Amazon.com

"If you judge me tonight, judge me by the songs I write," Dan Bern singsin "Black Tornado," thus serving notice that he's sick of the comparisons tovarious iconic songsters. Bern has never suffered from a lack of ambition,tackling pop culture and personal foibles alike with fervor and an utterdisregard for taboo. Bern takes on similar subjects here, but backed by afive-piece folk-rock combo and warmly produced by Chuck Plotkin (theDylan andSpringsteen vet whopresided over Bern's 1993debut), he strips away the sophomoric gags and cloying cleverness that haveplagued his past. Only the title track falls for the easy, ironic cop-out (keylyric: "OK, I guess, whatever"). Cuts like "Turning Over" ("I can't find me onenew leaf worth turning over") and "Albuquerque Lullaby" ("Don't let your heartget broken by this world") come off heartfelt and unforced. And while much ofNew American Language finds Bern mellowing into a newfound maturity, he'sstill happy to poke holes in hype and hypocrisy. "Toledo" offers wry tribute to"The Church of the Holy McDonald's," while the freewheeling "Alaska Highway"sucker-punches everyone fromEminem to God.--Anders Smith Lindall ... Read more

Reviews (27)

Buy this NOW!!!
Don't think about it, just buy it.

Every once in a while an album comes along at just the right time. Dan Bern's New American Music says everything that everyone has been feeling the past 6 weeks. It preaches oneness and brotherhood, unity and peace, understanding and love. Dan Bern has done it.

I just feel like I want, or need, to listen to every song on the album, every word, all at once, over and over and over. I can't sing enough praise.

This cd is a few daring DJ's away from turning Dan Bern into a phenomenon. There are several bonafide hits, most notably the title track. "Tape" is one of the timely songs in which Dan sings about the possibility of seeing World War 3 before Thanksgiving Day, an eerie lyric in the wake of 9/11.

But above all, the unique character of Dan Bern the musician, is woven through the context and subtleties of this album. He truthfully characterizes what being a pop culture idealizing American is, without vilifying that characterization like many of his contemporaries, or even some of his previous work. His mature understanding, combined with his "crystal ball" vision, is ready to be catapulted to the forefront of his IndieRock-Folk genre, ushering in the eloquent, homespun, wholesome and cerebral sounds of a New American Music.

A quantum leap for Bernstein
Dan Bern's fifth album is not only his best, but perhaps the best this year from any artist. If you know Dan Bern's music and like him at all, you should buy this right away. If you don't, it's still going to be a great purchase - I guarantee it will hog your CD player for several weeks, minimum.

Dan Bern has spent much of the last 16 years touring, and most of the shows were just Dan and his guitar. He developed a reputation as a smart, funny, irreverant songwriter who was unconcerned enough with his own fame to record songs that were, well, never going to be on the radio. He also built his reputation as a heavyweight stage presence who could hypnotize a room with nothing but a guitar, microphone, and maybe a beer.

This album, his first with indie label Messanger Records, features a five piece band that manages to bridge folk and rock quite effectively. It is his most "adult" album. He does dabble in his usual social commentary, but this time adds some very personal material, some of which almost seems to foreshadow the 9/11 attacks. "What if all the promises / You thought were broken / Were never really made?" he asks in "Toledo." In the very un-Bern-like "God Said No," he recounts a conversation with God "on the edge of town," in which he pleads for God to send him back in time to right various wrongs. God refuses, of course - when Dan wants to go back and save Jesus, for example, God replies, "You would stare / Tongue no longer working / Eyes no longer seeing / Ears no longer hearing." By the end of the song God is claiming Time as his "secret weapon, my final advantage."

Pretty weighty stuff that should satisfy some of Dan's critics, many of them Dylan fans, who found his earlier work too cute and a bit sophomoric. But what makes this album really wonderful is the fact that, along with the thought-provoking lyrics, Dan has written some great songs. Prepare to play the drums on your steering wheel. All great folk singers are great because of, above all else, the ability to write great songs. Dan Bern really delivers on New American Language. The genre is filled with great artists, great songs, and great albums, and this album can stand with any of the best of Leonard Cohen, Tom Waits, and yes, even Bob Dylan. Buy it now!

Living the dream
The title song in this collection recounts a hilarious he-said/she-said miscommunication about the meaning of love, prompting Bern's idealistic dream of a new American language, "one with a little bit more Spanish." While he's at it, he also dreams of a new pop music, one that "tells the truth, with a good beat and some nice harmonies."

Well, that in a nutshell defines the brilliance of Dan Bern: He tells the truth with a good beat. And any lack of nice harmonies in the background is more than made up for by the gorgeous melodies up front.

You want catchy melodies? Then take a listen to Turning Over, or Albuquerque Lullaby, or Toledo.

You want a good beat? Listen to Sweetness, or Alaska Highway, or Black Tornado, or (especially) Tape.

And then there's the closer, Thanksgiving Day Parade -- 10 minutes and 26 seconds of stream of consciousness that culminates in an ecstasy of pure sonic bliss. It is simply breathtaking, both for the arrangement and the performance.

You want the Truth? It's right here in every song.

If you ever have the good fortune of seeing a Dan Bern live performance, you'll come away realizing that he not only has dreams of a new American language and a new pop music - he's out there living his dreams.

Lucky guy.

Thanks Dan!
The one problem I've always had with Danny boy is that he loves to run off a stream of funny topical songs that by definition are dated as soon as he sings them. Too much pop culture makes it hard to take a guy seriously. (with exceptions like God Said No, what a cool song)This cd though is a step in the right direction. The tunes are great and different from one another, the band is tight, the vocals ride up nicely in the mix, and the lyrics are some of his best yet.

solid cd
i read a review of a different album by a different artist that is very appropriate here. if you like dan bern's previous work, you will enjoy this album. it has a different musical backdrop but shares the same intelligent and humorous lyrics and the same distinct voice. if you have already purchased this cd and liked it you must own fifty eggs and if you haven't yet purchased it i highly recommend fifty eggs as a first dan bern album. great listening in either case ... Read more

Reviews (8)

The second cd is sold on amazon as well.
If you key in kennie starr in the search engine as opposed to kinnie starr the new album will come up.

I want to have this woman's baby
This is the first album of hers I got. She is really talented... her music goes all over the place. some songs are guitar heavy, some are kinda trip-hop. Her lyrics are great and span everything from love and spirituality to critiques of society; I love her spoken word. She has quite a few albums now, but the older ones are hard to find. I think this one is my favourite so far.
She's from the west coast of BC, and you can kinda tell (in a good way). She also switches mid-song between english, french, and spanish, although its mostly english. She sometimes has a kinda rap style of singing, but it works.

There is an amazing second album
tidy is an incredible c.d.....So unique and artistic. I have a tape of her second album from a friend who knows her but because of record company feuds it hasn't been released and i don't know if it will be.

kinnie starr shines!
Kinnie Starr is a poet and every word she sets on fire on this album is a poem, whether set to her incredible range of musical stylings (and languages), or a capella where the words are the only music....

but you must be warned, because I ALSO got a ticket last night when listening to this way too loud in my car, but I was in such a great mood from her music, I didn't even care!

