Showing posts with label acoustic. Show all posts
Showing posts with label acoustic. Show all posts

Phantasmagorical: Master and Musician, Vol. 2 Review

Phantasmagorical: Master and Musician, Vol. 2
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The latest instrumental offering from Phil Keaggy shows us, once again, that their is no bottom to the well of Phil's music. The subtitle, "Master & Musician 2," is very appropriate: although Phil's music transcends any category or label, it is obvious to all who are familiar with him that he is the musician, playing music inspired by and written for his Master, and these pieces are worthy of Him. I cannot recommend this CD highly enough.

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Upon the tail end of Phil Keaggy's most ambitious concert tour of his long and illustrious career - in which he has brought to life on stage his 1978 instrumental recording The Master & The Musician - Keaggy now releases his 2008 encore entitled Phantasmagorical: Master & Musician 2. Like the first, this album has musical scope and dimension that demonstrates Keaggy's mastery of melody within the ever-inventive musical signature guitars with a cornucopia of other instruments."It is special to me because I have some really good friends on the album," states Phil. "It is not like a solo thing like what I've done with other albums where I am playing most of the instruments. It's a nice stirring in of other musicians." One of the other musicians happens to be Phil's son, Ian. "My son is on the album; which in itself makes this a special album to me. We wrote a song on the album appropriately titled "Father and Son". I also co-wrote two songs with one of the members of The Master and Musician Band, Tom Shinness. With recorders, clarinets, strings, bass, upright bass - a variety of different kinds of sounds and instruments - this does reminds me of The Master and The Musician," reflects Phil. On the present nation-wide tour, Phil Keaggy closes his concert with one of the new songs from Phantasmagorical: Master & Musician 2 entitled "Forever to Joy". The audiences have responded with great enthusiasm recognizing that as good as Phil Keaggy was 30 years ago - he is only that much the better in 2008.

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VH1 Classic Metal Mania: Stripped Review

VH1 Classic Metal Mania: Stripped
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Not too bad of a set list, but some of the songs lack the original feel. The main ones are: Don't Know What You Got (Until it's Gone) by Cinderella and When the Children Cry (White Lion). Children Cry was a dissapointment. The original had feeling in the tone, structure, and melody. In this version, M. Tramp sounds bored.
When I Look Into Your Eyes is still lame, and I mean lyric wise. I swear if I knew better, thos words were written by a 4th or 5th grader. However, the vocals on it are powerful.
They could have chosen a better song than I Saw Red for Warrant. That version is available on their greatest hits cd. The one they should have added was the acoustic version of Blind Faith. Wow, that was so much better than the original. You have to buy the single of We Will Rock You in order to hear it, and it is worth trying to find a copy.
Silent Lucidity sounds really good, as to my surprise, Sister Christian by Night Ranger. I was never a fan, but eh...the song is decent. His voice sounds a little raspy, but doesn't hinder the tune.
More than Words by Extreme is without the guitar...and...it works, mainly because it is a dominant vocal song.
Tesla's tune doesn't belong on there. It's a filler. I know they had better ballads than that one. That also knocked a whole star for me. Fillers are common, but when it's picking greatest hits type cd's, there is no reason for filler.
Overall sound quality is good...some songs are low such as Poison's Every Rose, but that's because it was recorded back in 1991 on MTV Unplugged. Oh well, I heard there is a DVD coming out...should be interesting.

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Try Me One More Time Review

Try Me One More Time
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After a 17 year recoding hiatus, Bromberg is back with this enjoyable set of mostly blues and folk standards. Imagine David Bromberg sitting in your living room singing and picking his Martin M-42 Signature Edition guitar. This album is great fun for Bromberg fans, with the liner notes as entertaining as the music. Ultimately, David does not "make these songs his own" in the way that he has done previously with other blues standards (e.g., "Statesboro Blues," "Dehlia"), but the album as a whole is quite enjoyable. David fingerpicks most of these tunes, breaking out the slide for two of the album's highlights, the title track and Blind Willie McTell's "Love Changing Blues." He also does a nice job with a somber and reflective reading of Elizabeth Cotten's "Shake Sugaree." Notice how the album cover is modeled after David's first solo album? Maybe this release will renew interest in the first album, and maybe someone will put that one back in print. If you're a Bromberg fan, I recommend this album without hesitation. If you're new to Bromberg, check out Midnight on the Water first.

