other reasons, makes Raising Sand an album to die for. --Alanna Nash Release Date: 23 October, 2007 Audio CD More Info... List Price: $18.98 Our Price: $11.99
Once by Original Soundtrack
Even those allergic to musicals may be won over by Once, a tender-hearted Irish romance with songs by Czech Republic–born Markéta Irglová and Frames frontman Glen Hansard. (The film's director, John Carney, actually used to play bass in the group.) The trick here is that Irglová and Hansard also play the leads; because their characters are shown busking, writing music, or rehearsing, the songs are smoothly integrated in the film. The overall acoustic mood won't surprise fans of the Frames--some tracks ("Say It to Me," "When Your Mind's Made Up") have even popped up on the band's albums, though the arrangements are more pared-down here, befitting the scruffy, street-musician setting. Being the lesser-known entity, Irglová feels like a revelation; she sounds a bit like a folkie Björk on "If You Want Me," and her song "The Hill" is downright heartbreaking. Irglová and Hansard had already made the 2006 album The Swell Seasontogether, so their collaboration here feels really organic--they sound particularly good together on the title track, for instance. Now that's the kind of magic you want from musicals. --Elisabeth Vincentelli Even those allergic to musicals may be won over by Once, a tender-hearted Irish romance with songs by Czech Republic–born Markéta Irglová and Frames frontman Glen Hansard. (The film's director, John Carney, actually used to play bass in the group.) The trick here is that Irglová and Hansard also play the leads; because their characters are shown busking, writing music, or rehearsing, the songs are smoothly integrated in the film. The overall acoustic mood won't surprise fans of the Frames--some tracks ("Say It to Me," "When Your Mind's Made Up") have even popped up on the band's albums, though the arrangements are more pared-down here, befitting the scruffy, street-musician setting. Being the lesser-known entity, Irglová feels like a revelation; she sounds a bit like a folkie Björk on "If You Want Me," and her song "The Hill" is downright heartbreaking. Irglová and Hansard had already made the 2006 album The Swell Seasontogether, so their collaboration here feels really organic--they sound particularly good together on the title track, for instance. Now that's the kind of magic you want from musicals. --Elisabeth Vincentelli Release Date: 22 May, 2007 Audio CD More Info... List Price: $13.98 Our Price: $8.99
Little Voice by Sara Bareilles
For many listeners, Little Voice will be their first exposure to this soulful singer/songwriter, but it's actually Sara Bareilles' second record. Her first, the self-released Careful Confessions, led to a deal with Epic. Since then, Bareilles has opened for Marc Broussard and Maroon 5. She's also become a bonafide soundtrack queen with tracks featured in female-centric films Girl Play, Loving Annabelle, and Monster-in-Law. As with her out-of-print debut, the UCLA grad wrote every song on her first major label recording (Little Voice features re-worked versions of several demo numbers). Like the portrait on the back of the CD--Bareilles in strappy black dress and lace-free high-tops--the piano-playing chanteuse combines the sweet with the scruffy. While her jazzy pop melodies are radio-ready, her relationship-oriented lyrics can be unexpectedly salty ("Bottle Up" and "Come Round Soon" wouldn't pass FCC muster). A little profanity here and there, however, doesn't indicate tough-girl attitude--Amy Winehouse can rest easy--so much as a desire to express herself freely. As Bareilles explains in "Love Song," "I'm trying to let you hear me as I am." (Not surprisingly, her degree is in communications.) Fans of Sarah McLachlan and Alicia Keyes will find much to like here. --Kathleen C. Fennessy For many listeners, Little Voice will be their first exposure to this soulful singer/songwriter, but it's actually Sara Bareilles' second record. Her first, the self-released Careful Confessions, led to a deal with Epic. Since then, Bareilles has opened for Marc Broussard and Maroon 5. She's also become a bonafide soundtrack queen with tracks featured in female-centric films Girl Play, Loving Annabelle, and Monster-in-Law. As with her out-of-print debut, the UCLA grad wrote every song on her first major label recording (Little Voice features re-worked versions of several demo numbers). Like the portrait on the back of the CD--Bareilles in strappy black dress and lace-free high-tops--the piano-playing chanteuse combines the sweet with the scruffy. While her jazzy pop melodies are radio-ready, her relationship-oriented lyrics can be unexpectedly salty ("Bottle Up" and "Come Round Soon" wouldn't pass FCC muster). A little profanity here and there, however, doesn't indicate tough-girl attitude--Amy Winehouse can rest easy--so much as a desire to express herself freely. As Bareilles explains in "Love Song," "I'm trying to let you hear me as I am." (Not surprisingly, her degree is in communications.) Fans of Sarah McLachlan and Alicia Keyes will find much to like here. --Kathleen C. Fennessy Release Date: 03 July, 2007 Audio CD More Info... List Price: $12.98 Our Price: $9.97
Watershed by k.d. lang
In her first quarter-century in the music business, Canadian k.d. lang has gone from straight-up country artist to iconic pop songstress, with many side-steps into pop, jazz, and show tunes along the way. An eight-year break since her last record of originals (2000’s Invincible Summer) has re-channeled and recharged both the songwriter and that brightly toned voice that lies within. In assembling this intimate 11-song album, which features many of her enduring collaborators but is defined by her powerhouse vocals, lang drew inspiration from all her favorite musical styles. The bass- and string-driven "Coming Home" and "I Dream of Spring"--a Spanish-style pop dream accented with Greg Leisz’s signature steel guitar--are easy picks for "Constant Craving"-like success, yet Watershed’s magnetism is captured in the expansion of lang’s songwriting palette: the hushed jazz of "Flame of the Uninspired," the Brazilian jolts of "Upstream," and the absolute rawness of "Jealous Dog," which strips away any studio veneer, leaving that voice as pure and bewitching as ever. --Scott Holter In her first quarter-century in the music business, Canadian k.d. lang has gone from straight-up country artist to iconic pop songstress, with many side-steps into pop, jazz, and show tunes along the way. An eight-year break since her last record of originals (2000’s Invincible Summer) has re-channeled and recharged both the songwriter and that brightly toned voice that lies within. In assembling this intimate 11-song album, which features many of her enduring collaborators but is defined by her powerhouse vocals, lang drew inspiration from all her favorite musical styles. The bass- and string-driven "Coming Home" and "I Dream of Spring"--a Spanish-style pop dream accented with Greg Leisz’s signature steel guitar--are easy picks for "Constant Craving"-like success, yet Watershed’s magnetism is captured in the expansion of lang’s songwriting palette: the hushed jazz of "Flame of the Uninspired," the Brazilian jolts of "Upstream," and the absolute rawness of "Jealous Dog," which strips away any studio veneer, leaving that voice as pure and bewitching as ever. --Scott Holter Release Date: 05 February, 2008 Audio CD More Info... List Price: $18.98 Our Price: $14.99