If you are prone to driving fast, save your driving record and listen to this one at home, where you can sing and dance as loud and fast as you want, and no police officer can stop you.

you have no idea
found this lovely bit of stuff on my friend's taped copy of her friend's cd. bought my own, used and perfect. apparently there were record company feuds, but there is a new album somewhere. ah, that multilingual sweet loud and always strangely cheery and a little angry voice. the liner notes include cd suggestions. a fine thing I tell you, you have no idea, a woman i love to hear talk and sing and think and play. she got me driving too fast-- i got ticketed and blamed it on the music. I had to. it was the truth. ... Read more

Album Description

During the 80's Felt released ten albums & ten singles forthe Cherry Red, Creation & el labels. For the first timeever, this compilation chosen by enigmatic frontmanLawrence, features the highlights of Felt's career on allthree labels & proves they were the decades formativeunderground challengers. The album includes the indie hitsingles 'Trails of Colour Dissolve', 'Penelope Tree','Sunlight Bathed the Golden Glow', 'Primitive Painters','Ballad of the Band', 'Final Resting of the Ark' & 'SpaceBlues'. 15 tracks packaged in digipak format. Cherry RedRecords. 2003. ... Read more

Reviews (2)

Overlooked and Possibly Essential
If you're a fan of Belle & Sebastian then you've probably read Stuart Murdoch name drop or even rave about Felt (even ranking them higher than The Smiths or Orange Juice). And if you like the afforementioned artists you'll probably like Felt.

This is an excellent collection for the casual listener (which I am so I'm not sure what it offers for the Felt collector). If you're put off by the Belle & Sebastian reference above I appoligize - Felt will equally appeal to fans of Lou Reed's vocal delivery or Television's guitar interplay (toned down however). Felt is like the missing link to defend your fondness of chamber and twee pop while still maintaining your New York underground and punk collection.

Very much like BUBBLEGUM PERFUME but w/out the instrumentals
Very much like BUBBLEGUM PERFUME but w/out the instrumentals.. it's true.. but this is MORE like a cross between ABSOLUTE CLASSIC MAST and BUBBLEGUM... Something Sends me to sleep and Penelope Tree!!! If you have all the PROPER albums and even BUBBLE GUM, this has a unreleased (or rare) version of SUNLIGHT BATHES THE GOLDEN GLOW. There are STRINGS and a female backing vocalist!!! Also, the FORTUNE is NOT the version on CRUMBLING.. it's the one on ABSOLUTE CLASSIC... Also, this has BE STILL, BALLAD OF THE BAND, SANDMAN'S ON THE RISE and SPACE BLUES that was also released on BUBBLEGUM..

No booklet with writings, just songs... brilliant and beautiful songs from FELT... but this is a compilation depending on what you have. If you don't have anything by them, this is a wonderful introduction to FELT. ... Read more

Amazon.com

Given Belle & Sebastian's eccentric way of doing things, it's hardly surprising that their soundtrack to the Todd Solondz movie Storytelling did not work out quite as planned. Plenty of bands have written scores to imaginary movies. Belle & Sebastian, however, have composed an imaginary soundtrack to an existing movie; only six minutes of this music was actually used in the film, and much of it was completed after the film was released. The weird thing is, it all fits together rather nicely. Storytelling is a more consistent beast than the last couple of B&S albums; the discipline of writing (vaguely) to order seems to have made the band perversely less uptight. Stevie Jackson's ambling harmonica piece, "F*** This S***," is a close cousin to his beautiful work with the Bill Wells Trio--and also, explicitly, Dylan's soundtrack to Pat Garrett & Billy the Kid. Amidst the lilting instrumentals and snatches of dialogue from Solondz's fine movie is a clutch of quietly impressive songs. "Black and White Unite" continues Stuart Murdoch's artful reorganization of the legacies of Loveand Simon & Garfunkel, while on "I Don't Want to Play Football" he chooses to stereotype himself further as the sickly child always picked last at games. Best of all, there's "Storytelling" itself, in which Sarah Martin pursues the issues of authorial responsibility tackled by Solondz in the movie. "In directions, actions, and words, cause and effect, you need consistency," she politely chastises, targeting Solondz as much as his characters. --John Mulvey ... Read more

Reviews (20)

Pleasant, if not spectacular
Belle and sebastian have been one of my obsessions for about 4 years now. If you're feeling sinister is my benchmark for their work, so take that into consideration as you read my review. I have been reasonably pleased with their last 2 singles, and was eagerly awaiting storytelling (I ordered it in october of last year and have been breathlessly awaiting it). Well, I should have known that a soundtrack thing would be "interesting". The instrumentals are good, which is fortunate because much of this album is instrumental. They sound like b&s, lots of strummed guitar, harmonica, strings, and vibes. Always pretty, sometimes genuinely emotionally satisfying. The vocal tracks are, in my opinion, not fully realized. Stuart is once more in fine voice (he should sing 9/10's of the songs anyway). Jackson can't sing and should stick to the harmonica. The Pseudo-isobel is quite delightful, and I would be happy to hear more from her. This really is an album that will be enjoyed by completists (like myself) only, and is not for the casual fan. Stick to "Sinister", "Lazy Line Painter Jane boxed set", or "arab strap" for your initial B&s purchases, and then graduate to this as a lovely but inconsequential treat.

Good on it's own
It is clear to me that some other reviewers have neglected to see the movie and thus nullify their own opinions. Enough said on that.
I felt that this was a very solid CD from start to finish. All of the songs flowed one to the other and made sense.--Especially if you saw the film (though I didn't particularly like it). B&S are apt to tell stories as it is--listen to any song and you'll understand what I mean. I must say that I have a great fondness for B&S and may be inclined to like this a tad more; however, after DCW I can see that my loyalty is not blind. This really is a good album.
Some may feel that it drug along or that it was boring, et cetera. I thought it was beautiful, and I'm sure I'm not alone. The instrumental F*ck this Sh*t was one of my favorites--and I loved Sarah's Storytelling.--By the way, Sarah is no faux Isobel as some have said. Sarah is Sarah and she's in the band and Isobel is out.
I would not buy this album if you are not patient. I would not buy it if you thought Boy With The Arab Strap was the end all. I would not buy it as a first glimpse of B&S. I do recommend buying it if you love B&S--or can appreciate beauty.

Shed your prejudices and take a listen
Reviews for the Storytelling are disappointingly low, but before you stop reading and go on to another album, know this: they are all wrong.

Storytelling is not quite as cohesive as Tigermilk, but lends a beautiful instrumental chapter to the life of Belle and Sebastian music. You don't have to be a B & S fan or even a fan of their flavor of rock and roll. You don't even have to like rock music. This is an exsquisitely-composed, beautiful piece of music -- broken up by smile-bursting about the great state of New Jersey -- that is pleasure class A.

There's just something about. Take it on a run with you, take a bath with it, curl up going to sleep with it. It's a mellow soundtrack for mellow times. It's not going to hype you up, it won't really make you as happy as Tigermilk will. But it will satisfy you.

So don't listen to the reviewers looking for a more traditional Belle album, or a mainstream album at all. This isn't either. But it is a beautiful composition that deserves to stand and be judged on its own. Pull up recliner and take a listen; you won't regret it.

beautiful orchestrations, witty lyrics
both a great (and massively under-rated) film and a near perfect (and overlooked) b&s record. the record really shows off b&s's abilities at creating beautiful pop orchestral compositions, and the lyrical talents shine at their peak right here (especially with the self-reflective, shall i say brechtian, "storytelling" and "big john shaft"). the album's one downfall is that it parasitically exists with the film, and may not be nearly as enjoyable without knowing the "story" which is to be told.