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Three long-awaited words: David Bromberg's back! Roots music fans will rejoice in the release of "Try Me One More Time," thefirst new CD in 17 years byguitarist/vocalist David Bromberg, a master practitioner of folk, blues,bluegrass and other musical genres. This new recording is undiluted David:one man, one acoustic guitar, and a repertoire of mostly traditionalmaterial performed with the intimate, assured touch of a musician who hasnothing to prove.Originally a "must-have" session man for everyone from Bob Dylan to Dionand subsequently a hard-touring bandleader and recording artist with anenthusiastic following, Bromberg gradually phased himself out of thecontinual record-tour-record cycle starting in 1980. "I got burned out," hereflects. "And I didn't want to be one of those musicians who ends up`phoning it in.' Music was too important to me to treat it that way."So he switched his focus from performing to studying, moving to Chicago in1980 to learn violin-making. Based in the Windy City until 2002, when hemoved to Delaware to open a violin shop, Bromberg has continued to tourperiodically, but has mostly stayed away from recording studios, with1990's "Sideman Serenade" his last album until now. On "Try Me One More Time," Bromberg harkens back to the acoustic folk andblues music of his early days on the mid-'60s Greenwich Village folk scene,a period when he guided the blind gospel-blues singer Reverend Gary Davisto concerts and churches in exchange for guitar lessons. Bromberg performstwo of "the Rev's" compositions on his new CD - "I Belong to the Band" and"Trying to Get Home" - as well as songs written by Robert Johnson,Elizabeth Cotton, Tommy Johnson, Blind Willie McTell, sometime Brombergemployer Bob Dylan ("It Takes a Lot to Laugh . . ."), and songs from thetraditional realm, including two exquisitely rendered instrumentals ("BuckDancer's Choice," "Hey Bub"). The title track is Bromberg's first recordingof a song he wrote more than 30 years ago. In liner notes as conversational as his distinctive, low-key vocals,Bromberg maintains that this CD is the first record he's made where he"wasn't trying to impress anybody . . . I'm just doing the tunes."Nonetheless, the outcome can't fail to delight listeners who appreciate anunderstated virtuoso playing and singing the music he loves.

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Continuum (Limited Edition) Review

Continuum (Limited Edition)
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How many musicians have you ever heard coming out of the suburbs of Fairfield, Connecticut? If you are a John Mayer fan, you know at least one. Pigeonholed as a sensitive pop artist with the debut album, Room For Squares, Mayer shifted tack to a bluesier sound with his second studio release Heavier Things. Joining up with impresarios Steve Jordan and Pino Pallidino, Mayer broke out in full on blues mode with the live album Try! Though some dismissed him, Pallidino and Jordan don't play music with hacks, and anyone who heard the track "Good Love is on the Way" knows the boy can play. With his new studio album, the excellent Continuum, Mayer continues to demonstrate his impressive guitar chops, a more mature songwriting style, and a richer, deeper sound.

The socially conscious first single "Waiting for the World to Change" reminds that "it's hard to beat the system when you're standing at a distance." "I Don't Trust Myself" features a gorgeous guitar sound and some nice fretboard work while the outstanding track "Belief" showcases some strongly emotional lyrics: "we're never going to win the world..we're never gonna stop the war...Belief is what we are fighting for." The likely second single "Gravity" is a soft, slow blues jam on which Mayer plays some fantastic lead guitar. At his recent St Louis concert, all four of these songs blew the crowd away, generating more applause than "Daughters" or "No Such Thing." "The Heart of Life" has a clean, crisp, and spare production with layered harmonies and a subdued guitar making for an elegant track.

The solid track "Vultures" is slinky and moves to a smooth beat with its falsetto harmonies sounding surprisingly good. "Stop this Train" sounds like it came directly off Heavier Things. Mayer sings of broken hearts in the beautiful "Slow Dancing in a Burning Room," which chronicles the end of a relationship , "this is the deep and dying breath, this love we've been working on." Mayer attempts to cover Jimi Hendrix on "Bold as Love", and while the guitar work is amazingly strong his vocals aren't quite as well suited to Hendrix. An elegant ballad sure to make the ladies swoon is "Dreaming With a Broken Heart." A powerful guitar solo highlights "In Repair", and closing track "I'm Gonna Find Another You" has shades of the early Mayer song "Comfortable", but with the addition of horns and electric guitar.

The 12-track record, produced mostly by Mayer with support from Jordan and Pallidino, is an extremely strong, mature collection of songs that showcases Mayer's growth as an artist. His backing band is extremely tight, and the sonic values on ther record are exceptional. Most importantly, Mayer has grown as a songwriter, incorporating new depth and substance to his songs. Those who didn't give him a chance before would be well suited to check him out now. His live shows are incredible and the man has some serious guitar chops. Fans of his earlier pop sound may be a bit disappointed, but will likely adapt quickly based on the response of the young crowds at his concerts. Comparisons to legends like Stevie Ray Vaughn and Eric Clapton are premature, but if Mayer continues on the path he's on, he will have a great career worth following closely. Highly recommended.
A.G. Corwin
St.Louis, MO

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Special limited edition tour package includes a bonus CD with live versions of "Vultures", "Belief", "Waiting on the World to Change", "Dreaming with a Broken Heart", "I Don't Need No Doctor", and "Gravity", as well as a 20-page booklet with exclusive tour photos.