Coco by Colbie Caillat
Even without MySpace, singer/songwriter Colbie Caillat is sure to have found an audience, but her oft-accessed page accelerated the process, mostly on the strength of the effervescent "Bubbly." On her first full-length album, the California native conjures up clear skies and warm breezes. Not that the lyrics revolve around her stomping grounds of Malibu and Ventura County, but her mellow melodies sound like products of those places (co-writer Jason Reeves' ukulele playing reinforces the beach music impression). Instead, Caillat sings about love in all its guises, as on "Capri," a tribute to a mother-to-be. The daughter of audio engineer Ken Caillat (Fleetwood Mac's Rumours), who provides production assistance, Colbie combines acoustic pop, light jazz, and blue-eyed soul on Coco. Despite her young age--22 at the time of its release--the record seems likely to attract an older audience, although her sunny singing manages to sound centered and spirited at the same time. Coco doesn't offer anything startlingly new, but its relaxing vibe is hard to resist. --Kathleen C. Fennessy Even without MySpace, singer/songwriter Colbie Caillat is sure to have found an audience, but her oft-accessed page accelerated the process, mostly on the strength of the effervescent "Bubbly." On her first full-length album, the California native conjures up clear skies and warm breezes. Not that the lyrics revolve around her stomping grounds of Malibu and Ventura County, but her mellow melodies sound like products of those places (co-writer Jason Reeves' ukulele playing reinforces the beach music impression). Instead, Caillat sings about love in all its guises, as on "Capri," a tribute to a mother-to-be. The daughter of audio engineer Ken Caillat (Fleetwood Mac's Rumours), who provides production assistance, Colbie combines acoustic pop, light jazz, and blue-eyed soul on Coco. Despite her young age--22 at the time of its release--the record seems likely to attract an older audience, although her sunny singing manages to sound centered and spirited at the same time. Coco doesn't offer anything startlingly new, but its relaxing vibe is hard to resist. --Kathleen C. Fennessy Release Date: 17 July, 2007 Audio CD More Info... List Price: $10.99 Our Price: $7.99
Once by Original Soundtrack
Release Date: 04 December, 2007 Audio CD More Info... List Price: $18.98 Our Price: $11.99
Watershed Deluxe Limited Edition by k.d. lang
Release Date: 05 February, 2008 Audio CD More Info... List Price: $23.98 Our Price: $22.99
Music for the Motion Picture Into the Wild by Eddie Vedder
Taking a break from his day job fronting rock heavyweight Pearl Jam, Eddie Vedder immerses himself into the big-screen story of a young man who gives all his money to charity and hitchhikes to a new life--and his eventual death--in the wilds of Alaska. Prompted by the film's creator, Sean Penn, to contribute to the musical score, the Seattle musician tackled the entire project, playing every instrument on the soundtrack's nine original and two cover songs. Vedder contemplates the traveler "setting forth in the universe" in the opener "Setting Forth," then tracks in the remaining songs the realizations and disillusionments that follow. A wish comes true in banjo-plucked "No Ceiling" to "up and disappear," while affluence is questioned on the hard-rocking "Far Behind," with Vedder singing, "Empty pockets will/Allow a greater sense of wealth." No song in the album's first half exceeds two-and-a-half minutes, remedied by Vedder's pertinent five-minute stamp on the remake of Indio's "Hard Sun," complete with eerie backing vocals by Sleater-Kinney's Corin Tucker. The songwriter puts wealth on the hot seat in "Society," questioning, "If less is more/How you keepin' score?" The darkly sung folk song bookends the reticent declaration "Guaranteed," wonderfully delivered and quietly strummed, in which the prodigal Vedder wraps the journey in one line: "Leave it to me as I find a way to be/Consider me a satellite forever orbiting." (The record is packaged like a hardcover book, with vivid photography and lyrics.) --Scott Holter Taking a break from his day job fronting rock heavyweight Pearl Jam, Eddie Vedder immerses himself into the big-screen story of a young man who gives all his money to charity and hitchhikes to a new life--and his eventual death--in the wilds of Alaska. Prompted by the film's creator, Sean Penn, to contribute to the musical score, the Seattle musician tackled the entire project, playing every instrument on the soundtrack's nine original and two cover songs. Vedder contemplates the traveler "setting forth in the universe" in the opener "Setting Forth," then tracks in the remaining songs the realizations and disillusionments that follow. A wish comes true in banjo-plucked "No Ceiling" to "up and disappear," while affluence is questioned on the hard-rocking "Far Behind," with Vedder singing, "Empty pockets will/Allow a greater sense of wealth." No song in the album's first half exceeds two-and-a-half minutes, remedied by Vedder's pertinent five-minute stamp on the remake of Indio's "Hard Sun," complete with eerie backing vocals by Sleater-Kinney's Corin Tucker. The songwriter puts wealth on the hot seat in "Society," questioning, "If less is more/How you keepin' score?" The darkly sung folk song bookends the reticent declaration "Guaranteed," wonderfully delivered and quietly strummed, in which the prodigal Vedder wraps the journey in one line: "Leave it to me as I find a way to be/Consider me a satellite forever orbiting." (The record is packaged like a hardcover book, with vivid photography and lyrics.) --Scott Holter Release Date: 18 September, 2007 Audio CD More Info... List Price: $18.98 Our Price: $12.99
One Cell In the Sea by A Fine Frenzy
A Fine Frenzy is actually just a fine young singer-songwriter from Seattle, born Alison Sudol. A self-taught piano player, on her debut album she pairs sweeping orchestral arrangements with dreamlike lyrics inspired by the classic works of fantasy writers like CS Lewis, EB White, and Lewis Carroll. Add to that a propensity for frilly shirts and cryptic song titles such as "The Minnow & the Trout" and you half-expect to find a back alley Joanna Newsom. Instead Sudol specializes in accessible pop epics, the kind of songs that fit perfectly over the end credits of a great Hollywood tearjerker. Despite the gentle melancholia that runs through "Ashes and Wine" and "You Picked Me," each tune arrives wrapped in an exuberant melody and topped by the singer's commanding voice. On the disc's standout moment, "Almost Lover," she shows she can do simplicity as well, musing over a sublime piano medley, "Shoulda known you'd bring me heartache/ Oh, most lovers always do." --Aidin Vaziri A Fine Frenzy is actually just a fine young singer-songwriter from Seattle, born Alison Sudol. A self-taught piano player, on her debut album she pairs sweeping orchestral arrangements with dreamlike lyrics inspired by the classic works of fantasy writers like CS Lewis, EB White, and Lewis Carroll. Add to that a propensity for frilly shirts and cryptic song titles such as "The Minnow & the Trout" and you half-expect to find a back alley Joanna Newsom. Instead Sudol specializes in accessible pop epics, the kind of songs that fit perfectly over the end credits of a great Hollywood tearjerker. Despite the gentle melancholia that runs through "Ashes and Wine" and "You Picked Me," each tune arrives wrapped in an exuberant melody and topped by the singer's commanding voice. On the disc's standout moment, "Almost Lover," she shows she can do simplicity as well, musing over a sublime piano medley, "Shoulda known you'd bring me heartache/ Oh, most lovers always do." --Aidin Vaziri Release Date: 17 July, 2007 Audio CD More Info... List Price: $12.98 Our Price: $9.99
