A beautiful "back to the roots"
346580
A beautiful "back to the roots"...amazing!, these guys still have "the feeling", listen carefully the tracks: Anywhere you want to go, Fillmore east, Freedom in your mind, Love makes the world go round, Sueos, Leave me alone, You and I, and Forgiveness, every song remains the early Santana's spirit in the 70's, a really masterpiece in the rock and roll history.
4493993
Emmylou Harris could - to paraphrase an overworked comment - sing the phonebook and she could make me sad. On her 2008 "All I Intended to Be," she digs in deep and follows a mournful track that is just pure Emmylou, teaming up with old collaborators like the McGarrigle sisters and her ex-husband/early producer Brian Ahern to make a fantastic album.

As the pure country strains of "Shores of White Sand" give way to a lilting Celtic flute, you realize Emmylou has moved away from the Daniel Lanois atmospherics of the lovely&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Red-Dirt-Girl/dp/B00004WZOJ/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Red Dirt Girl</a>&nbsp;and back to the openness of traditional country. "All I Intended To Be" stays the course with a mixture of Emmylou's original songs and a choice selection of covers from Merle Haggard, Patty Griffin and Tracy Chapman. Chapman's "All You Have Is Your Soul" (from her&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Crossroads/dp/B000002H7I/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Crossroads</a>) is one of the album's highlights.

But for me, the clincher is Harris's own "Gold." Here, she invites Vince Gill and old&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Trio/dp/B000002LAC/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Trio</a>&nbsp;companion Dolly Parton to sing harmonies. The result is sublimely beautiful (and makes me wish for a return of the "Trio" for a third album). It's my favorite song on an album that surrounds the soul-pulling of sadness with strains of hope, and rates up among Emmylou Harris' best CD's.
340580
John Mellencamp is a favorite of mine.  If you go back and listen to his recordings chronologically, you can hear the growth from a hard edged rock and roller to a singer/songwriter of depth and feeling.  I knew that this release would be fitting, since John has been heading in this direction.  He is after all a songwriter of Americana now, and this collection of roots music is fully him.
My favorite though, hands down, is his yearning 'The End of the World,' the old Skeeter Davis tear-jerker.  His straight-forward and raw approach, sans even the song's beautiful harmony vocal, is just gorgeous and heart wrenching.  The cd would be worth having just for that song alone, but there's another half dozen great songs here.  If you're a fan of American Roots music, and not too big on John, you'll still find very much to enjoy here.  If, like me, Mellencamp is an American Music staple, you'll love it.
4477992
Man, I'm'a say it again: this is ROOTS music. This is folksy-bluesy-inspirational-Gospelesque music. An' it's still good for drankin' some beers on a warm n' windy Saturday afternoon after puttin' in yet another weeks worth of hard labor. I discovered this by accident, y'all. I accidentally listened to it from front 'ta back an' I accidentally loved it.

This was the first piece'a music I'd ever heard by Ry Cooder that wasn't 'Buena Vista Social Club' or the 'Crossroads' soundtrack, an' I'm lovin' it, lovin' it, LOVIN' IT. That slide guitar an' that Southern bluesman's voice coupled with great back-up from Gabby Pahinui, Flaco Jimenez, an' company, all of whose names I didn't know when I first bought this CD, but that I will now remember forever. Stuff like 'The Bourgeois Blues' is reminiscent of a time when musicians weren't "celebrities" to be in awe of, but regular people spinning tales of life, love an' loss on front porches with acoustic guitars. 'I Got Mine' is the rebel workin' man's Gospel, an' the melancholy 'Yellow Roses' burns my eyes an' heart every time I hear it, an' makes me yearn for the simple things in life. That ol' cawntry-fried number 'Goodnight Irene' is done to perfection here; stripped down to the core an' with an accordian sangin' along with Cooder's voice that seems wrought with a life's worth of hard livin'. But my favorite is definitely 'Always Lift Him Up', this number is sumpin' special, fa'real; one fa' the church an' the TRUE gentile heart.