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Roger Hodgson: Take the Long Way Home - Live in Montreal (2007) Review

Roger Hodgson: Take the Long Way Home - Live in Montreal (2007)
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I've recently seen Roger Hodgson singing at the "Concert for Diana" in July and it was terrible. Partly he sang off-key: "The Logical Song" turned into "The Horrible Song". In fact I was very sad to see that this singer finally has reached the age when the voice doesn't always sound as you wanna have it.
BUT:
It seems that Roger Hodgson just had a very, very, very bad day at the "Concert for Diana". Because the show on this DVD is ABSOLUTELY FANTASTIC. His voice as you know it for years, no singing off-key, an audience singing along and giving him standing ovations after almost each song. Plus a Roger Hodgson full of energy + in high spirits. Plus excellent picture quality + superb audio quality.
Some movies are so-called "Feel-Good-Movies". And I call this concert a "Feel-Good-Concert". It's perfect. When I've finished watching it just a few minutes ago, I felt so happy although the weather outside was cold and rainy. A typical day to feel blue, but this DVD has saved my day.
And I think, it's a show to see and hear over and over again.
For all Roger Hodgson and Supertramp fans: THIS DVD IS A MUST!!!

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Roger Hodgson is the voice of Supertramp. Co-founding the band in 1969, he was the lead singer and writer of nearly all their hits throughout the band's heyday in the seventies and early eighties. Since leaving Supertramp in 1983 he has had a series of critically acclaimed and successful solo albums and come through a major accident in the late eighties that threatened his entire career. This DVD, the first live release from either Roger or Supertramp, was filmed in Montreal and catches Roger Hodgson at his very best.Tracklisting: 1) Take The Long Way Home 2) Give A Little Bit 3) Lovers In The Wind 4) Hide In Your Shell 5) Oh Brother 6) The Logical Song 7) Easy Does It 8) Sister Moonshine 9) Love Is A Thousand Times 10) Breakfast In America 11) Don't Leave Me Now 12) Dreamer 13) It's Raining Again 14) School 15) Two Of Us 16) Give A Little Bit Bonus Tracks: 1) Even In The Quietest Moments 2) Dreamer (with orchestra) 3) The Logical Song (excerpt with orchestra) 4) Fool's Overture (excerpts with orchestra)Bonus Features: Bonus Tracks Behind The Scenes Film A Conversation With Roger Hodgson Montreal Interview Roger's Repertoire (full discography with audio clips)

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Live Wide Open Review

Live Wide Open
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One of the most versatile contemporary singer-songwriters touring America (in 2001 he racked up over 80,000 miles on the road), Martin Sexton's Live Wide Open showcases his amazing presence live. Recorded mostly at the Park West in Chicago, the album carries through the various highs and lows of Sexton's voice and songwriting moods. "Beast In Me" is particularly funky, while "Can't Stop Thinking About You" drags the listener into the neon nights and smoke-filled rooms of heavyhearted desperation. Throughout the album, Sexton's vocal and guitar performance is practically flawless. Sexton groupies may be let down by the track selection and implimentation, but this is certainly a great place from which to begin listening to Martin. Personally, this is the finest live recording I have ever heard, both in sound quality and performance.

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The Idan Raichel Project Review

The Idan Raichel Project
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"From the depths I called out to you
Come to me
Upon your return, the light will return to my eyes
I'm not finished, I'm not leaving the touch of your hands
May it come and light up to the sound of your laughter
From the depths I called out to you
Come to me
Against the moon that lights your way back to me
They spread out and melted against the touch of your hands"
~Idan Raichel
Idan Raichel combines ancient traditions with modern technology to create enchanting rhythms that take off in the second track and melt with a warmth that is soothing and harmonious in beauty. At this point you almost fall into the music and let it take your soul on a journey throughout an emotionally satisfying album with lyrics in Hebrew, Arabic and Amharic
The musical influences range from Israel to the Caribbean. "Hinach Yafah" is a little hypnotizing. "Suvi El Beyti" has a surprising start with interesting echoes that add a very intriguing dimension with a powerful undercurrent of percussion. "Im Telech" is filled with longing and "Be Yom Shabbat" has spiritual beauty.
Of all the songs, I feel in love with the sound of "Mi'Ma'amakim." When you look up the poetic lyrics the song has even more beautiful meanings. I can't wait for more albums by Idan Raichel.
~The Rebecca Review


