Tag Archives: music mondays

Sallie Ford’s Raucous Self-Help

Mother Jones

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Sallie Ford
Soul Sick
Vanguard

Courtesy of Vanguard

The ingredients of Sallie Ford’s stunning fourth album are easy to identify: ’50s teen ballads, ’60s reverb-heavy surf guitar, and plenty of timeless garage rock, among other familiar sounds. (Love those trashy organ riffs!) But that doesn’t begin to hint at the passionate immediacy she brings to these vivid stories of mental health struggles and the attempt to rise above “that feeling when you feel like giving up.” A deceptively powerful singer who splits the different between an earnest folkie and a fiery punk shouter, Ford reveals her darkest thoughts with fearless candor, daring to “imagine the worst that it could be/Fantasize, romanticize, my demise,” in the raucous “Loneliness Is Power,” and confessing, “It’s the feeling of failing that’s freeing,” on the lovely “Failure.” If she bends, Ford never breaks, concluding with the rousing, soul-inflected “Rapid Eyes,” exclaiming, “I need professional help…Gotta try and fix what’s inside.” Soul Sick is a riveting self-help session that could buoy the spirits of others facing their own challenges—and it’s great Rock ‘n’ Roll to boot.

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Sallie Ford’s Raucous Self-Help

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The McGarrigle Sisters Go Beyond Cozy Love Songs

Mother Jones

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Kate & Anna McGarrigle
Pronto Monto
Omnivore

Courtesy of Omnivore Recordings

The third longplayer from Canadian folkies Kate and Anna McGarrigle, 1978’s Pronto Monto found the sisters poised to enter the mainstream after two critically acclaimed, underexposed albums. With Anna’s composition “Heart Like a Wheel” about to become a success for Linda Ronstadt, the McGarrigles enlisted producer David Nichtern, who’d previously penned “Midnight at the Oasis,” a left-field hit for Maria Muldaur, in hopes of broadening their appeal. While Nichtern and a host of ace studio players muted the siblings’ eccentricities slightly to create a somewhat more mainstream product, a commercial breakthrough didn’t follow, alas. Regardless, Pronto Monto is an engaging and stirring work that gives full play to their thoughtful songs and tender, playful voices. But don’t be fooled into thinking that the McGarrigles are just sensitive softies. After savoring the cozy love song “Stella by Artois,” check out the caustic “Dead Weight,” which observes, “Your charm’s wearing thin and your voice rings like tin,” among other insults. Wicked!

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The McGarrigle Sisters Go Beyond Cozy Love Songs

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Spine-Tingling New Albums by Two Powerful Chanteuses

Mother Jones

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Gemma Ray
The Exodus Suite
Bronzerat

Brigid Mae Power
Brigid Mae Power
Tompkins Square

Courtesy of Chromatic Publicity

Once upon a time, the notion of mood music signified the kind of easy-listening slush that record companies tried to sell as lounge culture back in the ’90s. Today, all manner of credible artists prefer carefully crafted atmospherics to rock’n’roll bravado. Britain’s Gemma Ray has been releasing transfixing albums since 2008, and The Exodus Suite is one of her best. Languid tempos, dreamy melodies and Ray’s coolly insinuating vocals add up to spooky, spine-tingling fun—dig that eerie funhouse organ on “Ifs & Buts” and “We Are All Wandering”—even as sobering themes of global strife and techno-stress inform her narratives. She’s be the perfect choice to score the next James Bond movie.

After Ray’s film-noir poise, Ireland’s Brigid Mae Power comes off like a full-blown lunatic on her terrific self-titled debut. Framed by spare acoustic arrangements that beautifully showcase her strong, delirium-tinged voice, Power gives a riveting portrayal of a restless, disembodied spirit from another dimension, searching desperately for peace and finding scant solace. From the wild-eyed eight-minute opening track, “It’s Clearing Now,” to the sweetly unnerving “How You Feel,” Power makes an overwhelming first impression.