Like I said before, this really is "roots music" in every sense of the word. An' I don't care who's singin', white or black. I have no prejudices here as long as those sangin' it an' makin' it understand it. An' I think Cooder definitely understands it better than most. As hard as I'm tryin', I think a reviewer below me said PERFECTLY in one sentence what I'm strugglin' to say in a few long-winded paragraphs (that prob'ly no one's gonna read): it sounds like Cooder got together with a couple'a his buddies to "make" not "sell" music. An' that's that.
295553
A welcome respite from the mindless pop assault of the last few years. The combination of Michael Omartian as producer/arranger and Joshua Payne as singer/songwriter/arranger is outstanding. Joshua sings the lyrics with the painful integrity born out of real life experiences and Michael's beautiful orchestration works to bring out just the right emotive support for the lyrics and Joshua's wonderful voice. Joshua's obvious classical voice training lends strength to the songs without competing for attention with the rich lyrical patterns being woven by words and instruments. This album beautifully blends many different influences and calls to mind the rich Liedermusik tradition of Schumann and Schubert, while still rooted very firmly in the modern contemporary music world. Joshua and Michael should be very proud of this exquisitely wrought piece of art, as well as all those who contributed to its production. One can only hope that their relationship continues to produce such wonderfully rich stories of the heart.

There have been those who would like to make comparisons between this Josh and another Josh, arguing over who is better. It's a shame. Music is about sharing, not competing. Both offer offer beautiful renditions of the music they perform. For those who know a little bit more about Joshua Payne's life outside of the PR blurbs from Verve, you know that he has had his share of heartache and trials, both from his own choices, and those things that came his way. To see such an innocent attitude towards love prevailing in his own lyrics, and the songs he chose to sing, is a testimony to the strength of his heart, and to those who have loved him through it all. I can only look forward to more songs from from him and the wonderful relationship he has with Michael Omartian. I think Michael has the right sensitivity and understanding of Joshua artistically to help produce some amazing works.

The only thing I would like to see different on the next release, is even more of Joshua's original music.

By the way, if you haven't heard Joshua perform live, you haven't heard him at all. I was privileged to hear him sing Don Giovanni when he was at the University of Memphis. He has such presence and intensity that he owned the stage whenever he came out. His voice demands attention. If you enjoyed the CD you really need to hear him live.
3086404
This album is a back to the roots rich electronic production with thumping beats and filled with Howard's signature catchy uplifting melodies. It doesn't feel formulaic, however. As I have come to expect from Howard, the lyrics are thought-provoking and topical. This is not shallow lovey-dovey manufactured pop.

It's fresh and smart with a lot going on in the production department to keep it interesting on subsequent listenings. It's definitely a grower, and you'll find yourself singing the tunez long after you've left the house.

There is not a bad track on the album, and it's obvious that Howard and his co-producer Robbie Bronniman have put their heart and soul into every aspect.

"Celebrate Our Love" is a strong intro track. I also much like the first single, "Just Look At You Now", the title track "Revolution of the Heart", and especially "Stir It Up", which I think would make a great single if Howard manages to get back in the limelight with this one.

The album doesn't slow down and you are left with the strong driving beat of "For You, See Me" ringing in your ears and a voice inside you saying "That was great - let's do that again", as you almost subconsciously reach for the Play button to restart the experience.

I got hold of the limited edition Australian release which has a bonus CD containing dubs and remixes. Of the new tracks, the John B Drum and Bass mix of "For You See Me" is the only ROTH track that I really prefer to listen to over the album version. It is extremely catchy and danceable and actually enhances the album track. The remixes are meant to be danced to, and are probably great for that, but are a bit repetitive when they are just passively listened to. We have more than just remixes of new tracks. We have some new takes on classics like "Things Can Only Get Better" and "What Is Love". The other highlight of this disc, is the remake of "Like to Get to Know You Well" by The Young Punx called "Slip Away" which they released under the name "Mohito".

This is a great new angle of a classic song in the vein of many other similar tracks which are reviving the dance clubs with a fresh rejuvenation of classic 80's tracks.
2975005
A nice return to form from one of the best voices in modern music! Anneke's departure from The Gathering led to a slew of activity, but nothing that matched the creativity, or the sound, of her former band. Distancing herself from her former mates led to several acoustic albums and live releases (including a team-up with Anathema's Danny Cavanaugh). I've only heard her first release "Agua de Annique", and while it was nice to hear her great vocals again, the music was pretty mellow and non-descript. Not this time. Going back to the 'rock band' format here, "Everything is changing" easily rivals The Gathering's latest release without her; a nice combination of gothic-ish rock with textures of electronica. And then, of course, the singing! Perfect as always. While this album does not find Anneke exploring the more experimental side that she did with The Gathering, relying more on shorter songs and structure, fans of her former band should rejoice that she has reclaimed her rock side again, and put out an album that all fans of The Gathering should seek out. Watch out, Lacuna Coil, Evanescence and Within Temptation!
4477858
It's hard to find the good Cajun music of old, and that's exactly what this is.  From the two-steps to the waltzes, this is Cajun music brought back to it's roots.  I thank Jason and the guys for this album, and hope for many more like this.
1732076
On Hayley Westenra's third release, she marks a return to her Celtic roots.  She covers a lot of Celtic and Celtic-flavored tunes, including "Danny Boy," "Shenandoah," and "Scarborough Fair."