Well, it's better than the movie anyway...
This is one of those discs that sounds better if you don't expect a lot from it. It is just soundtrack music, after all, which explains why so much of it is instrumental. (And why nobody has the right to complain about the small number of proper songs.) Surprisingly, the instrumental tracks, especially "Freak," "Fiction," and the obscenely titled Track 4, are quite good, while the songs are hit-and-miss.

I've seen the movie, by the way, and I hated it. The first part is apparently supposed to be a "confrontational" look at racism, but mostly it's just embarrassing. Do not rent this movie for a mixed-race group. The second part is one of those fake documentary movie-within-a-movie things which has been done hundreds of times before, and only occasionally to good effect. This is not one of those occasions.

Only a few tiny snippets of B+S music are in the film until the closing credits, when the song "Storytelling" is played. I can see why Todd Stolonz did not use much of this music. Though the band made their best attempt to sound American, they don't sound American enough for this film. At least the title of Track 4 was explained, however: The high school kid in the second part of the movie was forced to take the SAT test against his wishes, so in rebellion he spelled out the obscene phrase in large capital letters by filling in the appropriate dots on the test form. Clever.

If you're a big B+S fan, this disc should be worth your while. I think it is an improvement over the disappointing "Fold Your Hands Child..." and shows a willingness by the band to try something new. Maybe they needed to do something like this to get back on track. ... Read more

Amazon.com

"Well I sold the dirt to feed the band," sings Freedy Johnston the opening track, "Trying to Tell You I Don't Know." It turns to be the truth: to finance this album, Freedy, a gifted but struggling songwriter living in N.Y.C., sold the family farm in Kansas he'd inherited from his grandfather. Not many have given that much to their music, and you can hear that fervid and passionate commitment on every song on this wholly fantastic album. While it was a risk worth taking--Can You Fly put Freedy on the musical map--the sense of loss and even betrayal haunts the album. "I left town with a hardcore band/ ...Mother, dear, will you remember me?" he sings on "Remember Me." And on "Sincere" he asks, "Mister, can you tell me where I've come from?" And on "Down in Love," a stunningly beautiful duet with Syd Straw, he sings, "No more dreams for me." This is a man who knows the exact cost of dream. --Tod Nelson ... Read more

Reviews (11)

Really Great! No, Really Really Great!
New genre for this: Punk/Singer/Songwriter. I say that because of the great "skinny white kid" vocals. If you've heard a better album in the past 10 years please let me know because I would love to hear it. If you've never heard this one before, it may take a few listens to sink in, but when it does, wow! Just on a pure songwriting level it is awesome, but then add the great playing and singing (caution: you may either love or hate his voice), and it's really something special. As far as the individual songs, it's hard to pick favorites because they're all good (and they don't lose the listener's attention with the dreaded "sound the same"-ness), but here goes: Responsible, Lucky One, Trying To Tell You I Don't Know (a great opener), and The Mortician's Daughter. He has mastered the art of great storytelling in song without giving away too many details, as so many singer/songwriters tend to do. I read that Freedy doesn't like his voice on this album. It is pretty raw at times but perfect for the material.

gorgeous melodies and overpowering understatement
The fact that Spin picked this as one of the top 100 "alternative" albums of all time gives you an idea of the kind of edge that Freedy brings to the often overly precious genre of "singer-songwriter." Freedy's voice expresses a deep, beautiful soul-ache, and his songs capture the ambiguity of profound emotions like, well, like nobody else. In comparison, the run-of-the mill pop songster seems, basically, dishonest. This is an album for someone who is willing to take a handful of listens before settling into its groove. After that, it's in your head forever.

Freedy's best
Pure pop for my generation. Clean guitars,great hooks and fantastic stories. What else could you ask for, nothing.

His best--so far
I caught Johnston live in 1991 as the opening act for The Chills and walked away with at least three of these tunes permanently burned into my brain. "Can You Fly" is vivid songwriting at its best. What set this LP apart from efforts by Johnston's folk-rock contemporaries and what set it atop so many of the decade's "best of" lists were its lyrics. After all, lots of songwriters can string together a catchy melody and some chords, but how many can pack an avalanche-sized emotional wallop into the few lines that go along with them? Not many, but Johnston does it on every song here and the best songs (especially "Responsible") are almost overpowering. "The streets are slick with dew and motor oil/A girl walks in and out of the morning sun/A barred window reflects the cloudless sky/No blue reaches those eyes" sings Johnston in a voice like a half-strangled plea, backed by the most sympathetic and punchy folk rock arrangements since the heyday of Simon and Garfunkel. This is one of the best releases by anybody anywhere anytime. Johnston, not for a lack of trying, hasn't reached these heights since (though "This Perfect World" came close), but this is achievement enough for one lifetime.

I'm a fan--good one by Mr. Johnston
Hey, I love this guy's music, but this album as a whole didn't grab me like some others, like Bad Reputation or Never Home. Still, I liked most of the tunes (& the songs Lucky One and Mortitian's Daughter blow me away! ) Why isn't this guy more famous? He's got great songs and a great voice. His band is incredible. What's the deal? ... Read more

Amazon.com

Count on two things: Vic Chesnutt will approach any topic, from the delicate to the mundane, from an unexpected angle. And with an incisive eye and razor wit, he will always cut straight to the heart of the matter. He does so to great effect on Silver Lake, giving equal weight to the tender affirmation of "In My Way, Yes" and the scathing self-critique of "Styrofoam," and applying his delightfully odd spin to the standard love story on both "Band Camp" (a funny, nostalgic tale of romance in the high school horn section) and the Brian Wilson homage "Fa-La-La" (a saga of unanswered longing that's set in a hospital). Chesnutt's idiosyncratic quaver and nylon-string strum are abetted throughout by generous rock and soul arrangements, all of which were pristinely recorded by Daniel Lanois protege Mark Howard (who also produced Lucinda Williams's World Without Tears). Top to bottom, this may be Chesnutt's best effort since his 1996 disc About to Choke. --Anders Smith Lindall ... Read more

Reviews (11)

"Dragging My Devotion"
After hearing the first track, I knew this was the Vic Chesnutt album I'd been waiting for. SILVER LAKE is his most melodic, ambitious & best produced record to date. Not only that, he seems to have found his George Martin in producer Mark Howard. If SALESMAN & BERNADETTE, ABOUT TO CHOKE & WEST OF ROME rank as his best, SILVER LAKE outshines them all.

"I'm Through", "Stay Inside" & "Styrofoam" are just what the doctor ordered. Each one casually stumbling upon the profound. If he played them live, I can see the lighters raised in supplication. They stand right up there with past gems like, "Myrtle" & Florida".

It would take a hard heart not to find "Band Camp" touching & "Girls Say" hits the funny bone bittersweetly. Chesnutt's bona fide brand of eccentricity keeps "Zippy Morocco" from seeming too epic, while "Sultan So Mighty" has to be the most ambitious track on the record. Clocking in at over 8 minutes, it still manages to haunt & confound. It could be about God, it could be about Satan but you'll never catch him dropping names. In any case, it's set in some kind of metaphorical bordello. "Fa-La-La" may be a twisted little ditty about the subtle joys of hospitalization, but it's capped off by a perfect closer called, "In My Way, Yes". If your friendly with ABOUT TO CHOKE's "See You Around" , this tune surpasses the sentiment.