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Spine-Tingling New Albums by Two Powerful Chanteuses

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Celebrate Country Music’s Greats With "The Highwaymen Live—American Outlaws"

Mother Jones

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The Highwaymen
The Highwaymen Live – American Outlaws
Columbia/Legacy

Sony Music Group

The recent passing of Merle Haggard and Guy Clark is a reminder of how many great artists country music produced in the second half of the 20th century, and how few of them remain today. Clark’s timeless composition “Desperados Waiting for a Train” happens to be one of the high points of The Highwaymen Live—American Outlaws, a thoroughly winning three-CD, one-DVD collection. Chronicling live performances of the ’80s and ’90s supergroup teaming four other giants, two now deceased (Johnny Cash and Waylon Jennings) and two still making music (Willie Nelson and Kris Kristofferson), this feel-good set is comfort food of the highest caliber. Even if you know the work of each man well, it’s startling to realize how many absolute classics they wrote and/or recorded collectively, from “Ring of Fire” and “Folsom Prison Blues,” to “Me and Bobby McGhee” and “Sunday Morning Coming Down,” to “Blue Eyes Crying in the Rain” and “Mamma Don’t Let Your Babies Grow Up to Be Cowboys,” and so many more. The cheerfully scruffy vocals reflect the easy rapport of old friends basking in their accomplishments, while a dazzling supporting crew, including ace guitarist Reggie Young, keep the proceedings moving efficiently. Don’t mourn, celebrate!

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Celebrate Country Music’s Greats With "The Highwaymen Live—American Outlaws"

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John Doe’s "Psychadelic Soul Record" From the Desert

Mother Jones

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John Doe
The Westerner
Cool Rock Records/Thirty Tigers

Shepard Fairey & Aaron Huey

First heard almost 40 years (!) ago as a member of the great LA punk group X, John Doe never fit the clichés of the genre, intertwining his voice with bandmate Exene Cervenka’s in wailing harmonies that sounded more like hillbilly laments than nihilist diatribes. As a solo artist, he’s compiled a striking body of work that spans the 57 varieties of roots music. Dedicated to his late friend Michael Blake (author of Dances with Wolves), The Westerner is billed by Doe as his “psychedelic, soul record from the Arizona desert,” which is another way of saying he’s delivered a dusty, sure-handed set of vibrant down-home rock’n’folk full of longing, sympathy, and hope. Joined by guest vocalists Debbie Harry of Blondie and Chan Marshall (aka Cat Power), Doe remains a stirring singer who embodies weary determination and impassioned grace on the heart-tugging ballad “Sunlight” and the greasy foot-stomper “Go Baby Go.” Tough and tender and once, The Westerner is a genuine old-school treasure.

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John Doe’s "Psychadelic Soul Record" From the Desert

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Jennifer O’Connor’s Lyrics Cut Straight to the Heart of a Desperate Situation

Mother Jones

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Jennifer O’Connor
Surface Noise
Kiam

Courtesy of Kiam Records

Thanks to her dry, deadpan delivery, Jennifer O’Connor could fool a careless listener into thinking she’s cool and detached. Au contraire. On her fine sixth album, and first outing in five years, this unassuming yet gifted singer-songwriter quietly injects her catchy folk-pop with shots of undiluted raw emotion, telling gripping stories of hearts in turmoil without slipping into cheesy melodrama. As evidenced by the use of her music in an iPhone ad and such TV shows as Orange Is the New Black, O’Connor can craft smooth melodies you’ll want to hum all day, but her real gift is the casually tossed-off lyric that cuts straight to the heart of a desperate situation. “Where do you go, when the road ahead just ends?/’Cause you made the same wrong turn over and over again,” she murmurs in “The Road,” while “It’s Gonna Get Worse” finds her calmly asking, “Tell me why you stand there, staring at your feet,” adding tersely, “Take out the trash.” Elsewhere, the hushed closing track “Black Sky Blanket” would do Lou Reed proud. Title to the contrary, Surface Noise is insightful, subtle, and intriguing.