After nearly being lulled to sleep on the first two tracks, I was awakened by her third track, "Summer Fly," which features a lively, toe-tapping rhythm.  It was by far my favorite track on the CD.

Another highlight was "Whispering Hope," a beautiful cover of an old hymn, where she sings harmony and counter-melodies on the chorus.

"Summer Rain," one of the tracks that Hayley cowrote, is reminiscent of Enya's "Orinco Flow," but still very enjoyable.  The most beautiful track on this CD is her duet of "The Last Rose of Summer" with Meav, also heard on "Celtic Woman, A New Journey."  Their harmonization on the end of the piece nearly sent shivers up my spine.  The CD closes with a beautiful, A Cappela rendering of another old hymn, "Abide With Me."

Hayley's voice -- while not as full as other singers  -- is still very pleasant, clear, pure and bell-like.  Great CD to unwind at the end of the day.
3912507
Apparently, from the subject matter of the reviews that I have penned lately I have fallen into something of a roots music preservationist kick. Recent reviews have included a saga about the trials and tribulations of Austin, Texas blues club owner, the late Clifford Antone of "Antone's" fame,  in his attempt to save and expand the rich blues tradition that area of the country. I have also highlighted the attempts of Joe Bussard down in Maryland in his seemingly eternal quest to find every relevant old roots 78 rpm record ever produced. In the current review we are faced with the attempts, apparently unsuccessful, to save from the wrecker's ball an old Jackson, Mississippi `juke joint", the Subway Lounge (and attached separately historically important hotel, Summers Hotel) a location that is significant for the blues and for the civil rights struggle in the 1960s, as well.

I had initially intended to review this DVD mainly on the basic of the roots aspect of the documentary. Something along the lines, as I have done in the past, of paying tribute to those like Bobby Rush and King Edwards who continue the roots traditions down at the base without much hope of great recognition or riches. However, after viewing the footage of the up close and very personal indignities suffered by the older performing artists here back in Jim Crow days, day after day, as they were trying to keep the blues alive as an expression of the black cultural gradient that forms the American experience I feel more strongly the need to put on my political hat on this one.

Although there are plenty of references to blues, old and new and several performance from the new crop of blues devotees I was struck, and powerfully so, about the insights that this documentary put forth about the nature of Jim Crow society that existed in the not distant past down in Mississippi (and not just Mississippi and not just in the deeply segregated South). This policy struck the famous and those not so famous among the black population, homegrown or tourist. There are many anecdotal stories here about a number of events that revolved around the hotel, the "juke joint", and just the every day of black experience and what Jim Crow was down at the base for black people. Yes, get this one for its slice of black history. But also get it to remember as I have said it before but Nina Simone's old lyrics brings out so strongly. Once again, "Mississippi god dam".
2047160
Sometimes when reviewing roots music CDs and DVDs you come across material that you are both somewhat unfamiliar with and that does not fit easily in the various known categories of roots music. That is the case here with the combination of bluegrass and white gospel presented by the Easter Brothers and their family, very extended family as its turns out. A regular reader of this space might be somewhat puzzled by this remark. Of course, particularly over the last few months, I have reviewed reams of bluegrass music from the old days with the likes of Roscoe Holcombe, Ralph Stanley and the like.

Certainly the bluegrass folk revivalists of the 1960s, like the New Lost City Ramblers and The Greenbriar Boys, have gotten plenty of space. Moreover, one cannot really review Harry Smith's "Anthology Of American Folk Music", as I have in this space without running into plenty of bluegrass and gospel music. What is rather startling in this presentation these days is that combination, present here, of true believers in the gospel who bring their message through their bluegrass concerts for the folks. Frankly, I am much more comfortable with a secular group like The Bluegrass Gospel Project, who belt out the old tunes with fervor but not fever. .