As for the remaing 2 songs ( "2nd Floor & "Wren's Nest"), well...They may be a bit introspective but Mark Howard's deft production salvages them from toe gazing oblivion. In short, this is the best record of Chesnutt's 13 year career. Start here & work your way back.

Vic is wonderful.
Silver Lake is the most like Little (Vic's first disc) of any in the middle. Simply beautiful. One man singing his heart out. If you're interested in over-produced crap then stay away. There is plenty out there for you morons. The whole disc is full of simple guitar accompanied slices of Vic's life. Lyrics as always are smart and catchy. Like most of his work, Silver Lake sounds like you're peeking into a jam session of of of the best singer/song writers alive today. Stay Inside has a great choir backup. Band Camp makes me smile every time I hear it. Vic Chesnutt fills his music with an equal mixture of goofy, humor, anger, and sadness which sometimes throws the simpleton fans of Britney Spears. Personally this is music at it's highest. WARNING: If you are one of the Ms. Spears' fans that does use your brain you may find Vic too enjoyable to describe to your other babble friends.

Every home should have one
It is pointless to review and rate great artists.
Once YOU understand this.Follow them , go on their jouney
but do not judge them .

Hey, Phil D --You're an idiot
You can take or leave Chesnutt --in that sense, he's no different from any of the major singer-songwriter talents of the last, oh, thirty-five years; he's idiosycratic to a fault, and his voice you'll find either beguiling and addictive or limited and grating. (Personally, I think he's a genius.) But Phil D, I'm guessing there's a lot in life you don't get. Take it out on your loved ones, as I'm sure you do. But a friendly word of advice --you'll want to keep your status as a sub-literate and a philistine as private as possible.

A Marvel and A Treat
I'll start by admitting that I am extremely partial to this guy, and I consider most of his work, over the years, singular, innovative because it never stops exploring, and captivating. More so than most people doing folk, alt rock or country, or Americana. "Silver Lake" is probably one of my favorite Chesnutts of all time. The melodies and their arrangements are beautifully crafted and performed, his lyric range and imagery closer to poets than songwriters, and his singing courageously vulnerable and heart-strong. Sit down and listen to Sultan, The Mighty, and be converted. ... Read more

Amazon.com

Boston folkie Catie Curtis is backed by an all-star roots-rock band (ex-Springsteen keyboardist Roy Bittan, ex-Mellencamp drummer Kenny Aronoff, ex-Gabriel bassist Tony Levin) on her album "Catie Curtis," and her songwriting has improved enough to live up to the challenge. Her lyrics boast a new level of sharply observed detail, and her verses build to truly memorable choruses. When she sings about an adolescent lesbian affair on "I Don't Cry Anymore," the specificity of lines such as "I kept your picture in my pocket though you were always with me" will connect with anyone's doomed teenage romance. Another song describes a fading New England mill town, but it transcends that cliché to evoke time passing inexorably like a "River Winding" through the darkness. --Geoffrey Himes ... Read more

Reviews (9)

If your a human being you'll love Catie Curtis!
I saw Catie Curtis because my friend Dwight reccomended it. Her lyrics are incredible. They drag forward all the thoughts we have, plus the relationship we wish we could find. "I don't need a hero, just somebody"...Somewdsy I hope to find a life partner that feels about me what Curtis has expressed in her songs. a great car CD. Thank you Dwight!

Sung from the soul
I had the pleasure of seeing Catie Curtis open for Dan Fogleberg at Humphrey's in San Diego. It was my first exposure to her music and I was impressed with her talents from the first song she sang. There's a real depth and truth in her songs and voice. She was more than great, she was superb and I'm not sure why we don't hear more of her on the radio. This CD is my personal favorite.

Even better than "Truth from Lies"....
I honestly thought this release might disappoint because her first effort was so wonderful. I can only say I was wrong, this CD actually exceeds her fabulous rookie release, "Truth from Lies". Cuts 1-12 are all great, with "Falling Silent in the Dark", "I Don't Cry Anymore", "Heroes" and "Larry" being my personal favorites. If you like the Indigo Girls or Dar Williams and you've never heard of Catie, do yourself a favor and check her out...you will not be disappointed.

I thought this CD was very poetic
This CD's material was very thoughtful and intellectual while at the same time displaying hidden truths in our lives. I thought the recording was a little fuzzy, but the rest was great!

Poignant, evocative lyrics brought to life by a great voice
This is one of my favorite albums, and is loved by all who have received it (boyfriend, parents, sisters, college roommates). Catie's wonderful voice and touching lyrics make this a "must buy" for any folk-oriented music lover. If you ever get a chance to see her live, its the icing on the cake. ... Read more

Amazon.com

Since their start in the early '90s, 16 Horsepower have created and perfected a sound that's build around a fascinating, elegiac pulse. Albums such as 2002's Folklore are inundated in jet-black rivers of dread. That sense of foreboding is found in this collection of 12 previously unreleased demons and early live tracks earlier, expressed in lead songwriter David Eugene Edwards's cracked, terrified screeches and the muscular, edgy acoustic music. The demo recording of "Coal Black Horses" (a finished version appears on their self-titled debut) throws a messy slide guitar and throbbing brush beat behind Edwards's fire-and-brimstone rant. Meanwhile, the live tracks from 1994 demonstrate the band's developing chops and emerging theatrical flourishes that characterize their more recent work. --Matthew Cooke ... Read more

Reviews (2)

amazing, as usual
A peculiar release for a band with only four full length albums, one E.P. and a live album. "Olden" marks the 10th anniversary of the band's first recording sessions.

12 tracks recorded over a two year period, 6 live tracks and two interview snippets. Despite being a hodgepodge assembly, "Olden" is remarkably coherent. 16 of the tracks made it to later albums and only two songs "Train Serenade" and "Slow Guilt Trot" make their debut here.

While many would consider this an unnecessary, redundant release, it is actually superior in many ways to the major label versions that would appear later. These versions are much more gritty, earthy and unpolished, a sound that suits 16HP creaky bandoneon, jangly guitars, plunking banjo and haunting vocals quite well.

Standout tracks include the apocalyptic "Coal Black Horses", the hypnotic "My Narrow Mind" and the driving "Slow Guilt Trot."

The title is apt
This is a collection of live material from three seperate dates in 1993 and 94. It showcases everything I love about old sixteen horsepower. They have changed a lot in the last ten years and are even better now but this old stuff is amazing. Sixteen Horsepower are an amazing band because they play a type of music unlike any other band. Rooted in old time roots music and church music, they have a sound that is timeless. Their music is beautiful, creepy, exciting, and perfect. I love it. The only thing I don't like about this album is the brief snippits of interviews that are used to break up the recordings. They are too short to provide any insight at all. If they didn't want to put any meaningful discussion on the cd, they shouldn't have bothered at all. Otherwise, I recommend this CD wholeheartedly. ... Read more

Album Description

UK reissue of Pink Floyd founder's second album. Guestappearances fromHumble Pie drummer Jerry Shirley andPink Floyd members Rick Wright and Dave Gilmour who also acted as producers. Includes 6 bonus tracks 'Love Song' (Take 1), 'Dominoes' (Take 1 and 2), 'It Is Obvious' (Take 2), 'Baby Lemonade' (Take 1), 'Waving My Arms In The Air' (Take 1) and 'I Never Lied To You' (Take 1). 1994 release. Standard jewel case. ... Read more

Reviews (4)

Syd's Swansong (Bonus Tracks)
It's amazing what changes can happen in such a short period of time. Syd Barrett apparently lost his mind overnight. It seems that in the months between the recording of "The Madcap Laughs" and "Barrett", he got a little worse. Like the cover (drawn by Syd) suggests, there are a lot more bugs on this album.

