Modal" is an old-time banjo solo that just dissolves into the next song, "My Old Man," where the banjo now serves as a backup to what is essentially a fiddle tune. Until the end, that is, when the banjo finishes the tune with an extended coda. Most of the songs were written by Barnes, whose accomplishments as a songwriter are perhaps overshadowed by his reputation as a musician.
He displays considerable skill in crafting his lyrics and is able to come up with new images or variations on old ones. Many of his songs are first person accounts of lost love or other personal struggles through almost all of which runs a current of hope mixed with sadness. He uses a few deft phrases that evoke a feeling or an atmosphere rather than tell a story.
You don't really get to know the people in his songs, but you know what they are going through. It is well worth the time to listen carefully to his lyrics. Barnes also makes effective use of the tradition of accompanying sad, moving songs with bright, cheerful melodies. A bright, rippling banjo line floats over mandolin, guitar, and bass accompaniment to lyrics that tell of an old love grown cold.
Not all of his songs are sad, however; the title song is simply a delightful bit of word play. It is six minutes long, and is one of the experimental numbers that the Bad Livers do from time to time. In the past, I have found them interesting, but they haven't held up to repeated listening. After the final identified cut on theCD, there is a 30 second pause followed by about a minute of fingerpicking on the resonator guitar which segues into a rousing bluegrass finale.
On a recent World Cafe radio show, Danny Barnes identified the tune as a banjo piece he put together for his dog, Judy. It really moves. Four notes into the opening banjo lick, Mark Rubin's rock-solid bass lays down a fast moving foundation that supports brilliant solos from the banjo, then the mandolin and guitar. Then the banjo returns to close both the piece and this excellent album.
Previous Bad Livers albums have included one or two of Danny Barnes' sacred songs and I am sorry there are not any on this album. Barnes religious music expresses personal faith with great conviction; perhaps he will give us an album of his sacred songs sometime. The sound on this album is quite good, with a warm quality. The instruments are clear and well defined. But the sound envelopes and occasionally obscures the singing.
The mix would be a little more appropriate if Danny Barnes sang in a clear, high soprano instead of a warm, rich baritone. Mark Rubin has said in an interview that the overall sound of a Bad Livers recording is more important that the clarity of every word. He also mentioned the early experiences the band members had trying to understand the lyrics of the 78 rpm discs from which they learned their music.
Well, maybe. A commitment to tradition that goes so far as to strive to reproduce an inadvertent side effect of primitive technology may be overdoing it just a touch. I also have a little trouble imaging those early artists wanting their fans to struggle to hear the words on their records. I admire Barnes' songwriting and would like to hear all his lyrics-especially since they are not printed in the notes. The album notes are barely adequate; all they contain are the credits and the song titles. Even the credits aren't as informative as they might be.
There are seven musicians who play on this album but we don't know who plays what on which track. This makes it hard for a reviewer to give proper credit to everyone.
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Hogs on the Highway is a transitional album for the Bad Livers. Ralph White has left the group and has been replaced by Bob Grant. A little more information in the notes might help us get an idea of what effect this change may have. These are minor complaints, however, when considering the overall quality of this album. A thoroughly enjoyable album. This CD comes 30 years after the release of County LP and includes all of that album plus two additional tunes.
All of the good liner notes from the original by Dave Freeman are included along with some interesting updated notes and photos by Paul Brown. Many OTH readers have the original in their collection, and I'm sure most would recommend it highly. The full and lively sound of the Camp Creek Boys won them several prizes at area fiddlers' conventions during their active years. In fact, they often had to compete in the same band category with bluegrass bands. It is interesting to note that it was only in that the Galax convention created two separate band categories.
This intense competition with bluegrass groups helped the Camp Creek Boys establish the clear, driving style which you can hear on this CD. There are 14 selections included here and most feature the remarkable fiddling of Fred Cockerham and the distinctive clawhammer picking of Kyle Creed. Both men are rated at the top or near the top when talk turns to "favorite" old-time musicians. This is a classic recording and a must for anyone who likes old-time string-band music. The Camp Creek Boys left a rich legacy of appealing and influential music.
To those of us that came to know the people behind the music, many wonderful memories remain. Banjo player Bob Carlin needs little introduction to old-time musicians. A cheerfully eccentric figure who likes to wear bright vintage Hawaiian shirts and s-style tortoise shell glasses, Bob is definitely a guy who is hard to miss at festivals and conventions. He is also seriously committed to promoting the enjoyment of old-time music and to the playing and recording of the 5-string banjo. He has a well-deserved international reputation as a fine clawhammer banjo player, recording artist, instructor, and musicologist.
