The Doubling Riders are an Italian group that first released this album in 1991. The music is imbued with the spirit of the Garamantes described in the songs–these were the predecessors of the Tuareg tribes, the ones who carved the roads that became trade routes and then thoroughfares for revolutionary tribes seeking independence. Piano, synth, percussion create an ambiance of another time and place, and guest musicians add their voices and instruments to make this a worthy re-release.
Just in time for the summer heat waves comes this debut from James Williamson (former Stooges guitarist) and the Pink Hearts. His vocals and guitars, combined with Petra Haden’s vocals and violin, and Frank Meyer’s vocals and guitars, along with a bevy of talented musicians, keep you cool with the rock and roll of stellar songs. Try out “This Garden Lies” (6) and “Purple Moon” (7). All of it will keep you “Behind the Shade” (10) and grooving in your shoes.
This is Volume 2 of a recording of a concert in Milano, Italy in 1976. The release of both occurred on the tenth anniversary of Steve Lacey’s death. Lacey wrote the compositions and played soprano saxophone; Kent Carter was on double bass; and Andrea Centazzo performed drum set and percussion, in addition to writing the liner notes describing how he and Gilles Laheurte mixed, edited, and produced this unique treasure of improv jazz. The first epic track gives you enough time to get your tao on. “Flakes” and “Weal (Part 1)” are my favorites.
This is a compilation of songs originally recorded between 1981 and 1984. It’s electronics that sounds playful like video games with hazy male vocals fading in and out among the sounds of telephones ringing (3). It’s more than the playful sound, though; it’s a flashback to the 80s and many of these feel like a soundtrack to that time (4, 6, 8). I can tell this will get lots of plays.
This is refreshingly accessible avant-garde jazz from a quartet featuring Hone on alto sax and bass clarinet, Lauren Baba on viola, Gregory Uhlmann on guitar, and Mike Lockwood on drums.They are capable composers and improvisers. “Play” (7) sounds like a wonky circus act, while “Morning Bear” (9) is a lovely creation (written by and featuring pizzicato by Baba) worthy of many listens.
humana 3/17/2018 A Library
I can’t help but really like these simple, shoegazy songs sung and written by Carl Lamoureux and Spaghetti Francis. They are folksy and hazy and fairly mellow. Last track (“Rivers”) is my favorite.
humana 3/17/2018 Jazz
Energetic, fresh, forward-thinking jazz from Norway, all composed by Ole Morten Vagan, who plays double bass. The last track (“Lontano Sea”) is the most subdued of the bunch. Make sure your head is listening as you take in this unique sound.
humana 3/17/2018 A Library
Imagine growing up in a small village in Tuscany, Italy, where time was marked by religious rites. Now imagine it while you listen to these field recordings that delve into the “sacred space” Aldinucci remembers from his childhood. You will be transported by manipulated sound in conversation with music that expands dimesions through mud squelches, water, melodies, and what sounds like a fish flapping on a line. Relaxing and fascinating because it is so real.
You’ll want to read the liner notes on this classic. Reed, who grew up in Rising Sun, Appalachia, picked up a banjo at an early age and learned to pick out tunes herself. Looking at herself in the mirror, she declared her theme song (“Look Down That Lonesome Road,” track 12) and fulfilled her goal of singing on the radio someday. Bully for her, I say! Her voice is as hearty as they come, and her music reflected her values and life–no hypocrisy in this woman’s blood. This selection of her music comes to us through time and allows Reed’s example to shine on for generations of women musicians to come.
humana 3/17/2018 Blues
This is a gem of a selection of Hadda Brooks’s repertoire, from her amazing piano boogies (she’s not called “Queen of the Boogie” for nothin’) to her lovely sung ballads. The liner notes describe how she didn’t think she could sing; we can all be glad that she gave it a try. In fact, she gave both herself and her audience a great gift when she decided to sing her torch songs. She may not have been as well-listened to as she deserved, but we can remedy that now by paying her homage.
It takes a lot to get me psyched these days, but Miss Massive Snowflake does the trick. Talk about your hidden treasures–this CD had been hiding under my front car seat just waiting for me to feed it to a player so that it could feed me with its amazing fresh rock sounds and unique tempo changes (“Goldsworthy” is outstanding in this respect). Jeanne Kennedy Crosby’s bass playing masterfully keeps a rhythm winding throughout every song. Shane de Leon’s clear vocals
Talk about creativity–this sampling of the first 20 years of the Abaton Book Company label is a treasure trove of radio theater, singer songwriters, soundtracks to movies starring cats (10), quartets, and more. A lot of the tracks are by Marianne Nowottny, whose debut was recorded by ABC when she was only 16. The liner notes are a must read as you listen to the wonderful weirdness contained on this CD. It all makes you believe that coloring outside the lines has not, nor ever will, go out of style.
What’s not to love about punk rock with rollicking lyrics such as “Stiletto heels could not erase, that girl’s butt was right in my face” (5)? This guy trio packs a hearty punch with these songs that are worthy of many listens. Be sure to check out “Hot Girls Eating Pizza on Instagram” (10).
Well, this Colorado country band is pretty mellow, and the downtempo songs go along quite well with their band name. The studio versions are on Side A, and the live versions are on B. They aren’t that much different, although the live ones sound a bit grittier and more affecting. Great for a grey, overcast day. Just have some ice cream on hand to pick you up.
Tym Wojcik is Cup, and these hazy punk songs prove to be more than just a hiccup in his repertoire. Fast-paced guitar works like a jolt to the system in this seventh release from Cup. Songs are 1- to 3-minute bursts of energy. Drink up.
I don’t know who Karen is, but this Oakland band pays a fine tribute to her with this release of pop rock goodness. Each song’s lyrics are on the insert, but the vocals are clear enough to make them out. The upbeat guitars and drums provide a fine setting for letting the wisdom of said lyrics sink in. “Afternoon Waking Life” (2), “Slide Collection” (4), and “The Midwest is Boring” (9) will have you bopping and rolling down the window of your car as you blast th
This is a beautiful soundtrack written by Lyken and Dove and set in Scotland, home of the Cromarty Lighthouse, to whose last keeper this is dedicated. There are sounds of water lapping at docks, drills, industry, voices, and geese. Minimalist piano weaves in and out of the tracks in a haunting, beautiful way. The atmosphere is chilly, lonely, and lovely. This is electronica and industrial and field sounds. I love it.
Drum and bass and breakbeat–that’s the genre, and this is the debut studio album of Squarepusher, aka Tom Jenkinson. This is a stunning release that is frenetic, shimmery electronica at its finest. The notes on the CD are fascinating, asserting that Squarepusher “gives us the SOUND of SOUND.” Jump into the energy floe and lose yourself. 7 is my favorite track.
Out of undeserved obscurity comes the clear, smooth voice and stylings of Arthur Alexander, who paved the way for soul with his songs mixing country, blues, pop, and rock. As Paul McCartney said once, “If the Beatles ever wanted a sound, it was R&B. We wanted to be like Arthur Alexander.” The Beatles and Rolling Stones were only two bands that recorded Alexander’s songs. Try any of these gems–they sparkle with feeling and emotion.
These songs were written and performed for the great yearly celebrations, called powwows, of the Great Plains Indians of North America. The liner notes describe the particulars of each dance, and the meanings are felt in the hearty vocalizations and drumbeat of both the Northern and Southern Plains Indians. A true slice of social and ceremonial native music.
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