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The Idan Raichel Project is the brainchild of Israelikeyboardist, composer, producer, and arranger Idan Raichel, who invitedover 70 different musicians from a wide variety of backgrounds toparticipate in the recordings. In particular, Raichel has long beenfascinated by the music of Israel's growing population of Ethiopian Jews,and many songs feature members of Israel's Ethiopian community. Therecordings also include Arab musicians, traditional Yemenite vocalists, atoaster and percussionist from Suriname and a South African singer, amongothers. The Project released its first album in Israel in 2002 and quickly becameone of the biggest success stories in the history of Israeli popular music.The haunting Ethiopian chorus of the first single, "Bo'ee" (Come With Me),sounded completely unlike anything most Israeli's had heard before. Thegroundswell of interest propelled the album to heights rarely seen in thelocal music scene and firmly established Idan Raichel as a new type ofIsraeli pop star. Now a musical icon in the Israeli community worldwide,The Idan Raichel Project has performed to sell-out crowds in prestigiousvenues in Paris, Brussels, New York, Los Angeles, Singapore and beyond. The international release of The Idan Raichel Project's recordings on thenew record label Cumbancha promises to introduce a wide new audienceto the electrifying work of this unique musical collective. The Projectoffers a new vision for how Israelis, their neighbors in this volatileregion, and people all over the world, can cherish their individualcultural traditions, celebrate their differences and through respectfulcollaboration create new and inspiring expressions. "Our ability to live inpeace with one other depends on our learning to appreciate and respect eachother's differences," notes Idan. "The way forward is not by trying tochange your neighbor, but by accepting him and recognizing that we are alllooking for the same things in life: bread, water, spirit, respect andlove." Deluxe international version is enhanced with three music videos andother special features.

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Remixed Review

Remixed
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To state straight off - I love Bond, I think the four girls are extremely talented and their music style makes classical music accessible to everyone. That said, I found this remix albumn a bit of a let down. As an Australian, I had to import the CD and it really wasn't worth the money. The girls are good, no question, but to me the music was too techno, they lost their individual sound to an all encompassing boom box. The whole album had a feeling of sameness to it, there was no individuality to any of the songs, they all seemed to merge into one techno beat. Two of the new songs Homecoming & Atlanta (played one after another on the CD) sounded so familiar at first I checked my CD player to see if it was on repeat!
So in closing, the CD is good for the die hard fans. But if you're new to Bond please choose either their Born or Shine albumn, this Remix CD is not a good representation of their sound. For those out there, who like me, won't see the CD in their stores for a few more months, wait it out, the extra cost involved in importing the CD is just not worth it.

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Jack Johnson - A Weekend At The Greek & Live In Japan (2005) Review

Jack Johnson - A Weekend At The Greek and Live In Japan  (2005)
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If you are a fan of Jack Johnson's music this is a great concert. He puts on an awesome performance with all of the best songs and also gives the audience a look into what goes on backstage and before the performance.

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Item Name: Jack Johnson - A Weekend At The Greek & Live In Japan [2 DVD]; Studio:Umvd Labels

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Live Unplugged (W/Dvd) Review

Live Unplugged (W/Dvd)
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Jeremy Camp has always been one of my favorite artists from the first time I heard him live on the "Stay" tour. I was hooked by his deep voice, tight music and deeply introspective songwriting. I have followed his career fondly and was intrigued by the prospects of him releasing a live album, I was even more curious when I learned that it was going to be a unplugged set.
This album did not dissapoint. many artists have tried the unplugged route, and most have failed but Mr. Camps style and voice are perfectly suited for this format, plus he has a top notch band performing behind him, including his brother and his wife. Camp hits on all his, well, hits. "Right Here is so sublime when done unplugged and I love the piano solo added to the song.
"Walk By Faith" with the strings in the background just demands lower lights and a cup of coffee. I swear that "Take you Back", "My Desire and "Beautiful Man" were written for just this album.
If you want to relax, unwind, reflect and just feel good get this Album, and that doesnt even hint of the included DVD which is "AWSOME" filmed in a intimate inviroment we get to hear the great music plus enjoy getting to know Jeremy Camp in a real way as he shares the success and the tragedies of his life . Just the fact that he can still sing and belive in a song "Walk By Faith" after losing his first wife to cancer 4 mounths into their marriage is a testemant to this young musician and God. A must have for any CCM fan