Through recordings such as the magnificent collection he produced of Tennessee African-American string-band musicians, Altamont: Black Stringband Music from the Library of Congress his contribution to fostering a greater understanding and appreciation of the role of the banjo in old-time music has been profound. In the two-volume set, Learn to Play Clawhammer Banjo, Bob teaches just about everything you need to know to become a decent banjo player. Volume 1 is labeled "the basics" and Volume 2 is termed "intermediate.
That's quite a lot! Since many wonderful banjo players-Wade Ward and Carlie Marion come to mind-are musical minimalists, I could even say that there may well be more here than is necessary! At any rate, Bob is actually pretty reasonable here compared to some infamous banjo instruction books of the '60s which were so overwhelming with detail it was hard to sort the essential tunes from the variants. Bob starts with a basic skeleton of each tune and builds to greater intricacy very gradually while emphasizing that part of the fun is coming up with your own personal variants. He also emphasizes the importance of playing a lot and playing with other people.
The first video has tips on selecting a banjo and comments on the banjo's African roots. It's vitally important that banjo players should never forget that the instrument is part drum! The accompanying booklets give tablature for each tune and a discography of banjo recordings that are available on CD. One thing I especially appreciated about these video lessons is Bob's tune selection. In both videos Bob teaches a variety of techniques using time-honored, classic tunes.
These are the meat and potatoes-and often the salad and dessert as well-of the repertoires of old-time musicians everywhere.
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The arrangements are similarly the tried and true combinations of techniques aimed at bringing out the beauty and rhythm of a piece. As the saying goes, "this music isn't good because it's traditional, it's traditional because it's good! The idea is to master the basics and "go back to the well" often to listen to and find inspiration in the recordings of the great banjo players like Wade Ward, Glen Smith, Kyle Creed, and Tommy Jarrell.
As these players show, it is certainly possible to find a lifetime's worth of music in pieces like "Cripple Creek" and "Soldier's Joy. As skeptical as I am of technology, I have to admit that videotapes are a pretty wonderful and low-stress way of learning to play an instrument. If you miss something the first go-round, you can always stop and rewind whenever you want. Further, the Homespun videos have a nice feature that lets you see what is happening with both hands.
Magnified insets showing the simultaneous close-up action of the right and left hands make it almost easier to learn by videotape than having a real human being sitting in front of you. And the real human beings who have played banjos all their lives, often at breakneck speed, naturally find it hard to slow down their playing to teach it to others.
Because of the percussive nature of the instrument, it's especially hard to slow down a banjo. It gets turned into something different in the process. But here is an instructional video that distills one passionately dedicated banjo player's years of analyzing the playing of the great old-time clawhammer players-on recordings and face to face. Now there's little excuse anymore for not picking up the techniques you need to get started. So grab that banjo off the wall, pop in the video and hop to it! Hawaiian shirt s are optional. Gail Gillespie Back to Top.
If you like your hillbilly singers with attitude, this entertaining collection won't disappoint you. Cliff Carlisle, along with Gene Autry, Jimmie Davis and a number of others in the early '30s, got his start with material borrowed from and inspired by Jimmie Rodgers, who had already perfected a repertorial blend of the sentimental with rowdy songs and the blues.
Carlisle, though, stood out from other wannabes in several ways. His aggressive singing and post-Hawaiian steel guitar accompaniments made him instantly recognizable, as did his subject matter, which included hobos, outlaws and other ne'er-do-wells, combative sexuality and domestic violence. His delivery was tough, unapologetic and cheerful, often outdoing the Singing Brakeman at his own game. Cliff wrote many of his own songs and always gave a distinctive spin to those he adapted from others.
Rodgers sounds quite sedate, his yodeling comfortable and formulaic when compared with Cliff's adventurous barbaric yawps. The last colorfully depicts domestic violence Jiggs and Maggie style, with each combatant getting equally pulverized. The first five tracks from sound primitive in comparison with tracks 8 through 22 from , which blend rowdiness with a degree of sophistication, provided in part by brother Bill Carlisle's superb flat-picked backups.
The tracks are delightful, but Cliff was clearly still learning his instrument in the early '30s, and it served him better on the later cuts. The last two tracks, from , represent further stylistic evolution though they're somewhat ginal and audacious artistry which still sounds like fun 60 years later.