Unfamiliar Faces by Matt Costa
Release Date: 22 January, 2008 Audio CD More Info... List Price: $13.98 Our Price: $9.99 Traditional Folk
Raising Sand by Robert Plant, Alison Krauss
Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002). No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies--almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer T Bone Burnette, the third star of the album, who culled mostly lesser-known material from some of the great writers of blues, country, folk, gospel, and R&B, including Tom Waits, Townes Van Zandt, Milt Campbell, the Everly Brothers, Sam Phillips, and A.D. and Rosa Lee Watson. At times, Burnette's spare and deliberate soundscape--incisively crafted by guitarists Marc Ribot and Norman Blake, bassist Dennis Crouch, drummer Jay Bellerose, and multi-instrumentalist Mike Seeger, among others--is nearly as dreamy and subterranean as Daniel Lanois's work with Emmylou Harris (Wrecking Ball). Occasionally, Burnette opts for a fairly straightforward production while still reworking the original song (Plant's own "Please Read the Letter," Mel Tillis's "Stick with Me, Baby"). But much of the new flesh on these old bones is oddly unsettling, if not nightmarish. On the opening track of "Rich Woman," the soft-as-clouds vocals strike an optimistic mood, while the instrumental backing--loose snare, ominous bass line, and insinuating electric guitar lines--create a spooky, sinister undertow. Plant and Krauss trade out the solo and harmony vocals, and while they both venture into new waters here (Krauss as a mainstream blues mama, Plant as a gospel singer and honkytonker), she steals the show in Sam Phillips' new "Sister Rosetta Goes Before Us," where a dramatic violin and tremulous banjo strike a foreboding gypsy tone. When Krauss begins this strange, seductive song in a voice so ethereal that angels will take note, you may stop breathing. That, among other reasons, makes Raising Sand an album to die for. --Alanna Nash Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002). No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies--almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer T Bone Burnette, the third star of the album, who culled mostly lesser-known material from some of the great writers of blues, country, folk, gospel, and R&B, including Tom Waits, Townes Van Zandt, Milt Campbell, the Everly Brothers, Sam Phillips, and A.D. and Rosa Lee Watson. At times, Burnette's spare and deliberate soundscape--incisively crafted by guitarists Marc Ribot and Norman Blake, bassist Dennis Crouch, drummer Jay Bellerose, and multi-instrumentalist Mike Seeger, among others--is nearly as dreamy and subterranean as Daniel Lanois's work with Emmylou Harris (Wrecking Ball). Occasionally, Burnette opts for a fairly straightforward production while still reworking the original song (Plant's own "Please Read the Letter," Mel Tillis's "Stick with Me, Baby"). But much of the new flesh on these old bones is oddly unsettling, if not nightmarish. On the opening track of "Rich Woman," the soft-as-clouds vocals strike an optimistic mood, while the instrumental backing--loose snare, ominous bass line, and insinuating electric guitar lines--create a spooky, sinister undertow. Plant and Krauss trade out the solo and harmony vocals, and while they both venture into new waters here (Krauss as a mainstream blues mama, Plant as a gospel singer and honkytonker), she steals the show in Sam Phillips' new "Sister Rosetta Goes Before Us," where a dramatic violin and tremulous banjo strike a foreboding gypsy tone. When Krauss begins this strange, seductive song in a voice so ethereal that angels will take note, you may stop breathing. That, among other reasons, makes Raising Sand an album to die for. --Alanna Nash Release Date: 23 October, 2007 Audio CD More Info... List Price: $18.98 Our Price: $11.99
A Hundred Miles or More: A Collection by Alison Krauss
A Hundred Miles or More carries the subtitle A Collection, and what a curious collection it is--cuts from soundtracks, side projects, and tribute albums, plus guest duets on other artists' albums and five previously unreleased tracks. In other words, this is a collection of Alison Krauss performances that have never appeared on an Alison Krauss album, though it holds together better than such a grab-bag approach might suggest. Highlights such as her duet with Brad Paisley on "Whiskey Lullaby" and her a cappella rendition of "Down to the River to Pray" from O Brother, Where Art Thou? will be familiar to most Krauss fans, though it's doubtful that many share her infatuation with retro rocker John Waite (with whom she revives his "Missing You" and duets on a cover of Don Williams's "Lay Down Beside Me."). Other projects represented range from Disney to the Chieftains to the Louvin Brothers (she duets with James Taylor on their "How's the World Treating You." There's minimal contribution from her Union Station band--making this a solo release by default--and little information to indicate whether the previously unreleased tracks were outtakes from earlier releases or recently recorded for this one. --Don McLeese More Alison Krauss
A Hundred Miles or More carries the subtitle A Collection, and what a curious collection it is--cuts from soundtracks, side projects, and tribute albums, plus guest duets on other artists' albums and five previously unreleased tracks. In other words, this is a collection of Alison Krauss performances that have never appeared on an Alison Krauss album, though it holds together better than such a grab-bag approach might suggest. Highlights such as her duet with Brad Paisley on "Whiskey Lullaby" and her a cappella rendition of "Down to the River to Pray" from O Brother, Where Art Thou? will be familiar to most Krauss fans, though it's doubtful that many share her infatuation with retro rocker John Waite (with whom she revives his "Missing You" and duets on a cover of Don Williams's "Lay Down Beside Me."). Other projects represented range from Disney to the Chieftains to the Louvin Brothers (she duets with James Taylor on their "How's the World Treating You." There's minimal contribution from her Union Station band--making this a solo release by default--and little information to indicate whether the previously unreleased tracks were outtakes from earlier releases or recently recorded for this one. --Don McLeese More Alison Krauss