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Jagged Little Pill Acoustic Review

Jagged Little Pill Acoustic
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"Re-recording these songs ten years later has been such a great opportunity to honor them in a way I could not do 10 years ago," observes singer/songwriter Alanis Morissette in the liner notes to "Jagged Little Pill Acoustic," an album of sparse, low-key interpretations of the 13 songs that comprised "Jagged Little Pill," her 1995 debut album that thrust the then 21 year-old Canadian siren into the vanguard of the alternative music scene and mid-90's pop culture. The record went on to sell 30,000,000 copies worldwide; the highest-selling album ever by a female artist.
It is an interesting concept; a tribute album to one's one album, but the end result is better than one might think. "Acoustic" serves as a sharp reminder of what everyone loved about Morissette a decade ago when she first surfaced on worldwide radar, and with Glen Ballard again filling the role as the album's producer, the results sound true to the original.
Indeed, her "angry" vocal performances in songs such as "Right Through You" or "You Oughta Know," which gained her instant notoriety as her debut single, are considerably more restrained now. And while some may at first dismiss the idea of hearing these songs sung without their original ferocity, they are still worth the time.
"You Oughta Know" is the clearest indication that Morissette was able to change the direction of some of the material, as if to challenge the interpretation listeners immediately had to the song. To be sure, the original was carried along by raw anger, and appropriately so. Nevertheless, she has always maintained that she herself finds the song as being more sad than angry, and this time her vocals sound distinctly more vulnerable.
On other tracks, such as the classics "Hand In My Pocket," "Head Over Feet," "You Learn" and "Ironic," she sounds far more world-weary than the 21-year old sprite of yore, channeling healthy doses of humor and optimism, coming across far more relaxed and buoyant. The latter track has even been given a bit of update, as she finds irony not in meeting the "beautiful wife" of the man of her dreams, but instead his "beautiful husband." Perhaps more ironic is that only now does that line reflect true irony.
Some things have not changed significantly, however. Her frustration with the hypocrisy of the Catholic church still rings just as loudly as ever in "Forgiven," and "Not the Doctor," where she breaks free of a man who is overwhelmingly high-maintenance, rings more vital than ever from her confident delivery and aggressive production. Also, "Perfect," sung from the perspective of an overly expectant parent, rips the heart out just as the original did.
"I'll live through you/I'll make you what I never was/If you're the best/Then maybe so am I/Compared to him/Compared to her/I'm doin' this for your own damn good/You'll make up for what I blew/What's the problem/Why are you cryin'?"
Furthermore, the cathartic self-help of "Mary Jane" and "All I Really Want" sound refreshed and sincere, even in the hands of someone who has clearly moved on from such feelings of frustration and self-loathing. The head-on criticism of an ex-flame's unabashed apathy in "Wake Up," however, still sounds as urgent and retains the creepy undertone of the original, proving just how universal the message of the song is.
"You sit and you wait to receive/There's an obvious attraction/To the path of least resistance in your life/There's an obvious aversion no amount of my insistence/Could make you try tonight/Cause it's easy not to/So much easier not to/And what goes around never comes around to you."
Ultimately, "Acoustic" will only be appreciated by fans of Morissette and those who still cherish the glory that is the original "Jagged Little Pill." Nevertheless, it is a warm, inviting reworking that contains a great deal of its predecessor's magic, while also being appropriate to play during dinnertime and rush hour traffic.


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The biggest-selling album by a female artist in history, Alanis Morissette's Jagged Little Pill is 16 times platinum and Billboard's Top Pop Album of the 90's. Now, celebrating its 10th anniversary, Morissette and producer/co-writer have recorded the entire album in an acoustic version. Jagged Little Pill Acoustic (enhanced with exclusive content) features the songs in their original order and adds previously unreleased video footage from that era. Jagged Little Pill Acoustic is just what the doctor ordered.

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Nitty Gritty Dirt Band - Farther Along (2003) Review