Dick Spottswood Back to Top. What is The Rufus Crisp Experience, you ask? So did I when I received this new release. A dessert recipe of some sort? Religious conversion triggered by listening to the old banjo recordings of Rufus Crisp? No, it's actually Dave Arthur and Barry Murphy who play old-time music and only mention Crisp once in their liner notes as having recorded one of the songs.
No explanation of the name choice is offered. Dave Arthur and Barry Murphy are veterans of the British folk scene. Both grew up hanging around the same coffeehouses in London in the s and being influenced then by American musicians Jack Elliott, Derroll Adams, and Peggy Seeger. Barry came to the U. He served as a "roadie" for Clarence Ashley, too!
Meanwhile, Arthur was carving out a successful career performing traditional English material with his wife Toni. Somehow Arthur and Murphy never managed to meet until a few years ago, discovering when they did meet their mutual musical influences and tastes.
They commenced to play together whenever possible and this CD is the first recorded result. Banjo is apparently the special passion of these two players, though both are also proficient guitarists. All cuts on the recording feature banjo and more than half are with two banjos. Fiddle is added by Peter Cooper on most numbers, but, in general, the banjo and guitar are mixed out front so that the fiddle is often relatively buried.
It's obvious that these fellows have a deep love for old-time music. They have listened to lots of the old recordings, met some of the finest older players, as well as picking up tunes from contemporary American old-time players they've met, like Art Rosenbaum, Sara Grey, and Jeff Davis. And, indeed, the "parlor style" my own appellation of old-time music that Blake often performs is similar to the way Arthur and Murphy treat these numbers, playing them in a more mesmerizing or meditative rather than a raw, breakneck manner.
There's also an English sensibility to their versions reflecting the influence of the ss folk scene. Certainly it's heard in their singing, but also in Arthur's guitar stylings on several cuts and the fiddle intro and backup on the title tune. There are some unusual selections here mixed in with a good dose of standard tunes like "Angeline," "Cluck Old Hen," and "Needlecase.
For most old-time listeners I would say this is a pleasant "experience," but it's not an essential recording. I do think it's interesting and encouraging to hear what these players do with American old-time songs, to know that the music is alive in England, and to think that they will be winning new enthusiasts for the music over there. Harriette Andrews-Appalachian dulcimer; Rick Bafford-guitar, bass; Veda Bafford-fiddle, bowed bass; Sarah Borders-hammered dulcimer, appalachian dulcimer; Mary Umbarger-autoharp, cat's paws, bodhran. The Front Porch Strings are the sort of band that many people would like to have play at their wedding- as part of the ceremony if not at the dance.
The Strings strongest suit is the slow air, showcasing the dulcimers and rendered sonorous by the bass. They can do a nice job with O'Carolan. I can't recommend the breakdowns; frankly, the fiddling is not up to the mark and there are too many jangling strings for my taste. Allin Cottrell Back to Top. Bill Graves-vocal, fiddle, mountain dulcimer; Daisy Dame-vocal, guitar; Doris Graves-mountain dulcimer; Charlie Walden-occasional guitar. This field recording of Missouri Ozark fiddler and dulcimer player Bill Graves, 80 years old this year, reminds me a lot of the great Ken Davidson recordings of French Carpenter that came out in the '60s.
Graves has a voice much like French's, and tells a story in a similar style, with a faraway look in his voice.
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He is more versatile that French or at least the recorded French , and plays a powerful strum-style mountain dulcimer behind several strong vocal efforts. The brush arbor story - about what comes of fiddling in camp meeting, I guess you could say, even if you are invited to bring the Devil's instrument by the preacher himself - is a hoot. Bill Graves' fiddling is really interesting, and reminds me in several cases of the fiddling found on the great County Mississippi Fiddling reissue albums of the '70s. There is also a hint of the Melvin Wine style here - not that Bill learned from Melvin or anything, just that there's something in the technique.
Many of his tunes have well used names - "Fire on the Mountain" for example - but turn out to be wholly different melodies to my ear. And the tunes often consist of tricky-sounding combinations of left-hand patterns and bow rolls across several strings repeated twice to make a part, which I think, if they could be observed visually, would turn out to be surprisingly economical of movement. Graves also uses a great deal of syncopation against a steady guitar strum, so that it seems the tune just can't stay on track but must jump ahead or fall behind, but it never does either.
