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Battle Royale

I don't have much time but this is a classic. Just re-obtained this great CD and by far the best track is the first one. For you audiophiles out there, the entire Count Basie Orchestra is in one ear and the entire Duke Ellington Orchestra is in the other. Recorded 7/6/61 in New York City. Enjoy

Battle Royale

Gone Down

My access to this here blog has been pretty much shut down. New posts are going to be at a trickle at best. Not going to get into specifics right now; I just want to inform all one of you that check this blog.

Moon Gone Down

Maybe it's the ether...

I have been spending so much space going back in time and I have forgotten how much I want to talk about some of the great new acts that I am checking out. First up, the Kamikaze Hearts from Albany, NY. These guys have fantastic instrumentation and some amazing four part harmonies (esp. this day and age). They have two singer/songwriters (at least) which I believe is a good sign and an innovative mandolin player that I would love to be able to emulate. I do want to post some tracks from their albums in the near future but I am going to introduce them with my favorite track from WOXY 05/01/06.

Pavement or the Guardrail

One of the Best

It was a crazy day yesterday here in real life. I am going to cop out and post a pre-prepared post. (Does that make sense?) Well, what does make sense is this mini set. This has to be one of my favorite mini sets of all time. So vital. Bobby D and the Band from The Last Waltz:

Baby Let Me Follow You Down

Hazel

I Don't Believe You (She Acts Like We Never Have Met)

Forever Young

Baby Let Me Follow You Down

Hard Core

This is a amazing album from 1999. I have always felt that Steve Earle is one of those hardcore, to the bone, no messing around, kind of singer songwriters; up there with Neil Young and Bob Dylan. Then he choose to collaborate with arguably the best band in bluegrass right now. They are certainly very tight and old school but also progressive enough to let everyone in. You put this combo together and look out. The first seven songs on this CD are unparalleled with anything else I am listening to. Check out how he opens the record:

Texas Eagle

On this one Steve and Ronnie switch; Steve on mandolin and Ronnie on guitar.

Harlan Man

Solid Air

This is a tremendous album that tends not to be immediately accessible. But through repeated listens, the darker, muddier textures come out and are excellent aurally. John is a very good guitar player and kind of spooky singer. He is very deftly backed by the incomparable Danny Thompson on bass. There are a variety of other musicians as well. I am not going to post my absolute favorite track; I'll save that for later. Nor am I going to post the track Eric Clapton covered. I am going to post this trio in order; consider it "meat off the bone". Wait til you see all the places the second track goes.

Don't Want To Know

I'd Rather be the Devil

Go Down Easy

for what it's worth

This track isn't really Jethro Tull as Ian Anderson performs all instruments: voice, flute, acoustic guitar, mandolin and whistles. Not the best tune not the worst just a piece.

Jack-In-The-Green

I am offering up two tracks that are not usually juxtaposed (at least not on the LP) from this seminal work in country-rock. If you have not heard this album or heard of this album, it is past time you did. Go do your homework. As my entries are starting to sound the same, I am going to use the liner notes from Johnny Rogan in 1997.

The last song on Side A, with Chris Hillman on mandolin:

Pretty Boy Floyd

"McGuinn returns to his folk days to resurrect Woody Gutherie's portrayal of the people's outlaw Pretty Boy Floyd. The result is one of the best arranged songs on the album, with fiddle, banjo, mandolin and stand-up bass each contributing to the effects."

As that isn't what the album sounds like, check out the first song on Side B:

Hickory Wind

"Gram Parson's' greatest moment on record was his second lead vocal contribution to this album. Co-written with former Submarine Band member Bob Buchanan, the composition was completed during early 1968 on a train ride from Florida to Los Angeles. The alluring hickory wind serves as a powerful image for Parsons' bittersweet nostalgia, as he imagines as Edenic childhood of simple pleasures like climbing trees. During successive verses, he reflects on the pursuit of fame, the curse of wealth without spiritual satisfaction and the perils of city life. What really makes the song, however, is Parsons' aching vocal, set against a superb steel guitar backing, whose whining combines with his yearning voice to create a mood of unbearable poignancy."