Nitty Gritty Dirt Band - Farther Along (2003)
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Having a lot of Nitty Gritty Dirt Band music in my collection, I decided to get the Farther Along DVD. This live performance features the five Dirt Band guys--Jeff Hanna, Jimmy Ibbotson, Jimmie Fadden, Bob Carpenter, and John McEuen--along with a number of high-quality guest artists. The guest performers include Jimmy Martin, Alison Krauss, Vince Gill, John Hiatt, Vassar Clements, Jerry Douglas, Earl Scruggs, the McCoury Band(Dale, Robbie and Ronnie), Rosanne Cash, Taj Mahal, and Iris DeMent. The cast of performers is stellar, and there are a lot of highlights.
The performance gets off to a rousing start. Jimmy Martin, a veteran bluegrass performer, has appeared on all of NGDB's Will The Circle Be Unbroken records, and his rendition of "My Walkin' Shoes"(from the Dirt Band's original Circle album) draws a lot of applause. From then on, things get even better. Alison Krauss' vocals shine on "Catfish John". The McCourys' "Love Please Come Home" is a traditional bluegrass tune. "Mama's Opry", sung by Iris DeMent, and "Oh Cumberland", with Matraca Berg(Mrs. Jeff Hanna) singing, are both tender ballads. John Hiatt and Rosanne Cash perform "One Step Over The Line", which they sang on the Dirt Band's second Circle album. Earl Scruggs does some awesome banjo picking on "Earl's Breakdown". On Earl's classic tune, Vassar Clements plays fiddle, Jerry Douglas plays dobro, and Randy Scruggs backs up his father on lead guitar. "All Prayed Up", sung by Vince Gill, and "I Find Jesus", with NGDB's Ibbotson singing lead, are solid gospel numbers. Blues artist Taj Mahal's "Fishin' Blues" is a bouncy, humorous number. The show-stealing performance, however, is "The Lowlands", featuring vocals and guitar work by Jaime Hanna and Jonathan McEuen--the sons, respectively, of NGDB members Jeff Hanna and John McEuen. Jaime and Jonathan, in my opinion, are every bit as talented as their fathers. The entire cast of performers joins NGDB on "Will The Circle Be Unbroken", which by now has become a Dirt Band classic. A major strength of this DVD is the Dirt Band's performance of music which emphasizes their bluegrass and straight country roots as opposed to their modern country songs which have brought them commercial success while still drawing from their traditional sound.
Besides the Dirt Band's live concert performance, the Farther Along DVD has some excellent bonus material. First off, the extras include three additional songs which were in NGDB's original live show: Earl Scruggs and John McEuen's banjo instrumental "Soldier's Joy", the McCourys' "Take Me In Your Lifeboat", and Rosanne Cash's "Wildwood Flower". Maybelle Carter sang the latter song on the Dirt Band's first Circle album, and Rosanne's version is nearly as good. The music video of "The Lowlands", which got some airplay on Great American Country, is also included here, and I think the video is well-done with some great scenery. Finally, Farther Along includes a documentary about the making of the third Circle album, featuring interviews with the members of the Dirt Band and the guest artists as well as behind-the-scenes studio footage. Those of you who like NGDB--or just like music in general--will enjoy this "up close and personal" look at the Dirt Band. It features a stellar concert performance as well as a backstage look at how things all came together.

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The Circle continues with all three award-winning Will The Circle BeUnbroken volumes highlighted on this new DVD. Legendary country group Nitty GrittyDirt Band brought their friends and family together for a special celebration of theiracclaimed, Grammy-perennial Will The Circle Be Unbroken collaborative albums. Tapedfor airing this past March on Public Television.

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Swiss Army Romance Review

Swiss Army Romance
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"Screaming Infidelities" (5/5): An amazing song, the first single off of his second record "The Places..."
"The Sharp Hint Of New Tears" (5/5): I can't help but sing along with this song.
"Living In Your Letters" (4/5): Really emotional lyrics about a person the songwriter cares about.
"The Swiss Army Romance" (5/5): The title track is superb. Extremely catchy.
"Turpentine Chaser" (5/5): The bridge of this song is so good it gives me the chills.
"A Plain Morning" (3/5): This is not a bad song, just not great.
"Age Six Racer" (4/5): Really touching lyrics and soft background vocals make this one great.
"Again I Go Unnoticed" (5/5): An intensly emotional tune.
"Ender Will Save Us All" (5/5): Another song that is always stuck in my head, i love it.
"Shirts And Gloves" (4/5): This soft ballad is a winner.
"Hold On" (3/5): I don't know why, but this one doesn't do anything for me.
"This Is A Forgery" (4/5): Kind of different for Dashboard, but not bad at all.
"Hidden Track" (4/5): I enjoy the raw feel of this song.
Chris Carraba's first release as Dashboard Confessional is a great album. It was re-released three years after it came out, now with some bonus tracks. The real gems here are the title track and "Again I Go Unnoticed." There are only like one or possibly two songs that i skip through when listening to this. Great effort overall.
Rating: Four stars.

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2003 reissue of the first full-length hit 2000 albumincludes two bonus tracks, 'Hold On' & 'This Is A Forgery'. 12 tracks in all. Vagrant.