Which isn't to say that there aren't tunes with an extra two beats here and there, only that the extra beats are consistent when they occur, and don't even turn the beat around. As well as "Fire on the Mountain," I really liked "One Old Indian" though there are a couple of word editings needed here before anyone under 80 should sing the attached vocal , and "Liza Jane," another version of what in Round Peak gets called "Suzanna Gal," with some of the same verses. And like many fine field recordings, there are these wonderful fragments - 36 seconds of "Old Tune," 3l seconds of the lovely dulcimer piece, "Paddle Your Own Canoe.
Like several other of the MSOTFA music projects, Charlie Walden had a large hand in this one, recording and producing it, and doing the liner notes and the photos. The recording was done at Bill Graves' house in Laclede County, Missouri, July , , and Doris Graves is thanked for the "delicious fried elderberry blossoms," which ought to be the name for a tune.
If you're looking for some great new and archaic tunes - ain't that old-time for you - this is a good CD to check out. And if you just want to fill your house with the bouquet of a summer day at the old home place, well, this CD will work fine for that, too. This is the first recording entirely devoted to the music of Algia Mae Hinton. It is an important, warm and personal statement, featuring just Algia Mae and her guitars, with producer Lightnin' Wells joining on harmonica for one of the 26 cuts. She learned to buckdance as a child, and learned guitar from her mother starting at age nine.
She worked as a farm laborer most of her life, beginning at a young age in the fields her parents farmed, and continuing while she raised her own seven children alone after her husband died in Algia Mae played to entertain her family and community for most of her life, only venturing to audiences outside this community beginning in with her appearance at the North Carolina Folklife Festival. This recording presents the variety of Algia Mae's music quite well. A number of gospel songs, including an imitation of a holiness preacher in "You'd Better Let That Liar Alone" are given a welcome bluesy treatment.
The recording begins with one of Algia Mae's original songs, "Going Down This Road," which was written in after a fire destroyed her home. After a quick spoken introduction, the big sound of her string guitar opens the song with a beautiful deep intensity. Her voice is strong and confident, swooping low at the end of the line. In a spoken narrative, she tells of finding her burning home. Algia Mae's guitar playing shines forth on this album. Her deft picking helps provide the huge variety of moods between each song, from the cheerful Piedmont-style picking on "Step It Up and Go" to slow aching songs like "You've Got to Move.
Algia Mae's playful personality also comes through as she laughs at the fun improvisation of a folk rhyme "Peas and Cornbread. Included also is an audio version of her signature buck dance, which alternates wonderfully with the guitar. Throughout the recording, Algia Mae gives short spoken introductions or commentary on the songs: some are a bit too short and hard to understand. One or two songs also seem to ramble a bit and take awhile to get started. But this is all in keeping with the informal nature of the recording: what's most important is the inspirational glimpse we have of a remarkably resilient and gifted blues woman.
I've been wrestling with this review for quite a while, not knowing exactly how to approach it. The Hollow Rock SB are cultural icons to many folks in the old-time string band revival and are very important, in many ways, to the dissemination of fiddle music from the Upper South and the fervor to collect rare tunes from the elder generation of southern musicians before these gems went to the grave unlearned by the next generation. Fiddler Alan Jabbour, of course, has made his mark, as the director of the American Folklife Center since its inception in But even before that, he was the main man in the Music Division of the Library of Congress.
He also has been the prime conduit for the transmission of the fiddle music of his mentor, Henry Reed, of Glen Lyn, Virginia. Betram Levy migrated West and eventually founded The Festival of American Fiddle in Port Townsend, Washington, all the while investigating different facets of traditional and art music on a number of instruments, including fiddle, banjo, concertina and bandoneon. Bobbie Thompson more than likely also would have had a significant impact on the old-time music world. She recorded on the first Fuzzy Mountain String Band LP, but her life ended tragically shortly thereafter in a car accident.
This was the version of the band I first heard I had hired them for a concert. By that time, the initial issue of this LP originally on the Kanawha label, then reissued and soon out-of-print on the British Matchbox label was no longer available. I think I finally tracked down a copy of this LP, mostly to be a completist.
I confess to rarely listening to this LP back then.