The sound of "Barrett"? Take Pink Floyd's occaisonal fondness for jazzy, lounge music and blues (i.e, not their psychedelic stuff) and combine it with an ailing Syd. "The Madcap Laughs" treaded a fine line between genius and madness. "Barrett" at it's heart is more madness, in a bad way. Syd's voice quavers more, voice cracking, as if about to cry at some points. His guitar playing is more basic and repetitive. There are less words to his lyrics.

Though open to interpretation, these songs seem to more autobiographical. Well, the best Syd's very addled mind can get to autobiographical. Yes, there is lots of metaphor and stream of consciousness, but the subject matter is fairly mundane. Relationships and boredom. However, there are traces of the childish whimsy Syd used to have, on tracks like "Maisie" (a low drone about a jewel encrusted cow) and "Effervescing Elephant" (a song that was one of the first Syd ever wrote)

This album is a lot more polished than "The Madcap Laughs", there is a wider variety of instruments, sound effects, overdubs and slightly cleaner production. Thanks to members of Pink Floyd popping in and helping their ex-front man, the sound is a lot jazzier and funkier than Madcap Laughs too. This works both for and against "Barrett". It compliments Syd's fully written songs, like the poppy "Baby Lemonade" and "Gigolo Aunt", and improves songs that might have felt empty without a backdrop, such as the "Love Song" and "It is Obvious". "Maisie" would have just been mumbling if it wasn't for the bluesy drums.

Ironically, it's the less coherent songs that suffer from the helping hand of the producers. "I Never Lied To You" and "Wolfpack" would have worked better if Syd's fragile voice had been able to come through on it's own, rather than surrounded in overdubs. "Rats" chokes with all the instruments trying to keep up with Syd's jerky timing, and make him sound worse than he actually is. The version of Rats on Opel, with the extra instruments taken off, is a lot better.

There is a lot of padding on this album, like the guitar solo at the start of the album, the repetition of verses, and the jungle sound effects both before and after "Efferverscing Elephant". It seems that the producers were trying to stretch Syd's ideas as far as they could go. Syd was getting worse, and yet the production tries to make it look like he was getting better.It wasn't neccessary, and makes everything less enjoyable.

The extra tracks give us a glimpse into what the album could have been like without the hand of the producers. From the bare acoustic mix of Baby Lemonade, you can hear changes in the feel of the songs. The acoustic Love Song feels a lot emptier. The alternate takes of "Waving my Arms in The Air" and "I Never Lied To You" are a lot more cozy, intimate and uncluttered than their official versions. The two takes of Dominoes include some Syd chatter, and show Syd's radically different takes, almost sounding like he's working out the songs in the studio (probably was, poor guy). The jangly outtake of "It is Obvious" is heartbreaking, a lot more emotional than original, with Syd's at it's most fragile and quavery.

I recommend this for Syd Barrett fans, though after they have got The Madcap Laughs and Pink Floyd's Piper at the Gates of Dawn. There are some good songs here, but you really need to understand Syd first. For newcomers to Syd Barrett, start with the Madcap Laughs. It's truer to Syd's fractured vision and the songs are more interesting.

Barrett
The album cover gives a good indication of the music. Scratchy little insects like a child's drawings. Thanks to the producers the collection of songs hangs together but one has the feeling that Syd isn't really too bothered if the whole thing disintegrates. That's what makes him so special! Lyrics like no-one, (except maybe Beefhart), could pen set to unpredictable music and sung out of tune. Anyone can write a song about Dominoes but Syd did it. You can keep over-production and meaningful words sung by nice, predictable 'musicians'. I prefer my popstars cracked and off the rails. And the good news is he's still alive.

Tocos de Muerto
El CD es un musica con otra tiempo. Yo estoy una aficianado por banarse con se madre. Si yo como esto cd, yo would ryow un verjola. El Chris Vuckson has sexo con Syd Barret's madre. Torosy corros estar guerrias y muertas en el bano. David Sacks es un loligager. LOCO LOCO LOCO!!! SYD BARRETT ES LOCO!!!!!

Worth it for the extra tracks
The extra tracks on this version - with Barrett just accompanied by his guitar - show how the original was almost completely ruined by a completely awful production; horrible, weeny organ, weedy drum playing, pointless noodling guitar. In contrast, the sparse, haunting versions of 'Rats' and 'Dominoes' in the extra tracks section show how it should have been done in the first place; just Barrett alone, voice and guitar. Its a pity that the original producers (I think it was David Gilmour) didn't have the fore-sight to at least try this approach. To me, Barrett's songwriting contains elusive moments of brilliance, and is somewhat reminiscent of another great English singer/songwriter Nick Drake. ... Read more

Reviews (3)

Catie Curtis Will Stir You 'Soulfully'
Catie is one of the most talented singer-songwriters I have heard. With no major label backing, she's made more than a splash-- even past the waves of Lilith-- and has grown in artistry along the way. There's no comparing her to the usual female icons... she has a depth that far outreaches mainstream fluff. Each lyric pulls the listener in and reels emotions out of depths seldom seen. The melodies are equally stirring. Acoustic-based and full of centemplation, EVERY song is a winner on this disc. You won't be disappointed.

So Why Isn't Everyone Listening To Catie?
I first heard Catie Curtis at a music festival in Seattle a couple of years ago. I had no idea who she was, but my boyfriend and I were literally drawn in from the sidelines by her voice and melodies. It was a smallish show (especially compared to the many "bigger" or at least better known acts that were playing that day), and it was outside. As Catie played, the crowd, *literally*, grew bigger and bigger. People stopped what they were doing just to listen to her. She was fantastic. Highlights of her show and of her CD's are the track "Radical," and, "Falling Silent in the Dark," and the wonderful "Soulfully." The two of us were torn between what to buy. We knew we had to get one of her cds because her music was so soulful, so heartfelt, so magnetic, but we didn't know which ones to get. We compromised and got one each. I bought Truth From Lies, and he bought her self-titled, newer cd. I actually think I prefer the self-titled, because it has my favorite tracks, "Soulfully" and "Falling...". "River Winding" is also a great song. For some reason (probably because that's when we got her cds), these songs always remind me of autumn: falling leaves, rain, the smell of smoke, being warm, inside and being alive.

From the first few strummings of the guitar on the cd, Catie takes over. She's on, and that's that. She sets a mood all her own. Cozy, introspective, alive, and contemplative. Smart, a little jaded, and taking everything in. And her music is how she lets it all out, cleverly re-worked into an art form she can share.

The lyrics in "Soulfully" just rock my world. For example, how can you beat, "Last night you found my house and rang the bell for me/ I didn't know you very well, I didn't know what it would be/ But I felt so close to you in so little time/ Amd when you said goodnight I spilled my glass of wine." I smile every time I hear that. Who doesn't want to pop in a cd and think about those first tender moments of infatuation?

I'm truly surprised she hasn't had more exposure. I think people (well, people besides you) are missing out. Enjoy!