Nevertheless, despite my befuddlement and a natural inclination to write this stuff off, this group, or rather real life extended family (I never did really get all the relationships down), knows how to sing this white gospel bluegrass music. Not enough to make me jump up and run out and get their albums but enough to appreciate that this Georgia -based group had something to say. That certainly is the case with a couple of songs, "Roses Will Bloom Again" and "I Need You".
2964371
Having just returned from a wonderful trip to England and Scotland, and planning another to Scotland and Ireland, I was very excited to get a message from Laura Sullivan asking if I would be willing to review her Celtic music CD Close to Home. My grandma and I share a love of calm instrumental music, so we listened to it together over the holiday break.

My first impression was that this CD sounds like music you'd hear in a high-end spa. It's calm and beautiful and it's the kind of music that can stimulate a lot of thoughts and memories or fall into the background and just set a mood. The songs are mostly familiar, but Laura brings a new sound to all of them. I've never heard Shenandoah quite like this, and my mom (who nearly always hates "this type" of music) quite liked it. She said it reminded her of her visit to Gettysburg - very serene and otherworldly.

My personal favorite was Spancil Hill, so much that I looked it up and learned that it's a song written about the plight of Irish immigrants who miss their homeland. You can really hear that sort of longing in the song. I also loved how the notes just seemed to flow effortlessly from the piano, even though years of piano-playing have taught me it takes great skill and effort to actually make it sound that way.

My grandma so loved the album that she's claimed it as her own. I can live with that, but I'll definitely be loading this album up on my Spotify account when I head over to Scotland and Ireland next summer. I suspect it will make great walking music when we explore some of the less populated areas.
2451454
In my opinion this is her best album since 2002's Traveling Through Roots. This album finds her going into a completely new direction. She explores the new terrain with mastery. If you are reading this, there's a good chance you are/were a fan already. Don't hesitate on getting this one. After a dozen listens this album still continues to open up beautifully.
2683717
My father had the lp record of Paul Desmond's "Summertime" (and I own it, now).  When I was about 6 or 7 years old, I remember seeing Paul Desmond's picture on the back of the album. I was quite drawn to his odd looks. I commented that he resembled Mr. Whipple of the 'Charmin' television ads. This was in the mid-1970's.

After my father's death, when I was around 18 years of age, I decided to listen to "Summertime" for the first time. From that moment onward, I was hooked on Paul Desmond's music.
Despite there are one or two tracks I don't care for, I love this album! "Summertime" has a relaxing, laid-back feel to it. My favorite tracks are "Struttin' With Some Barbecue", "Lady In Cement", the title track "Summertime", and, especially, "Autumn Leaves". This rendition of "Autumn Leaves" -- bossa nova style --is the most beautiful I've ever heard of the classic Johnny Mercer tune. I play it often. Also, Desmond's version of "Lady In Cement", based on the Frank Sinatra film of the late '60's, is stunning and adventurous. A crime drama easily comes to mind upon hearing it.
I'm very happy to see that "Summertime" is now available on cd, and will be ordering it soon! I hope that same picture of Paul Desmond in dark-colored clothing, and with his odd looks, will be on the back of the cd. It will serve as a reminder of my 'chance meeting' of him when I was a child. Paul Desmond was, indeed, the best!
4680863
All I can say, being a Jethro Tull afficianado for many years now, is that this cd's release is excellent!  "Roots to Branches" was an excellent cd(their previous release), and I had wondered in what direction  the boys would turn to after that one, and the answer was pleasing....the  right direction! Ian Anderson's voice is wonderful(in the studio at least),  his flute playing is better than ever, flawless, and a joy to listen to!  Martin Barre's guitar playing is magnifique! His use of counterpoint shows  nicely in tunes like "Hot Mango Flush". The other boys do a great  job as well. There simply isn't a track that I dislike on this release, so,  check it out!
234039
The roots make good music . . . period.  If you are a fan of this group then you should have this album already.  I listened to the whole album first and I decided to buy it just to support this type of music.  Legendary Roots Crew!
1093082
I have been a fan of simple acoustic Blues since I first heard recordings by Leadbelly with Sonny Terry. This highly-underappreciated form of Blues has a history as rich as it's electric offspring and it is a shame that there are so very few practioners of this artform. I was delighted to recieve this CD and listening to it has been a joy.
Portland, Oregon-based Back Porch Blues does an excellent job of harkening back to their forefathers. Whit Draper on Guitar and Jeffrey Dawkins on Harmonica seem to have made a study of the pioneers of their respective instruments and they do a very nice job on every single cut on this CD. Sheila Wilcoxson has an almost too-fine voice for this style of music, but I really give her credit for allowing her musicians room to do their thing.
Overall, it's not a ground-breaking album, but I liked it a lot and definitely enjoy listening to it from time to time.