Release Date: 03 April, 2007 Audio CD More Info... List Price: $17.98 Our Price: $11.97
O Brother, Where Art Thou? by Various Artists - Soundtrack, John Turturro, Tim Blake Nelson, John Goodman, Holly Hunter, Chris Thomas King, Charles Durning, Del Pentecost, Michael Badalucco, J.R. Horne
The best soundtracks are like movies for the ears, and O Brother, Where Art Thou? joins the likes of Saturday Night Fever and The Harder They Come as cinematic pinnacles of song. The music from the Coen brothers' Depression-era film taps into the source from which the purest strains of country, blues, bluegrass, folk, and gospel music flow. Producer T Bone Burnett enlists the voices of Alison Krauss, Gillian Welch, Emmylou Harris, Ralph Stanley, and kindred spirits for performances of traditional material, in arrangements that are either a cappella or feature bare-bones accompaniment. Highlights range from the aching purity of Krauss's "Down to the River to Pray" to the plainspoken faith of the Whites' "Keep on the Sunny Side" to Stanley's chillingly plaintive "O Death." The album's spiritual centerpiece finds Krauss, Welch, and Harris harmonizing on "Didn't Leave Nobody but the Baby," a gospel lullaby that sounds like a chorus of Appalachian angels. --Don McLeese The best soundtracks are like movies for the ears, and O Brother, Where Art Thou? joins the likes of Saturday Night Fever and The Harder They Come as cinematic pinnacles of song. The music from the Coen brothers' Depression-era film taps into the source from which the purest strains of country, blues, bluegrass, folk, and gospel music flow. Producer T Bone Burnett enlists the voices of Alison Krauss, Gillian Welch, Emmylou Harris, Ralph Stanley, and kindred spirits for performances of traditional material, in arrangements that are either a cappella or feature bare-bones accompaniment. Highlights range from the aching purity of Krauss's "Down to the River to Pray" to the plainspoken faith of the Whites' "Keep on the Sunny Side" to Stanley's chillingly plaintive "O Death." The album's spiritual centerpiece finds Krauss, Welch, and Harris harmonizing on "Didn't Leave Nobody but the Baby," a gospel lullaby that sounds like a chorus of Appalachian angels. --Don McLeese Release Date: 05 December, 2000 Audio CD More Info... List Price: $13.98 Our Price: $10.97
Songbird by Eva Cassidy
Songbird cherry-picks tracks from the three locally released albums of Eva Cassidy, whose hauntingly beautiful vocals went virtually unheard outside her native Washington, D.C., during her short 33 years with us. Lost to melanoma in 1996, Cassidy sang with an unaffected purity and an astonishing ability to make both classic and contemporary songs sound like they were written just for her. Sting's "Fields of Gold" finally lives up to its title through the alchemy of Cassidy's transcendent rendition, while other tracks on this anthology showcase her ease in the realms of pop (Christine McVie's "Songbird"), soul ("People Get Ready"), gospel ("Wade on the Water"), and traditional standards ("Autumn Leaves" and "Over the Rainbow"). Framed by understated jazz and pop arrangements, Cassidy's clear, soulful voice and exquisite phrasing make her that rarest of vocalists whose interpretations are a complement to any song. A fine introduction to a true talent. --Billy Grenier Songbird cherry-picks tracks from the three locally released albums of Eva Cassidy, whose hauntingly beautiful vocals went virtually unheard outside her native Washington, D.C., during her short 33 years with us. Lost to melanoma in 1996, Cassidy sang with an unaffected purity and an astonishing ability to make both classic and contemporary songs sound like they were written just for her. Sting's "Fields of Gold" finally lives up to its title through the alchemy of Cassidy's transcendent rendition, while other tracks on this anthology showcase her ease in the realms of pop (Christine McVie's "Songbird"), soul ("People Get Ready"), gospel ("Wade on the Water"), and traditional standards ("Autumn Leaves" and "Over the Rainbow"). Framed by understated jazz and pop arrangements, Cassidy's clear, soulful voice and exquisite phrasing make her that rarest of vocalists whose interpretations are a complement to any song. A fine introduction to a true talent. --Billy Grenier Release Date: 19 May, 1998 Audio CD More Info... List Price: $16.98 Our Price: $12.97
O by Damien Rice
Irish troubadour Damien Rice doesn't so much reinvent the folk genre on this lush, impossibly mature debut album as push its boundaries in several compelling musical directions at once--all the more remarkable considering the album was largely self-produced and home-recorded. His songs revolve around familiar, bittersweet concerns of life, love, and their attendant frustrations, but delivered with conspiratorial intimacy on melodic wings (like on the graceful "Cannonball") that Rice seems almost embarrassed to share. If there's anything like a template here, it's "The Blower's Daughter," the song that first attracted the interest/stewardship of film composer David Arnold (whose guest production provides "Amie" with expansive cinematic elegance) and became a massive Irish hit. His plaintive vocal, embroidered by the mournful solo cello of Vyvienne Long, is suddenly brightened by an instrumental flourish and Lisa Hannigan's vocals--before just as quickly wafting on the breeze. With touches that range from "Day in the Life"-styled string collages to the dizzy, exhilarating neo-operatic excesses of the 16-minute "Eskimo," Rice's musical palate here is as adventurous as his songs are grounded in emotional intimacy. --Jerry McCulley Irish troubadour Damien Rice doesn't so much reinvent the folk genre on this lush, impossibly mature debut album as push its boundaries in several compelling musical directions at once--all the more remarkable considering the album was largely self-produced and home-recorded. His songs revolve around familiar, bittersweet concerns of life, love, and their attendant frustrations, but delivered with conspiratorial intimacy on melodic wings (like on the graceful "Cannonball") that Rice seems almost embarrassed to share. If there's anything like a template here, it's "The Blower's Daughter," the song that first attracted the interest/stewardship of film composer David Arnold (whose guest production provides "Amie" with expansive cinematic elegance) and became a massive Irish hit. His plaintive vocal, embroidered by the mournful solo cello of Vyvienne Long, is suddenly brightened by an instrumental flourish and Lisa Hannigan's vocals--before just as quickly wafting on the breeze. With touches that range from "Day in the Life"-styled string collages to the dizzy, exhilarating neo-operatic excesses of the 16-minute "Eskimo," Rice's musical palate here is as adventurous as his songs are grounded in emotional intimacy. --Jerry McCulley Release Date: 10 June, 2003 Audio CD More Info... List Price: $18.98 Our Price: $10.97
The Very Best of Peter, Paul & Mary by Peter Paul & Mary
Release Date: 23 August, 2005 Audio CD More Info... List Price: $18.98 Our Price: $11.97
Gordon Lightfoot - Complete Greatest Hits by Gordon Lightfoot