One for the Moody Ages
Catie Curtis must be one of the most underrated recording musicians of the 90s. You find her albums not by splashy promotions or ads, but by word of mouth. And when you listen to her albums you realize why; no ad-smith can accurately convey the intense emotion her songs create, at least not any betteer than a close friend, or long-lost lover. This album follows the darker veins of her first outing. Each song conveys a sense of love lost, contemplation, nostalgia. If you need something playing in the background to spice up that evening when you're trying to figure out what to do now that all love is gone, get this collection of songs. Then, a glass of wine, a rainy evening and a couple boxes of Kleenex ought to complete the package. You will not be disappointed. ... Read more

Album Description

14 previously unreleased songs from the early years 1988-91.

There are few artists that have a hidden treasure trove of unreleased songs from their early years that are of the quality that Freedy Johnston at last offers to the listening public. Every song on "The Way I Were" is an instant classic. The songs show Freedy working in many styles for an overall set that rocks with authority. Freedy is here with his youthful enthusiasm working his way through country, rock and roll, even a disco groove. He plays all the instruments on all the songs. Prepare to fall in love with Freedy all over again. ... Read more

Reviews (3)

good stuff, but i like the electric version better
...on the whole. mind you, some of the acoustic ones have beengrowing on me lately, so perhaps i'm in a transitional phase orsomething. anyway, while some of the other songs have better titles (luminous rose indeed!) or tunes, "sleeping with your devil mask" will always be my favorite song from this album. though perhaps a rerelease with the other version of GoF would change my tiny mind...

Weird, but fun, loony tunes
Robyn Hitchcock inhabits a wild, weird world of unbridled lyrical imagination. You can either interpret the lyrics as just so much hallucinatory silliness, or treat them as the great brush strokes of an artist painting an alternate, if highly whimsical, universe.

Either way, you'll have to admit that these quirky ditties can be fun. Not everything is great here, and he has released stronger albums, but Globe Of Frogs is interesting. It also contains some good guitar work from R.E.M.'s Peter Buck.

It's all commotion, there's no choice
This album is full of colorful imagery and silliness. Imagine that Syd Barrett wasn't insane, but just a Brit having a good time making fun of Yellow Submarine. Over all one of the best Psychedelic albums since Endless Summer. ... Read more

Amazon.com

Consider this something of a garage sale for Billy Bragg. On the heels of one of his career highs, Mermaid Avenue, the plugged-in folkie has dived into the hodgepodge he hoarded between 1985 and 1997 and compiled a surprisingly beguiling and cohesive collection of B-sides and bonus tracks. With nine selections from the '80s and eight from the '90s, Reaching offers considerable expanse while making a strong case for Bragg as one of the most productive and consistent post-punk performers to come out of Britain. Highlights here include a previously unreleased version of "Shirley," with the Smiths' Johnny Marr providing the instrumental backing, and a slew of savvy covers that includes the McGarrigles' "Heart Like a Wheel," the Left Banke's "Walk Away Renee," the Beatles' "She's Leaving Home," and Ry Cooder's "Tattler." Reaching to the Converted holds considerable appeal for Bragg partisans, but it's appealing enough to win over nonconverts, too.--Steven Stolder ... Read more

Reviews (14)

A great collection!
Although a Bragg fan since 1984, there was a lot of stuff on here I didn't already have, making this a most welcomed release! The CD kicks off with a "new" version of "Shirley (Greetings To The New Brunette)" and it's simply fantastic. Another highligh is "Sulk" which ranks as one of Billy's best of the 90s. And I'm thrilled to finally have "Walk Away Renee" on CD. I remember hearing it on the radio way back in the mid-80s, and could never find the recording. Thanks Billy! Of course, since this is a B-Sides collection there are some expirements, and not all work. The ballad version of "Wishing the Days Away" is still great lyrically, but musically pales next to the version on TALKING WITH THE TAXMAN ABOUT POETRY.

All in all, though, this is a collection that any Billy Bragg fan needs to own.

Finally!
As a young fella who's only been into Billy Bragg for a few of years and missed the chance to get his singles on vinyl, it's brilliant to finally be able to hear stuff like "Walk Away Renee" and "She's Leaving Home", which I've been trying to lay my hands on for ages. The version of "Greetings to the New Brunette" is a bit of a curiosity, and it doesn't top the version on Taxman in my opinion, but I like the Smiths cover and its good to hear stuff like "Days Like These" and "Raglan Road". This is a godsend for die-hard Bragg fans, and because of the variety of stuff on it, from early guitar-voice material to work with the Red Stars, it'd be a fairly good introduction too. Keep it up, Bill!

Great career-spanning CD
... as a fan of Billy's since the release of 'Talking with the Taxman...', I bought this thinking it was exactly as titled, something for us 'Billy' fans, and it did NOT dissapoint... those of us in the 'States' had missed out on alot of what was released in England... that being said... the original of 'Accident Waiting to Happen' has much more power as a song, and 'Greetings...', in it's original version is also much better... the rest of this LP is fantastic throughout (including those re-made songs)... I've put songs from this LP on mix-tapes for friends, and they're never disappointed... it's wonderful how you can tell in each stage of Billy's career that 'this song' was an outtake from this album, and 'that song', was an outtake from this... and then there are his hits from England that we never got to hear until now.... amazing that one of my favorite artists ever could come out with the most 'essential' B-Sides LP ever... why couldn't XTC have done this?

Good for a sample of Billy Bragg's varying styles
Billy Bragg is not only a political activist, but the guy can sing a good ballad too.
There is a sampling of both here; from the beautiful heart-wrenching cover "A Heart is a Wheel" to the politically infused "Days Like These" to the purely pop hit "Shirley" this CD has it all.
A fine introductory collection of Bragg's differing musical stylings.

Glad we've got that cleared up....
Good to hear the new version of 'Greetings to the New Brunette' - retitled 'Shirley' here, it's got a heavier sound than the original, and both are, in their different ways, excellent. Even better to get a lyric sheet for the song, where Bragg sings "I'm more impressionable when my _cement_ is wet". I always thought that instead of 'cement' he sang about something more...uhh...biological...Well, it certainly makes a lot more sense than 'cement'.

Best of all though is his version of 'Walk Away Renee'. The tune itself is always a heartbreaker, and on this recording guitarist Johnny Marr picks it out while Bragg talks about a funny/pathetic failed love affair ("The first time she spoke to me, my nose started to bleed. She guessed the rest"). Used to have this on the B side of one of his singles, now sadly long lost. At the time it seemed painfully accurate, presumably because I was going through a funny/pathetic failed love affair...It's a classic. Worth the price of admission alone.

The rest - there's some new stuff (to me, anyway) like 'Sulk' which is excellent; and a ballad version of 'Wishing the Days Away' which isn't bad though not up to the original. I'm not all that keen on Bragg's political rants, and this is not just political bias speaking. Unfortunately, when he gets on his soapbox he loses his delicacy of touch, not to mention his humour (when he keeps both, as on the 'Workers Playtime' album, he is great). ... Read more

Reviews (6)

Give it a try
I saw an extremely positive review for this album on the web. Since that person seemed to like similar music (Counting Crows and Hole), I went ahead and bought this album. Considering how cheap it was used, it wasn't much of a gamble.

Anyway, the gamble payed off. This album is a really solid outing. I'd probably put it in my favorite 25 albums of all time. My favorite songs are "Mojave Winters," "Mint Juleps And Needles," and "In Indiana." Definitely, give it a try. I don't think you'll regret it.

My biggest problem so far has been getting more Brenda Kahn albums. They seem to be in too short supply.

Best Album of the 90s
I have about 1000 CDs, and this is the best one I own. I think it's horrendous that Kahn did not become a star as a result of this album. She's the best songwriter of her generation and no one knows who she is. If you can find this out-of-print album, snatch it up. It's a diamond.