So now, fall of , I am listening to the first Hollow Rock recording with new ears, so to speak. And how does it speak to me? I am somewhat disappointed on a basic musical level. I think it has much more nostalgic value, or historic value, than musical value. Their string band music does not gel for me. I find more violinistic tendencies than fiddlistic sensibilities in Jabbour's playing. Tommy Thompson's banjo playing has not matured yet on this recording, in my opinion. Bobbie Thompson's guitar playing would grow, but was seemingly nascent, yet competent, here. I do rather enjoy Bertram's approach to mandolin playing though.
He essentially is doubling the fiddle part, not ka-chunking like a bluegrasser, or rhythmically strumming like some of the golden age string band mandolinists, or noodling all over like a newgrasser. It's pleasant, and in fact was a style that I myself emulated once I heard it. I recall Chester McMillian, then with Earnest East and the Pine Ridge Boys, remarking how much he enjoyed Bertram's mandolining and how much it resembled his own playing which is rather high praise. There is a lot of pep in their ensemble playing, a trait that I think endeared them to the old-time revival movement.
Most people I've discussed the Hollow Rock String Band with over the years have told me that they've felt the most important aspect of the band was the repertory they imparted, introducing people to the music of Henry Reed, for example. I suppose this makes them still a relevant conduit for Mr. Reed's beautiful music, because to this day none of Reed's music has ever been made available commercially. But this is a two-edged sword.
For many years, it was exceedingly difficult, if not downright impossible, to hear recordings of Mr. Our only glimpse at his genius was through the interpretations of those who visited him, primarily Dr. Though these interpretations are interesting in and of themselves, they really do not do justice to the skills of Henry Reed. Of course it is not necessarily the nature of old-time music to be the medium to compare one interpretation of a tune to another, but in this case, for decades we could not easily hear the source material.
This is also true for many other of Alan Jabbour's sources. I don't know whether this was a conscious exercise on his part , but I for one would have loved to be able to hear how the old masters played this music. I am very much interested in the variety of regional fiddling styles. With this recording, we hear all the subtleties of different fiddlers distilled through Alan's brain into his own style. It is too bad that at least some of Jabbour's field recordings were not issued.
We can perhaps get a glimpse of what some of that may have sounded like by listening to the "Old Originals" LPs that came out on Rounder, culled from field recordings in Virginia and North Carolina made by Blanton Owen and Tom Carter, then two graduate students who were undoubtedly inspired by Dr. Jabbour's excursions into the field. But I am straying far afield here. Another aspect of this CD that grates on me is its short playing time. I assume that there were no additional tracks that could be added to the frugal minute playing time.
But all in all, this is not a "bad" album. The playing is pleasant, and as I said above, quite invigorating. These are nice tunes, played by more-than-competent musicians. It's just that in the past 30 years, a lot of other people have learned great, obscure fiddle tunes and have put together exciting ensembles as well.
I don't think this first effort by the Hollow Rock String Band holds up that well in such comparisons. What do you get when you put together a basis in traditional music with a willingness to try new things? When you take two great voices and blend them together?
When you combine expansive poetry with the forms and shapes of old country music? When you take a voice that can sing a heart-stopping "House Carpenter" and let it loose on a more modern sound? When you take songwriters who want to say something about the contemporary world using the musical forms they were raised on? With this album they make their statement as a songwriting duo, and join with other contemporary songwriters - such as Gillian Welch, Holly and Barry Tashian, and Iris Dement - who are reuniting country music with its roots and giving it new life.
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The first thing you should know is that this isn't really old-time music. It's about three-fourths what you might call country, the rest what you might call singer-songwriter, with the settings and instrumentation giving an old-time flavor. This record shows that that there's more where those early good ones came from.
If you are not crazy about singer-songwriter music, there are probably some songs here you won't like, as is the case with me. But it still sounds too new for my taste. The other modern-sounding songs don't have this problem, since they don't seem to imitate or show derivation from a particular tradition. None of them do any of the things I hate about many newly written songs: they don't follow every convolution of an interminable personal monologue, they don't have endless and shapeless chord progressions, lines that are too long, or lyrics that should have been cut by half.
They all have memorable melodies, and phrasings to match. I know that these are good songs and that this is good music, but I can't quite hear it. However, the music on this CD is beautiful. Accompanying these songs in various combinations are Rose Sinclair on accordion, Dave Grant on bass, June Drucker on bass, Paul Kovac on mandolin, Gary Wright on electric guitar, and Spencer Lathrop on drums - yes drums, but really, it's OK, they suit the few songs where they appear. Carol Elizabeth plays her steady and clear rhythm guitar, and James Leva plays all the fiddle - very beautifully - as well as some truly fine lead guitar.