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Solo Acoustic, Vol. 2 Review

Solo Acoustic, Vol. 2
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Jackson Browne's second installment of "Solo Acoustic", shows an introspective and revealing side of Browne. Not just music, there is a self-biography and story-telling approach to the songs, much like Harry Chapin used to do in the 70's that endeared him to millions worldwide. There is no backing full piece band behind him: just Browne, his guitar/piano and the small intimate audience. It's a `here is what i am really like' performance that is made to be heard from beginning to end, and will not lend itself well to IPODs.
Even the songs that Browne selects from his vast catalog are personal, close to the vest songs that don't need much embellishment for a listener to understand that they are more than just words and music. It's also not some kind of unplugged retread of his hits either: it's an intimate recital that you could only get from small venue atmosphere. It opens up, perhaps, a new genre of recordings: personal presentations with the artist speaking ad-lib about the songs, life, loves and disappointments. It differentiates itself from other uplugged cds in this way.
The songs are mostly culled from his latest studio release: 2002's "The Naked Ride Home" (4 songs); "Somebody's Baby" from the Fast Times at Ridgemont High soundtrack; "From Everyman" and from "Looking East". With the exception of 3 or 4 songs, the body of the work will be largely unknown except to Browne fans who know his entire catalog. For me, this made the music even more evocative, since it's just not something you sing along to in the car, it's a bonding between listener and artist: something only a privileged few in music can pull off.
Jackson Browne was inducted into the Rock and Roll Hall of Fame in 2007, deservedly so, and not just for his music, but for the impact he's made on it, and the humanitarian events he has been famous in contributing to.
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A sequel to the 2005 Grammy nominated Vol. I. Twelve songs culled from Browne's extensive and critically acclaimed solo acoustic concerts around the world over the past few years. Like its predecessor, it captures both spirited and humorous exchanges between Jackson and his audiences, making for a truly intimate listening experience. It reaches back to his debut album and spans his entire career with highlights such as "Never Stop", The Night Inside Me" and "In The Shape Of A Heart".

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Solo Acoustic 1 (Dig) Review

Solo Acoustic 1 (Dig)
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With nothing more than an acoustic guitar or piano, a quick wit and a voice that's aged like the finest wine, Jackson Browne comes off sounding as youthful and vigorous as he was in his earliest days. These songs are lyrical masterpieces, performed by a truly gifted singer/songwriter/musician.
The poetry of "These Days," "For a Dancer," "Fountain of Sorrow," and "Take It Easy" has yet to be surpassed, even 30 years later. It's just plain fun to hear acoustic renditions of "Lives in the Balance" and "Looking East" (you can ignore the brief, petty political commentary that proceeds them, if you wish). "For Everyman" still remains a lyrical masterwork; and "Your Bright Baby Blues," played in a bluesier fashion, becomes a rejuvenated work of art.
The only problem with this album, really, is that it only contains 12 songs; thankfully, this is SOLO ACOUSTIC VOL. 1; meaning, if there isn't a VOL. 2 in the works, then there are going to be some very disgruntled fans out there. Jackson Browne is a true artist; if you've heard any of his music, you know this. If you haven't, then do yourself a favor and buy this album; if you are a fan of music--whatever genre--you will not regret it.

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Presenting twelve songs culled from Browne's extensive and critically acclaimed solo acoustic concerts around the world over the past few years, the disc also captures both spirited and humorous exchanges between Jackson and his audiences, making for a truly intimate listening experience. This new comp, produced by Browne and Paul Dieter, is Jackson's first live release since his 1977 multi-platinum "Running On Empty" album. It also marks the recording debut of a three decades old track, "The Birds Of St. Marks", not previously released in any form. "Solo Acoustic" reaches back to Browne's early years with "These Days" and "Take It Easy", and spans his entire career with other highlights such as "Fountain Of Sorrow", "For Everyman", "The Pretender", and "Looking East". A stirring version of "Lives In The Balance", the title track from Jackson's powerful 1986 album, will be this record's lead single.