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Jennifer O’Connor’s Lyrics Cut Straight to the Heart of a Desperate Situation

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The Pure Pleasure of "Getz/Gilberto ’76"

Mother Jones

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Stan Getz and Joao Gilberto
Getz/Gilberto ’76
Resonance

Courtesy of Resonance Records

In 1964, with America in the throes of Beatlemania, “The Girl from Ipanema” breezed into the Top Five and sparked the bossa nova craze. This unlikely hit was a collaboration between American tenor sax great Stan Getz and Brazilian singer-guitarist Joao Gilberto (with enchanting vocals by his soon-to-be-ex-wife Astrud Gilberto), who would continue to work together on and off in the 1960s and ’70s. The previously unreleased Getz/Gilberto ’76 is pure pleasure, as inviting as a gentle summer breeze (something especially welcome this time of year). Recorded at San Francisco’s Keystone Klub—you can hear glasses clinking in the background, with no detriment to the music—this delicious live set features Gilberto’s shimmering acoustic guitar and gentle singing unaccompanied on some tracks; elsewhere, he’s supported by Getz’s gorgeous sax and deftly understated band, which includes pianist Joanne Brackeen, bassist Clint Houston, and drummer Billy Hart. Either way, it would be almost impossible to overstate the silkily seductive charms of this wonderful set. For those who prefer a straight-ahead jazz experience, the same cast, minus Gilberto, shines on the companion release Moments in Time, also previously unheard and recorded at the same venue.

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The Pure Pleasure of "Getz/Gilberto ’76"

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TEEN’s "Love Yes" Is a Sleek Affair

Mother Jones

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TEEN
Love Yes
Polyvinyl

Courtesy of Carpark Records

Led by Teeny Lieberson, the New York-based combo TEEN (which also includes Lieberson’s two sisters) has undergone a dramatic sonic makeover in the course of just three albums without sacrificing its off-kilter sensibility. The quartet began as the garage-rock version of a synth band, playing electronica with abundant rough edges. Today, they’re the epitome of polish, with supersleek melodies and gleaming vocal harmonies that echo the slickest modern R&B. But the songs are restless, probing studies of troubled sexuality and corrosive isolation, pondering “a suffered heart from years without touch” in “Push” and confronting ambivalence over a longterm commitment on “Another Man’s Woman.” Love Yes functions equally well as consummate easy listening and as a subtle antidote to complacency.

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TEEN’s "Love Yes" Is a Sleek Affair

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A New Offering from the Quirky Cass McCombs

Mother Jones

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The gifted Cass McCombs is often viewed as a modern example of the traditional singer-songwriter, but he’s also capable of heading off in plenty of other interesting directions when he thinks nobody’s paying close attention. Ranging from 2003 to 2014, the aptly named A Folk Set Apart: Rarities, B-Sides & Space Junk, Etc. collects stray 7″ singles, outtakes, and other marginalia that underscores his versatility with an intriguing mix of buoyant power pop, rowdy punk-rock, bluesy raveups, and even a whimsical guitar instrumental. Highlights include “Bradley Manning,” a brooding protest ballad, and the breathtaking dreamscape “Minimum Wage.” More than the throwaway it might seem at first, this is one of McCombs’ best albums, which is saying something.

Courtesy of Domino Records

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A New Offering from the Quirky Cass McCombs

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5 Fresh Videos From Female Singers You Don’t Want to Miss

Mother Jones

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Lara Janssen/Wikimedia Commons; Courtesy Diana Gameros; FKA Twigs/YouTube; Wikimedia Commons; Eric Ibarra

Summer’s pulling to a close, but perk up. Here are videos of five refreshing female vocalists whose smart and uncompromising performances have dazzled me recently:

1. Frazey Ford

Fans of the quirky alt-folk band the Be Good Tanyas—of which Frazey Ford is a founding member—won’t be disappointed with this sneak-peek single off Ford’s upcoming solo album, Indian Ocean, out in mid-October. With subtle vibrato and pulsing emotion, Ford’s velvety vocals take center stage in “September Fields.” While Ford’s a country-folk singer at heart, the electric organ in the track transforms her normally aching lullaby into something funkier and full of sunshine. As I listened, I kept picturing late summer drives through peaceful farm towns, passing barns with their paint peeling, peach stands framed by dry corn stalks, little girls in their Sunday best giggling on the steps of a small church. “Are you holding, holding on so tight?” Ford croons. Yes—to the edge of my seat in anticipation for her album to land.