Brenda Kahn's Guided Tour of the Midwest
There are not many singers that work with dense vocabulary (when is the last time you heard "sardonic" in a song?) without sacrificing fluidity or poetic simplicity. In "Mint Juleps and Needles" the lyric, "We are the people our parents warned us about" is one simple example of how Brenda Kahn magnifies life without losing any of the detail.
Intelligent, witty, and truthful, Brenda Kahn's lyrics combine with a varied attack on guitar (from wicked to playful to sadly gentle) to form sketches of loves, losses, and frozen moments of cosmic importance.

A real hidden gem
Without hesitation I think this is one of the ten best albums of the 1990's. Her "punk with an acoustic guitar" brand of folk shines through on the Dylanesque "I Don't Sleep, I Drink Coffee Instead" and "Mint Juleps and Needles." But it's her examination of American life that elevates her above most other artists. "Sleepwalking," "Lost" and "In Indiana" show how the "American Dream" is more of a nightmare, but Kahn never condemns it, but merely presents it, a la Bruce Springsteen's "Nebraska" and "The River" albums. It was produced by David Kahne who went on to greater fame producing for the inferior bands Sublime and Sugar Ray. This album is simply fantastic, and if you can find it, get her follow up album "Destination Anywhere," which is as good if not better than "Epiphany."

Really really good album
This album is one of the best I've ever bought. A friend turned me on to it, and everyone I've shared it with has loved it. It's an edgy sort of folk, like Bob Dylan with PMS. Brenda is funny, cynical and loving all at the same time. BUY THIS ALBUM! ... Read more

Amazon.com

Every city should have a radio show as fresh and intelligent as Morning Becomes Eclectic from KCRW in Santa Monica. Unencumbered by narrow genre classifications, the show has built up an audience for left-of-center singer-songwriters, art-pop bands, world beatniks, jazz fusionists, and hip-hoppers. All are featured on this compilation of live, on-air performances. While the previous four-volume KCRW series, Rare on the Air, may have featured more legends (including Leonard Cohen, Tom Waits, and Joni Mitchell), and hence more consistent material, the sense of discovery and adventure of this latest sampling is seductive. The strongest cuts tend to be the most stripped down: Afro-pop chanteuse Angelique Kidjo's a cappella "Blewu," Beth Orton's tingling voice and guitar performance on "Sugar Boy," Mercury Rev's Velvet Underground-meets-the-Band "Opus 40," and P.J. Harvey's eerie dirge "Is This Desire?" --Roy Kasten ... Read more

Reviews (4)

Lyle Lovett's "Bears"
The simple performance of Lyle Lovett and his guitar doing
Steven Fromholz' "Bears" written in 1974 is why I bought this CD
after hearing it on the air at KCRW. Great energy, in a
special knowing way ! The other music is great too, by far
KCRW's best compilation. Stunningly good studio quality recordings
for live radio show performances, which they all are. You'll love it !

Hypnotic (perhaps to a fault)
Of the 5 CDs released by KCRW, this is my favorite. They are all very good, but "Morning Becomes Eclectic" has more of my favorite music. The covers by Mehldau and Martyn are amazing, as is PJ Harvey's performance. I was also pleasantly surprised by "All I Need." And for those of you who prefer something a little more firmiliar, Semisonic and Sixpence None The Richer add their two cents. All together this is a great record. If there is one flaw, it is that the songs are all on the soft side, which means there is always the risk of being lulled to sleep or into some kind of trance. Not that that's a bad thing -- and considering all of this music was recorded on a morning show, it's understandable. I highly reccomend the whole series.

A good group of songs.
I purchased the disc mainly for the Air song (which is great) - standout tracks are by Beth Orton, Cake, PJ Harvey (real good version of Is This Desire?), Brad Mehldau and Morcheeba. A nice treat is the song 'Glory Box' sung by John Martyn - the song is a cover of the Portishead tune by the same name. Get it when you are craving a new disc - it will suffice.

Extremely Creative!
It has so many different songs that truely make it an eclectic blend! It's definitly is one of the best CD's that collect varios artists. It's probably the only CD of my collection that I can play any time of the day; any day of the week. ... Read more

Amazon.com's Best of 2001

When John Fahey recorded this album in 1967, he was at the peak of hisconsiderable powers as a musician, writer, and composer. His fingerpicking isastounding; surely no stronger thumb ever struck a bass string than the one thatdrove "Night Train to Valhalla," no surer fingers ever plucked a melody than theones that coaxed the epic sweep of "The Portland Cement Factory of Monolith,California" from six strands of steel and a wooden box with a hole in it. Thisalbum includes some of Fahey's best-loved tunes, including the aforementionedsongs, the bluesy "Revolt of the Dyke Brigade" (Fahey was tweaking thesensitivities of folk music audiences before anyone knew what politicalincorrectness was), and the uncategorizable "Raga Called Pat." The latter isn'tIndian music at all, but a sprawling two-part odyssey constructed from trainwhistles, bird calls, and dancing guitar figures. This well-mastered andlovingly packaged reissue includes two sets of liner notes; Fahey's originalsare a hilariously obtuse parody of poetic, philosophical, and historicalpretensions, while a new set by journalist and poet Monica Kendrick acknowledgeshis passing mere months before this record came out by paying homage to Fahey'senduring artistry. --Bill Meyer ... Read more

Reviews (4)

Beautiful
This is my favorite album of all time. I have never heard more beautiful or haunting music. I heard this album for the first time when I was five, and I must have heard it a thousand times since then, but it continues to be fascinating. My dad once said that this is the music you would hear after the world ended. And he's right. Fahey's music sounds organic, like it came from the earth, not from the hands or mind of a person.

Fahey's best recording
I love this album. It is one of my favorite recordings of all time. When I had the lp, which I acquired from a little record store in Takoma Park two doors down from the gas station were Fahey used to pump gas as a teenager and sell his own pressed copies of his first recording, Blind Joe Death--I literally wore it out. By that time, his recordings were out of print, and I had to wait decades for a re-release on CD. Oh happy day! He achieved his creative zenith with this recording, and moved off in different directions, never as compelling as his earlier work. Night Train to Valhalla, The Portland Cement Factory, and others are so fully realized that it is as if he is speaking a long forgotten language, his guitar lines forming complete sentences. I last saw him perform in 1977, at the Cellar Door, and he came on stage wordlessly, sat, assumed a posture not unlike a Picasso painting, and played guitar for the next two hours without ever pausing or stopping. Hypnotic. Trance inducing. His Raga named Pat saga continues, as well. A fascinating concept to draw out a piece of music, like a Triptych, across many recordings. A must have. At the time this recording was released, one could never have imagined the sad manner in which his story would end.

THIS is Fahey at his very best.
After having heard most every other Fahey recording out there, including the epic "America", "Volume IV", "The Voice of the Turtle", and his first record, I thought I had heard the very best of John Fahey's output. "Days Have Gone By", in my view, surpasses all of those, and it's Fahey's most personal and most beautiful work. This record, first issued on Takoma in 1967, is unique in Fahey's repetoire for its gorgeous use of reverb, as well as for the subtle harmonic details evoked from Fahey's guitar. On "Days Have Gone By", Fahey created a landscape of sounds simultaneously intimate and vast, incorporating at points train calls and various abstract sampled sounds (sort of akin to what he did on "Requia", but more understated), and at others dipping into the eastern-tinged playing more familiar to "Fare Forward Voyagers". At the bottom of all of this is, of course, Fahey's fantastic blend of classical technique and love of blues/folk/mountain music, played not so much with the pyrotechnical fervor that can be found on some of Fahey's recordings as with the subdued charm of a guitarist quietly possessed. This may be thought of as "otherworldly" music to some, but I think of "Days Have Gone By" as a kind of testament to the beauty and mystery of this life, and I'm delighted to see it's been reissued for everybody to experience.