Though he rose from the ranks of journeyman '60s folksinger to become a potent and consistent '70s hit maker, Canadian singer-songwriter Gordon Lightfoot's stock in trade was as much hard-eyed, dispassionate observation as romance or poetic whimsy. Perhaps that's why his songs have been covered by everyone from Elvis (this set's "Early Morning Rain") to Dylan. If there's such a thing as an alpha-male folkie, Lightfoot certainly fits the bill. Spanning the tongue-in-cheek chauvinism of 1965's "For Lovin' Me" and the cheatin' ways of "Sundown" to more introspective fare like "If You Could Read My Mind" and "Beautiful," this 20-track collection presents a concise primer on Lightfoot's career and craft. After his career peaked with one of the most unlikely top five hits ever, the gloom-laden 1976 narrative "The Wreck of the Edmund Fitzgerald," Lightfoot's production tailed off sharply, though this anthology's "Stay Loose" ('86) and "Restless" ('93) are testament to his enduring skills as a songwriter and performer. --Jerry McCulley Though he rose from the ranks of journeyman '60s folksinger to become a potent and consistent '70s hit maker, Canadian singer-songwriter Gordon Lightfoot's stock in trade was as much hard-eyed, dispassionate observation as romance or poetic whimsy. Perhaps that's why his songs have been covered by everyone from Elvis (this set's "Early Morning Rain") to Dylan. If there's such a thing as an alpha-male folkie, Lightfoot certainly fits the bill. Spanning the tongue-in-cheek chauvinism of 1965's "For Lovin' Me" and the cheatin' ways of "Sundown" to more introspective fare like "If You Could Read My Mind" and "Beautiful," this 20-track collection presents a concise primer on Lightfoot's career and craft. After his career peaked with one of the most unlikely top five hits ever, the gloom-laden 1976 narrative "The Wreck of the Edmund Fitzgerald," Lightfoot's production tailed off sharply, though this anthology's "Stay Loose" ('86) and "Restless" ('93) are testament to his enduring skills as a songwriter and performer. --Jerry McCulley Release Date: 02 April, 2002 Audio CD More Info... List Price: $18.98 Our Price: $10.97
Watch the Sky by Patty Larkin
"Traveling alone is a wonderful thing," sings Patty Larkin on her first album of original material in five years. She means it. As producer, mixer, writer, and the only musician involved, Larkin embarks on as much a solo project as you can get. The veteran folkie plays everything from bass to baritone guitar, banjo, and bazouki on these 12 introspective tracks. Some, like "Hallelujah" and the opening "Phone Message," are driven by subtle, loping drum loops. Everything is overdubbed, including Larkin’s lovely, dusky singing, but there is never an insular feel to this atmospheric set. With its bubbling percussion, dissonant bluesy slide guitar, and spooky vibe, "Beautiful" tells of walking in a park with a somewhat ominous musical undercurrent to lyrics that infer, but don’t specify, impending danger. Larkin plays more conventional folk guitar on "Dear Heart," but on the most arresting songs, she pushes and prods the sound--and her layered vocals--in more experimental, less traditional directions. The tinge of Billie Holiday even creeps into her voice on "Walking in my Sleep," one of the project’s most compelling moments. This music demands time and attention. It unravels gracefully and gradually, repeated spins yielding previously hidden details that drift over the listener like a humid fog on a summer’s morning. --Hal Horowitz "Traveling alone is a wonderful thing," sings Patty Larkin on her first album of original material in five years. She means it. As producer, mixer, writer, and the only musician involved, Larkin embarks on as much a solo project as you can get. The veteran folkie plays everything from bass to baritone guitar, banjo, and bazouki on these 12 introspective tracks. Some, like "Hallelujah" and the opening "Phone Message," are driven by subtle, loping drum loops. Everything is overdubbed, including Larkin’s lovely, dusky singing, but there is never an insular feel to this atmospheric set. With its bubbling percussion, dissonant bluesy slide guitar, and spooky vibe, "Beautiful" tells of walking in a park with a somewhat ominous musical undercurrent to lyrics that infer, but don’t specify, impending danger. Larkin plays more conventional folk guitar on "Dear Heart," but on the most arresting songs, she pushes and prods the sound--and her layered vocals--in more experimental, less traditional directions. The tinge of Billie Holiday even creeps into her voice on "Walking in my Sleep," one of the project’s most compelling moments. This music demands time and attention. It unravels gracefully and gradually, repeated spins yielding previously hidden details that drift over the listener like a humid fog on a summer’s morning. --Hal Horowitz Release Date: 22 January, 2008 Audio CD More Info... List Price: $16.98 Our Price: $12.99
California Bloodlines by John Stewart
Release Date: 06 August, 2007 Audio CD More Info... List Price: $18.98 Our Price: $14.99
People Take Warning! Murder Ballads & Disaster Songs 1913-1938 by Various Artists
Release Date: 25 September, 2007 Audio CD More Info... List Price: $51.98 Our Price: $39.97 |
Live Folk Music
![Rufus Does Judy At Carnegie Hall [2 CD] by Rufus Wainwright](http://ecx.images-amazon.com/images/I/31HG-CDrxTL.jpg)
Rufus Does Judy At Carnegie Hall [2 CD] by Rufus Wainwright
Release Date: 04 December, 2007 Audio CD More Info... List Price: $24.98 Our Price: $19.99
Nights from the Alhambra - (Jewel 2 CD + DVD) by Loreena McKennitt
After nearly a decade off the scene, Loreena McKennitt returned to the performance and recording stage in 2006 and 2007. The Canadian singer picked up exactly where she left off, traveling through the Celtic-Middle Eastern fusions she explored on The Book of Secrets with her latest studio album, An Ancient Muse. Now, with momentum behind her, she's released a DVD document of her performance at Alhambra palace in Granada, Spain. This is the same performance that has been running on PBS station pledge drives for the last year, but with a double CD included. McKennitt's renditions of songs from An Ancient Muse and her earlier albums are impeccable. As she is something of a perfectionist, there isn't much deviation from the original studio versions, but McKennitt is in fine voice and the band gets to rave it up a few times on tracks like "The Bonny Swans," where violinist Hugh Marsh and guitarist Brian Hughes trade increasingly frantic leads. This is an expanded group for McKennitt, with players from England, Greece, and the Middle East playing oud, dumbek, kanoun, hurdy-gurdy, duduk, and other ancient sounds from the British Isles to Turkey. The advantage of this edition of the Alhambra performance over that seen on PBS is that we're spared McKennitt's earnest and precious interstitials, talking about the location and her inspirations while slowly running her hands over Celtic carvings. But if you want it, that version of the performance is also on the DVD, as the commentary track. The CDs wisely drop even the between-song patter, which is fine, but not something to sit through on repeated listenings. Although the performance is beautifully, if conventionally filmed, and it's great to see this virtuoso band playing in communion, it's ultimately McKennitt's songs themselves that brim with visual imagery as she creates her ancient evocations as effectively on the concert stage as she does in the studio. --John Diliberto More from Loreena McKennitt