Most of the arrangements are just enough and not too much. They are not crowded with too many voices or instruments. Even James's lovely fiddling, which stands on its own in old-time tunes, lyrically serves the songs here. With this album, Jones and Leva clearly place themselves in the songwriter world, and I think they will do that world good. Many listeners, sick of music that is saccharine, overdone, and endlessly full of personal complaint, are craving exactly the true and honest new music that Jones and Leva offer.
As I have said, I don't love the newer sounds on this record, but I love the whole record in general because it's got good singing and good fiddling and good songs. Carol Elizabeth Jones is truly a great singer, and, I didn't know it before, but James Leva is one too. His blend with Jones is absolutely tight, and his harmony lines follow and counter the melodies in non-obvious, non-ordinary ways - you hear nothing particularly odd on the surface but as your ear delves, it's surprised by the twists and turns the two voices take. As an old-time crank and tradition-bound snob, I'm inclined to make clear divisions: this is old, this is new.
This I like, this I don't. So I'm tempted to see this album of new music as a farewell, dividing Jones and Leva from the old music world. However, I'm beginning to think we don't need to make such divisions. Maybe it's all one music world, in which case there's no need for farewells. So instead I say welcome, welcome in all directions. Molly Tenenbaum Back to Top. The workshops and classes put on by the Augusta Heritage Center at Davis and Elkins College in West Virginia have enabled musicians to meet who might not otherwise, have allowed many songs and tunes to reach the very musicians who can love them, have introduced students to teachers and teachers to students, and, in general, have stirred up a whole big lot of music.
This CD is a result of and testament to Augusta's influence. Both Hubie and Diane credit Augusta's teachers-particularly Dwight Diller and Gerry Milnes-for introducing them to the music and to the older people who play it. Unsurprisingly, then, this album is predominantly West Virginia-flavored tunes from Melvin Wine, Burl Hammons, Henry Reed, and French Carpenter , though it contains other sounds as well-Fred Cockerham's "Roustabout," a Galax-ish "Stillhouse"-and an enjoyable variety of songs, raggy tunes, parlor pieces, and big string band numbers.
I praise the process by which people connect with music and each other, and I wish to honor people's lifetime participation and pleasure in old time music; however, process, participation, and pleasure do not necessarily make for a great album of music. Certainly Diane, Hubie and the friends who appear with them here are excellent musicians, and there are many pleasing moments on the CD. However, the album as a whole seems a bit vague. It seems like a collection of current favorite tunes, and each one played in a different configuration; except for the Augusta influence, there's little unity.
If a few tunes had been eliminated or played for a shorter time, and if the remaining tunes had been arranged in more detail, the album would have been better. Unfortunately, as I know to my great regret, the music that you learned from a hair-raising field recording, or from a remembered-for-a-lifetime visit with an older person, the music that gets you high when you play it or hear it in a living room with your friends, does not always come across well on a formal CD.
On a musical statement purposefully produced, I expect something more concise. On the other hand, maybe it is not always a CD's purpose to present a musical statement. You should find this tab very easy to follow, so have fun! Molly Armstrong April 4, at pm Permalink.
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Joyce Compton Brown April 26, at am Permalink. Beautiful song, beautiful story! Ike March 11, at am Permalink. Did she ever receive any royalties? Leave a Reply Click here to cancel reply. Connect With Us. Experimental, electronic artist K. Leimer binds the music on Irrational Overcast to the central themes to create something, that attempts to articulate the dangers that threaten societal equilibrium today. Naoko Abe's The Sakura Obsession chronicles the struggle to preserve diversity in a world of compulsive uniformity. The Tea Club's latest single finds the quintet evoking classic folk rock artists in the midst of maintaining their knack for evocative songwriting and arrangements.
For director Oliver Murray, music exists in the air, but the emotional archives of former Rolling Stones bassist Bill Wyman gives viewers a tactile experience of this band's story in The Quiet One. Culture and media critic Kate Eichhorn's The End of Forgetting explores how relentlessly documenting young lives allows little room for the unfettered joys of imaginative freedom and perpetuates a seemingly endless state of childhood. On their first album in more than ten years, Jack White's acclaimed foursome the Raconteurs are back with a solid collection of songs.
Reissued Japanese psych-folk cult classic Misora shines a new light on the genius of singer-songwriter Sachiko Kanenobu.