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Detours Review

Detours
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If 2002's sun-drenched "Come On, Come On" found a nail-biting Sheryl Crow unsure of her position as pop tunesmith or serious singer/songwriter, 2005's "Wildflower" - her "art" record as she dubbed it - certified she could straddle the line without compromise.
She continues that progression with the aptly-titled "Detours," sifting through a myriad of topics like her breast cancer battle, broken engagement to Lance Armstrong and adoption of a baby boy. She may have been sidetracked, but she embraces the rhythm of life, an artist true to form.
Crow reunites with Bill Bottrell, producer of her 1993 debut "Tuesday Night Music Club," and the results are compelling and thoroughly listenable. Lo-fi opener "God Bless This Mess" is wall-to-wall Crow, reiterating the song's title line despite hazy post 9/11 life, while the jaunty radio-ready rock of the futuristic blue-collar anthem "Gasoline" and bouncy single "Love Is Free" keep the pace.
She bares her soul on "Make It Go Away (Radiation Song)" and delivers a high-octane rocker in the politically conscious "Shine Over Babylon," but the revelatory title track and cheery, swashbuckling "Out of Our Heads" keep the colors from running too dark.
In spite of life's hardships she finds comfort in "Peace Be Upon Us" and the gorgeous "Love Is All There Is" without a trace of sap left on her fingers, while perfect closer "Lullaby For Wyatt" finds Crow fully aware of the trials of motherhood as she tenderly croons "you're mine...for a time."
Crow is a rare flower of a talent in an entertainment industry full of weeds and flash-in-the-pans, but she is not fragile. Transforming the personal into the universal, she has the rare power to make listeners consider not just themselves but the ambiguous world they live in and keep things entertaining and fresh all the while.

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Sheryl Crow is set to release her sixth studio album, DETOURS. The album marks the return of producer Bill Bottrell, who previously worked with Crow on her breakthrough debut album Tuesday Night Music Club, which earned the singer three Grammy Awards, and sold more than ten million copies worldwide. "This is the most honest record I've ever made. It's about being forced to wake up," says Crow.
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David Gilmour in Concert - Live at Robert Wyatt's Meltdown (2002) Review

David Gilmour in Concert - Live at Robert Wyatt's Meltdown (2002)
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Freed from the shackles of what Pink Floyd has become, David Gilmour sounds positively liberated on his new live DVD, David Gilmour in Concert. The years have snuck up on him, as it inevitably does to all of our heroes, but his voice is even more expressive now than it has ever been. He's actually becoming more like his long-estranged counterpart Roger Waters, and that's a good thing, a great thing in fact.
They are both world-weary veterans having finally arrived at similar crossroads in their lives after drifting apart in their not-so-distant youth. Both men's voices are thinning, sometimes straining to reach notes. While Waters is still the bleeding-heart poet, and Gilmour still the guitar virtuoso, both seem tired of the bloated excesses of the rock n' roll machine that had welcomed them with open arms all those years ago, instead opting to embrace a more deconstructed approach to performing.
Even moreso than Waters' latest hits tour, Gilmour has unearthed rarely performed gems and obscure covers, and has re-invented overplayed classics. The result is breathtaking. His take on Syd Barrett's seminal Terrapin is pure magic, and Dick Parry's sax solo on Shine On is a freeform revelation. It's this sense of experimentation that has been missing from Gilmour's repetoire since he and the Floyd recorded Dark Side. He's even managed to take his latter-day Floyd tunes into exciting new directions. Take High Hopes for example, what once sounded somewhat inflated and bombastic confined to its awkward Floyd-by-numbers construct, has now taken on a more stripped and organic flavor. Even his lyrics play better without the baggage of the brand name. It's also wonderful to see Richard Wright, playing Breakthrough from his own Broken China album, sounding relaxed and beautiful.
Much of the beauty of the performances is in the rawness of the sound; often times you can hear each finger slide down the fret, each bend of the string. It's a clear and pristine recording to be sure, but it's not sterile and perfect, it's live, alive. Listening to the 5.1 surround, you could swear Gilmour is just feet away, acoustic guitar slung over his shoulder, entertaining guests at an intimate gathering.
The bonus features are equally rewarding. Gilmour's cover of "Don't", the Leiber and Stoller song made classic by Elvis Presley, is heart-wrenchingly beautiful, and his rendering of Shakespeare's Sonnet 18, with Michael Kamen, is sublime.
I was quite frankly shocked at how much I enjoyed this DVD. I've already played it more times than I've played Waters' excellent In The Flesh Live. I'd nearly forgotten how definitive Gilmour's guitar sound is, and how much I missed his voice. It's truly the sound of a wisened man with nothing to prove, a man no longer haunted by the ghost of Roger Waters. If this release is any indication of things to come, I will be waiting with just as much anticipation for Gilmour's next solo album as I am for Roger's, and praying for old friends to make amends.

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Tracklisting 1. Shine on You Crazy Diamond Parts 1-5 2. Terrapin 3. Fat Old Sun 4. Coming Back To Life 5. High Hopes 6. Je Crois Entendre Encore 7. Smile 8. Wish You Were Here 9. Comfortably Numb 10. Dimming of the Day 11. Shine On You Crazy Diamond Parts 6-8 12. A Great Day for Freedom 13. Hushabye Mountain 14. Dominoes 15. Breakthrough 16. Comfortably Numb

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