After nearly a decade off the scene, Loreena McKennitt returned to the performance and recording stage in 2006 and 2007. The Canadian singer picked up exactly where she left off, traveling through the Celtic-Middle Eastern fusions she explored on The Book of Secrets with her latest studio album, An Ancient Muse. Now, with momentum behind her, she's released a DVD document of her performance at Alhambra palace in Granada, Spain. This is the same performance that has been running on PBS station pledge drives for the last year, but with a double CD included. McKennitt's renditions of songs from An Ancient Muse and her earlier albums are impeccable. As she is something of a perfectionist, there isn't much deviation from the original studio versions, but McKennitt is in fine voice and the band gets to rave it up a few times on tracks like "The Bonny Swans," where violinist Hugh Marsh and guitarist Brian Hughes trade increasingly frantic leads. This is an expanded group for McKennitt, with players from England, Greece, and the Middle East playing oud, dumbek, kanoun, hurdy-gurdy, duduk, and other ancient sounds from the British Isles to Turkey. The advantage of this edition of the Alhambra performance over that seen on PBS is that we're spared McKennitt's earnest and precious interstitials, talking about the location and her inspirations while slowly running her hands over Celtic carvings. But if you want it, that version of the performance is also on the DVD, as the commentary track. The CDs wisely drop even the between-song patter, which is fine, but not something to sit through on repeated listenings. Although the performance is beautifully, if conventionally filmed, and it's great to see this virtuoso band playing in communion, it's ultimately McKennitt's songs themselves that brim with visual imagery as she creates her ancient evocations as effectively on the concert stage as she does in the studio. --John Diliberto More from Loreena McKennitt
Release Date: 21 August, 2007 Audio CD More Info... List Price: $26.98 Our Price: $21.99
Live at Blues Alley by Eva Cassidy
When Eva Cassidy is swinging her way through "Cheek to Cheek" and getting down and bluesy on "Stormy Monday" on this live set from 1996, it's nigh impossible not to get swept up in her voice's vast, barreling force. Her full range, though, becomes most obvious--and soul-shaking--on the slower side, as with Paul Simon's "Bridge over Troubled Water," Buffy Sainte-Marie's "Tall Trees in Georgia," and "What a Wonderful World." On these latter tunes, Cassidy's mix of aching clarity and rich warmth has a melting quality, speaking through the body to some evanescent presence that she seems to know all too well. She improbably makes Sting's "Fields of Gold" an emotional powerhouse just as easily as she makes Billie Holiday's "Fine and Mellow" an offhand declaration of feeling equal to nearly anything in the jazz vocal canon. In doing so she earns her place among the great singers--artists who could take any song and stamp it indelibly as their own. What Eva Cassidy had in her short life was an unbelievably perfect voice and a musical soul that grasped gospel, folk, blues, jazz, and all points in between as if they were mere stops on a single train ride. Alas, her ride ended in 1996, tragically early. --Andrew Bartlett When Eva Cassidy is swinging her way through "Cheek to Cheek" and getting down and bluesy on "Stormy Monday" on this live set from 1996, it's nigh impossible not to get swept up in her voice's vast, barreling force. Her full range, though, becomes most obvious--and soul-shaking--on the slower side, as with Paul Simon's "Bridge over Troubled Water," Buffy Sainte-Marie's "Tall Trees in Georgia," and "What a Wonderful World." On these latter tunes, Cassidy's mix of aching clarity and rich warmth has a melting quality, speaking through the body to some evanescent presence that she seems to know all too well. She improbably makes Sting's "Fields of Gold" an emotional powerhouse just as easily as she makes Billie Holiday's "Fine and Mellow" an offhand declaration of feeling equal to nearly anything in the jazz vocal canon. In doing so she earns her place among the great singers--artists who could take any song and stamp it indelibly as their own. What Eva Cassidy had in her short life was an unbelievably perfect voice and a musical soul that grasped gospel, folk, blues, jazz, and all points in between as if they were mere stops on a single train ride. Alas, her ride ended in 1996, tragically early. --Andrew Bartlett Release Date: 28 July, 1998 Audio CD More Info... List Price: $16.98 Our Price: $12.97
Something Old, New, Borrowed, And Some Blues by Dan Fogelberg
Release Date: 30 May, 2000 Audio CD More Info... List Price: $17.98 Our Price: $13.99
Pieces of You by Jewel
Jewel's debut album, Pieces of You, reveals a special voice--strong and focused on both the whispery verses and the hooky choruses. The recording also exposes an unfortunate tendency to present trite, hackneyed sentiments as if they were oracular visions from a young prophet to a jaded world. For the most part, Jewel sings to her own acoustic guitar accompaniment, but she has a lot more in common with, say, the Indigo Girls or Lisa Loeb than with Judy Collins or Nanci Griffith. Despite her soft soprano and pretty melodies, her songs have an iconoclastic edge which make her more of an unplugged alternative rocker than a folkie. Her songs too often betray their origins as written verse in their hard-to-sing meters, unmusical phrasing, and diary-like pronouncements. Nonetheless, a few numbers, such as "Morning Song" and "You Were Meant for Me," show a spark of humor about romance, and hint that Jewel may yet write songs worthy of her remarkable voice. --Geoffrey Himes Jewel's debut album, Pieces of You, reveals a special voice--strong and focused on both the whispery verses and the hooky choruses. The recording also exposes an unfortunate tendency to present trite, hackneyed sentiments as if they were oracular visions from a young prophet to a jaded world. For the most part, Jewel sings to her own acoustic guitar accompaniment, but she has a lot more in common with, say, the Indigo Girls or Lisa Loeb than with Judy Collins or Nanci Griffith. Despite her soft soprano and pretty melodies, her songs have an iconoclastic edge which make her more of an unplugged alternative rocker than a folkie. Her songs too often betray their origins as written verse in their hard-to-sing meters, unmusical phrasing, and diary-like pronouncements. Nonetheless, a few numbers, such as "Morning Song" and "You Were Meant for Me," show a spark of humor about romance, and hint that Jewel may yet write songs worthy of her remarkable voice. --Geoffrey Himes Release Date: 28 February, 1995 Audio CD More Info... List Price: $13.98 Our Price: $8.97
MTV Unplugged by 10,000 Maniacs
Release Date: 26 October, 1993 Audio CD More Info... List Price: $11.98 Our Price: $8.97