2. Diana Gameros

One evening in July, Mexican singer Diana Gameros boarded the historic Balclutha, a tall ship parked in the San Francisco Bay. Under violet lights in the main cabin, alongside a handful of other masterful Latin American musicians, she delivered “Canciones Del Mar (Songs of the Sea).” The group performed ocean homages plucked from all over the continent, from fishing ditties to a silly tune about an octopus to a tribute to the Argentine poet Alfonsina Storni, who is said to have ended her own life by wading into the sea.

Gameros also performed her original, “Soy Tu Mar,” and released this humble video a month later. The waves washing through the ballad offer the singer an ethereal alternative rhythm, and pair well with her bright nylon-stringed Takamine guitar with a sound reminiscent of a mariachi. Gameros grew up bouncing between her hometown of Ciudad Juárez, Mexico, and Holland, Michigan, where she learned English and studied music. She now resides in the Bay Area and plays regularly at a tamale parlor in San Francisco’s Mission District. Her delicate first album, Eterno Retorno, showcases Gameros’ bilingual songwriting and jazzy voice. Like “Soy Tu Mar,” it’s at once full of yearning and serenity. Don’t miss the improvised bonus song in the tunnel at the end of the video.

3. Sevyn Streeter

Ignore the nails and revel in this diva’s silky and powerful voice. It baffles me that the guys lifting weights in the righthand corner of this scren were able to hold it together while Streeter just kills it.

With roots in church gospel music, Streeter started winning talent competitions at a young age, but her cousin had to convince her to upload her music to MySpace. It soon caught the eye of Beyoncé and Jennifer Lopez’s producer Rich Harrison, who asked Streeter to join RichGirl, a new pop group he was forming. The band never really took off, but Streeter continued to write songs, and six of the tracks she helped pen made it onto Chris Brown’s Grammy-winning album F.A.M.E.

Now, with an EP to her name, Streeter is working on a debut album. The singles out so far are gussied up with plenty of electronic beats and echo-y harmonies. But after seeing this video, I hope she releases more stripped-down acoustic tracks that allow her pure voice full reign.

4. FKA Twigs

Move over Gaga: FKA Twigs has arrived. This satisfyingly weird artist struts her sultry vocals and mesmerizing poise in the video version of “Two Weeks.” This year saw the London-based Twigs, a former backup dancer, move into the spotlight with her album LP1. Hipster music blog Pitchfork raves about its “eerie, post-humanist, Uncanny Valley-girl aesthetic.” Indeed, Twigs plays a doll in many of the surreal videos off this album—in “Water Me,” her head bobs from side to side and her eyes are unnaturally large.

In the video above, she’s an unapproachable empress. But amid all this cold posturing, her voice is piercingly intimate. And her command of her space and skilled restraint suggest that this 26-year-old half-Jamaican artist is only getting started.

5. Irene Diaz

Okay, this video’s not brand new. But Irene Diaz is probably new to most of you. I just stumbled on her recently (h/t NPR’s Tiny Desk Concerts), and I’m hooked on this playful song with its driving piano and flirtatious glances.

Based in Los Angeles, the soulful Diaz is just breaking into the national scene, playing at 2014’s SXSW and opening for Lila Downs’ on her current tour. Diaz seems like she’d be a ton of fun live—but here’s hoping she pauses from touring long enough to complete her first full-length album soon. As one blogger pointed out, Diaz sounds a bit like Fiona Apple, but her songs aren’t quite so morose. They’re muscular and catchy, with a hint of vintage spunk.

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5 Fresh Videos From Female Singers You Don’t Want to Miss

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