The Bootleg Series, Vol. 4: Bob Dylan Live, 1966: The "Royal Albert Hall Concert" by Bob Dylan
Nineteen ninety-eight: The same year he dances with Soy Bomb at the Grammys, his record label finally issues Bob Dylan's ultimate live document. A classic case of not giving the audience what they want but what they need, Mr. Dylan's oft-bootlegged 1966 gig begins with lovely and supple folk that foreshadows folk music's turn from protest song to introspection. The album's true highlight is the legendarily ill received and rocked-out electric set, with Dylan backed by members of the Band. There are too many perfect, on-fire guitar solos by Robbie Robertson to count, and Dylan himself responds to the audience's angry bewilderment with equal parts menace, grace, and brilliance. --Mike McGonigal Nineteen ninety-eight: The same year he dances with Soy Bomb at the Grammys, his record label finally issues Bob Dylan's ultimate live document. A classic case of not giving the audience what they want but what they need, Mr. Dylan's oft-bootlegged 1966 gig begins with lovely and supple folk that foreshadows folk music's turn from protest song to introspection. The album's true highlight is the legendarily ill received and rocked-out electric set, with Dylan backed by members of the Band. There are too many perfect, on-fire guitar solos by Robbie Robertson to count, and Dylan himself responds to the audience's angry bewilderment with equal parts menace, grace, and brilliance. --Mike McGonigal Release Date: 13 October, 1998 Audio CD More Info... List Price: $19.98 Our Price: $10.97
Live From the Union Chapel by Damien Rice
Release Date: 04 December, 2007 Audio CD More Info... List Price: $11.98 Our Price: $10.99
The Concert in Central Park by Simon & Garfunkel
You can almost hear Simon & Garfunkel begin to like each other again on this now-legendary set. On September 19, 1981, the duo reunited for just the second time since their initial breakup and revealed a camaraderie that had apparently vanished years earlier. Not only do they reprise their shared hits, they also work in a few of Paul Simon's solo gems and a couple of telling covers--one from the Everly Brothers and one from Chuck Berry. The band includes the best session men around. By the time they get to the sincerity of "Old Friends" and the joy of "The 59th Street Bridge Song," you sense a relationship fully repaired. After this success, they even planned a studio record together--one that eventually became Simon's overlooked Hearts and Bones--few were surprised when it did not come to pass. --Marc Greilsamer You can almost hear Simon & Garfunkel begin to like each other again on this now-legendary set. On September 19, 1981, the duo reunited for just the second time since their initial breakup and revealed a camaraderie that had apparently vanished years earlier. Not only do they reprise their shared hits, they also work in a few of Paul Simon's solo gems and a couple of telling covers--one from the Everly Brothers and one from Chuck Berry. The band includes the best session men around. By the time they get to the sincerity of "Old Friends" and the joy of "The 59th Street Bridge Song," you sense a relationship fully repaired. After this success, they even planned a studio record together--one that eventually became Simon's overlooked Hearts and Bones--few were surprised when it did not come to pass. --Marc Greilsamer Release Date: 25 October, 1990 Audio CD More Info... List Price: $18.98 Our Price: $12.97
Rust Never Sleeps by Neil Young & Crazy Horse
Young has recorded many live albums, but none capture his two dominant musical personalities with as much power as 1979's Rust Never Sleeps. The acoustic side opens with "My, My, Hey, Hey (Out of the Blue)," a devastating anthem about the state of rock & roll. Comparing the Sex Pistols' Johnny Rotten to the late Elvis Presley, Young delivers perhaps his most famous line: "It's better to burn out than to fade away." Side 2 demonstrates the emotional power of Young's hard-rocking quartet, Crazy Horse, with the scathing political songs "Powderfinger," "Welfare Mothers," and the loud reprise of "My, My, Hey, Hey." --Steve Knopper Young has recorded many live albums, but none capture his two dominant musical personalities with as much power as 1979's Rust Never Sleeps. The acoustic side opens with "My, My, Hey, Hey (Out of the Blue)," a devastating anthem about the state of rock & roll. Comparing the Sex Pistols' Johnny Rotten to the late Elvis Presley, Young delivers perhaps his most famous line: "It's better to burn out than to fade away." Side 2 demonstrates the emotional power of Young's hard-rocking quartet, Crazy Horse, with the scathing political songs "Powderfinger," "Welfare Mothers," and the loud reprise of "My, My, Hey, Hey." --Steve Knopper Release Date: 25 October, 1990 Audio CD More Info... List Price: $13.98 Our Price: $9.97 |
Traditional British & Celtic Folk
Drunken Lullabies by Flogging Molly
Release Date: 19 March, 2002 Audio CD More Info... List Price: $15.98 Our Price: $11.97
Donovan's Greatest Hits by Donovan
Greatest Hits is the budget option for those who've concluded that two discs of Donovan is a disc too many and zero is one too few. Troubadour, Sony's 1992 Donovan box set, boasts nearly three times the tracks this 15-song single-disc retrospective offers, but Greatest Hits delivers what it promises: "Colours" and "Catch the Wind" from his folkie phase and "Mellow Yellow," "Sunshine Superman," and "Wear Your Love Like Heaven" from the lad's best-pal-a-flower-ever-had period. Also included are plenty more catchy folk-rock hits cut between 1964 and 1970 as well as four bonus tracks, including the delightfully earnest "Atlantis" and "Barabajagal," with the celebrated first-edition Jeff Beck Group providing backing. Donovan's blissed-out liner notes ("Whatever you think this song is about, it probably is") round out the package quite quaintly. --Steven Stolder Greatest Hits is the budget option for those who've concluded that two discs of Donovan is a disc too many and zero is one too few. Troubadour, Sony's 1992 Donovan box set, boasts nearly three times the tracks this 15-song single-disc retrospective offers, but Greatest Hits delivers what it promises: "Colours" and "Catch the Wind" from his folkie phase and "Mellow Yellow," "Sunshine Superman," and "Wear Your Love Like Heaven" from the lad's best-pal-a-flower-ever-had period. Also included are plenty more catchy folk-rock hits cut between 1964 and 1970 as well as four bonus tracks, including the delightfully earnest "Atlantis" and "Barabajagal," with the celebrated first-edition Jeff Beck Group providing backing. Donovan's blissed-out liner notes ("Whatever you think this song is about, it probably is") round out the package quite quaintly. --Steven Stolder Release Date: 30 March, 1999 Audio CD More Info... List Price: $11.98 Our Price: $8.97
Swagger by Flogging Molly
Release Date: 07 March, 2000 Audio CD More Info... List Price: $15.98 Our Price: $11.97
Fruit Tree (limited) by Nick Drake
Release Date: 04 December, 2007 Audio CD More Info... List Price: $59.98 Our Price: $53.99
Bryter Layter by Nick Drake
The second album from Nick Drake came in 1970, and while not quite as melancholy as his debut, Five Leaves Left, there are certain brooding qualities that continued to propagate the Nick Drake mystique. Horns, flute, and strings arrangements lift such songs as "At the Chime of a City Clock" and "Hazy Jane I" and "II" out of the realm of sad, folk-guitar music into something jazzier and lighter, while the beautiful piano and simple guitar of "One of These Things First" laments what could have been without sounding like a song of despair. But two tracks featuring John Cale on various instruments (such as viola and harpsichord) have the dark fragility of "Pink Moon": the lovely "Fly" is a fragile apparition, and "Northern Sky" is a dreamy, brooding plea for long-lasting love. Definitely not the same mood music as his starker work, but still a fine showcase for Nick Drake. --Lorry Fleming The second album from Nick Drake came in 1970, and while not quite as melancholy as his debut, Five Leaves Left, there are certain brooding qualities that continued to propagate the Nick Drake mystique. Horns, flute, and strings arrangements lift such songs as "At the Chime of a City Clock" and "Hazy Jane I" and "II" out of the realm of sad, folk-guitar music into something jazzier and lighter, while the beautiful piano and simple guitar of "One of These Things First" laments what could have been without sounding like a song of despair. But two tracks featuring John Cale on various instruments (such as viola and harpsichord) have the dark fragility of "Pink Moon": the lovely "Fly" is a fragile apparition, and "Northern Sky" is a dreamy, brooding plea for long-lasting love. Definitely not the same mood music as his starker work, but still a fine showcase for Nick Drake. --Lorry Fleming Release Date: 06 May, 2003 Audio CD More Info... List Price: $18.98 Our Price: $14.99
Liege & Lief by Fairport Convention
British hippies who started out emulating Jefferson Airplane, Fairport Convention escalated their homeland connections with each outing, culminating in this, their fourth album and a watershed for British folk-rock. Hindsight offers the ironic possibility that the Dylan covers of its predecessor, Unhalfbricking, opened a window onto the earlier Irish-English-Scots roots of the American music they loved, and Liege & Lief jumps through that window triumphantly. "Come All Ye" underscores their affinity for the Band yet is joyfully rooted in their own fertile folk traditions, echoed in a mix of classic songs from members Sandy Denny, Ashley Hutchings, and Richard Thompson, and given direct homage in the extended ballads "Matty Groves" and "Tam Lin," which evoke Neil Young & Crazy Horse in kilts. Fiddler Dave Swarbrick's arrival as a fulltime member adds new richness and a wonderful foil for Thompson's superb guitar leads. A medley of jigs and reels showcases their flair for hot-wiring traditional British Isles dances, a fixture ever since. --Sam Sutherland British hippies who started out emulating Jefferson Airplane, Fairport Convention escalated their homeland connections with each outing, culminating in this, their fourth album and a watershed for British folk-rock. Hindsight offers the ironic possibility that the Dylan covers of its predecessor, Unhalfbricking, opened a window onto the earlier Irish-English-Scots roots of the American music they loved, and Liege & Lief jumps through that window triumphantly. "Come All Ye" underscores their affinity for the Band yet is joyfully rooted in their own fertile folk traditions, echoed in a mix of classic songs from members Sandy Denny, Ashley Hutchings, and Richard Thompson, and given direct homage in the extended ballads "Matty Groves" and "Tam Lin," which evoke Neil Young & Crazy Horse in kilts. Fiddler Dave Swarbrick's arrival as a fulltime member adds new richness and a wonderful foil for Thompson's superb guitar leads. A medley of jigs and reels showcases their flair for hot-wiring traditional British Isles dances, a fixture ever since. --Sam Sutherland Release Date: 25 October, 1990 Audio CD More Info... List Price: $11.98 Our Price: $7.97
Amazing Grace by Royal Scots Dragoon Guards
Release Date: 24 March, 1992 Audio CD More Info... List Price: $11.98 Our Price: $10.99
Songs from a Secret Garden by Secret Garden
Picture a square with Clannad, pianist David Lanz, Mannheim Steamroller, and the musicians of Riverdance at its corners. Somewhere within those stylistic borders you will encounter the European duo Secret Garden. The popular twosome--Irish violinist Fionnuala (fi-NOO-la) Sherry and Norwegian pianist/keyboardist Rolf Lovland--have attracted a sizable following with their heart-touching specialty: a wistful, violin-rooted, pop-folk-classical melange that often strikes the ear as a film score in search of some delicate romantic tale. Songs from a Secret Garden is the duo's debut recording from 1995, and it principally offers a series of pensive dialogues between Sherry's stately violin and Lovland's subdued piano, yielding equal measures of sweetness and melancholy. Whistles, pipes, percussion, strings, and ethereal voices serve as embellishments. At times you may sense you're being serenaded by strolling musicians with a heavy sentimental streak; at other times you may feel genuinely moved--perhaps by something as lovely as the reverential "Sigma" and its sublime, Gregorian-like choral passages. Only one uptempo tune, "The Rap," surfaces here; a few others would have been welcomed. And yes, this is the disc where you will find "Heartstrings," the composition that once smote Barbra Streisand's heart. She eventually acquired the rights to the piece, inserted lyrics, renamed it "I've Dreamed of You" (found on A Love Like Ours), and sang it to James Brolin during the couple's 1998 wedding. --Terry Wood Picture a square with Clannad, pianist David Lanz, Mannheim Steamroller, and the musicians of Riverdance at its corners. Somewhere within those stylistic borders you will encounter the European duo Secret Garden. The popular twosome--Irish violinist Fionnuala (fi-NOO-la) Sherry and Norwegian pianist/keyboardist Rolf Lovland--have attracted a sizable following with their heart-touching specialty: a wistful, violin-rooted, pop-folk-classical melange that often strikes the ear as a film score in search of some delicate romantic tale. Songs from a Secret Garden is the duo's debut recording from 1995, and it principally offers a series of pensive dialogues between Sherry's stately violin and Lovland's subdued piano, yielding equal measures of sweetness and melancholy. Whistles, pipes, percussion, strings, and ethereal voices serve as embellishments. At times you may sense you're being serenaded by strolling musicians with a heavy sentimental streak; at other times you may feel genuinely moved--perhaps by something as lovely as the reverential "Sigma" and its sublime, Gregorian-like choral passages. Only one uptempo tune, "The Rap," surfaces here; a few others would have been welcomed. And yes, this is the disc where you will find "Heartstrings," the composition that once smote Barbra Streisand's heart. She eventually acquired the rights to the piece, inserted lyrics, renamed it "I've Dreamed of You" (found on A Love Like Ours), and sang it to James Brolin during the couple's 1998 wedding. --Terry Wood Release Date: 16 April, 1996 Audio CD |