Last of the great Fahey 60's works - Fans will like it
Finally, the last of the great Fahey albums from the 60's has been released! (I can retire my old scratchy LP). Fahey fans will not be disappointed by this very consistently good ablum.

When John did this, he was deeply involved in the experimental music of the day (John Cage, Beatles etc). This one is highly listenable, standout "hits" - if that word can be used about Faheys recordings, are "The Revolt of the Dyke Brigade" - a slide guitar piece, one of his best, and the darkish expresssionist "Portland Cement Factory at Monolith".

The "Raga called Pat" is a precursor of New Age Music, nature sounds, recorded sometimes too close, for comedic effect, with guitar in the background. In the title track, Fahey plays while a group of drunks comment on the music.

And as a contrast - a hymn - followed by a two guitar version of the happy "My Grandfathers Clock" with Fahey's patented clockwork bass thumb going in one direction and the melody going in the other!

Enjoyable - finally available - Performance gets 4 stars, slightly murky recording gets 3, under my tough grading system. See my updated list of Fahey Favorites now that all the good stuff is available! ... Read more

Album Description

The second exclusive Australian commercial single takenfrom the Canadian Twin's 2002 album If It Was You. Thetitle track is backed with 2 non-album cuts 'Come On Kids'& 'Missing You'. Cortex/Shock. 2003. ... Read more

Amazon.com

At this point in his career, Dan Bern has the "New Dylan" tag stuck like glue--especially because the acoustic guitar-slinger keeps recording songs like "Oh Sister," even if it's not the Dylan song of the same name. Of course, he's also hanging out with producer/pal Ani DiFranco, and he'll probably be dubbed the "New Ani" as well, and Bern, with his reedy voice, edgy wordplay, and fierce-yet-flip attitude really does sound like the bastard child of both. Pop culture references fall like rain from Bern's lips, as do PC clichés and righteous props (especially in the high-praising "Chick Singer") but all that clutter works well in his verbose, intriguing stuff. Check out "Cure for AIDS" and "Tiger Woods." --Michael Ruby ... Read more

Reviews (21)

Piercing, hysterical, comforting, scary, sooooooo much fun!
I first heard Dan Byrn when he opened for Ani Difranco at the Palace (Albany) last year. I fell in love with his music. His lyrics were too bizarre to be true. I tried to remember every word, but I couldn't. I bought his cd and was disappointed b/c the songs I loved most didn't appear on it (not to say his first cd isn't awesome too...). The thing is..they DO on this new album. It was worth the wait! I don't want to say "witty," b/c that sounds cliche, but this CD is all that and more! I can't stop listening to it. I can't reccommend it highly enough! Really! Go Dan!

But not for bigots
Filled with humor and contemporary references, this CD is a chronicle of the decade and its icons. He has wit, surprising turns of phrase and mental associations, and a voice that teams well with his guitar. These are authentic songs, not a parody as Al Yankovitch's. And please: don't be misled by some reviews: Bern is not vulgar at all, and uses the all-too-common 4-letter words with parsimony. The song "Marilyn" (in the CD "Dan Bern", not this one) is an hilarious yet affectionate tribute to her and to Henry and Arthur Miller.

Buy New American Language instead
I bought this album simply because I really liked Bern's more recent disc "New American Language." Unlike NAL, the lyrics on "Fifty Eggs" come across as forced and calculated, particularly the frequent four-letter words and overt sexual references. The songs are just a little too predictable, and at times cliched and contrived. (Not to discount what happened to Monica Seles, but comparing her to Jesus Christ is going a little overboard.) That being said, I would highly recommend New American Language. Songs like "Tape", "Black Tornado" and "Sweetness" are superb. Hopefully these are more representative of Bern's talent.

One Thing Real
I acquired this album when several people I know recommended Dan Bern's music to me. I am a self-avowed Bob Dylan fan, and they assured me that if I liked Dylan I would love Dan Berg. Of course, I was being partially set up. When this Dylan-like voice erupted from my speakers singing 'Tiger Woods,' an exceptionally bawdy ode to anatomy, I was more than a little amazed. Yes, Dan Bern can sound a lot like Bob Dylan, but his mind is on a completely different planet.

Which is just fine by me. Who really needs a Dylan clone, one such artist is enough. It is a lot more fun to have the music stretch your head in a completely new direction and Bern is definitely headed there. It is a bit difficult to apply generalizations to his music. Often full of attitude or quirky, sometimes tender, always thoughtful. Just when you think you have got it figured out he tries something else. If 'Tiger Woods,' 'No Missing Link,' or 'Cure for AIDS' don't yank your chain you are a bit to stoic for me.

But just when you think "loud and brash," he changes styles. You find yourself listening to thoughtful ballads like 'One Thing Real,' 'One Dance,' or 'Monica.' He is also a master of the not quite love song. I'm not going to list any more of the songs, but I can assure you that they all have something special - something to consider or laugh about. Deceptively simple musically, his lyrics are every bit as rich as the man he sounds like.

Ani DiFranco plays an important part on this album, as side musician, backup vocal and producer. If anything, Bern has more in common with DiFranco than Dylan. He is up front with his feelings, impertinent with his questions, and brutally imaginative. He has definitely made a believer out of me. If you have a taste for the outlandish, this is an album to own.

Cholesterol
Dan Bern's self-titled album was one of my top-5 all-time albums. So what happened between that and this one? It just comes across as unfinished and rough, which is a shame as the man has an amazing amount of talent. If you don't own "Dan Bern" by Bern, you should be ashamed of yourself. But if you bought and haven't yet sold "50 Eggs" to a record store's Used bin, the same is true. ... Read more

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John Fahey has made a habit of recording a new album of Christmas music every five or six years, but The New Possibility, which was originally released in 1968, is still his best. On it, Fahey has pulled off the near miraculous feat of taking old holiday chestnuts like "Joy to the World" and "It Came upon a Midnight Clear" and making them sound fresh. When he plays a Travis-picking version of "O Come All Ye Faithful" or he recasts "Silent Night, Holy Night" as bottleneck blues, you get the feeling Fahey is treating the music with respect rather then piety. Also included in this reissue are six tracks from his 1975 release Christmas with John Fahey, Vol. II. The songs feature some nice duets with Rick Ruskin, but the arrangements lack some of the quirkiness that made The New Possibility sound unique. This isn't Bing Crosby singing "White Christmas," but it is a modern holiday classic nonetheless. --Michael Simmons ... Read more

Reviews (7)

Alternative christmas music
It's Christmas! It's John Fahey! It's wonderful!

This album works really well ripped into a collection of other Christmas music, put on shuffle. Use your computer as a jukebox for your Christmas party!

The BEST Christmas album EVER!
I won't spend a lot of time on this review to describe each song and how differently Fahey plays the old Christmas carols we all grew up hearing in church, or the radio. To hear him play *Silent Night* or *Joy to the World* are reason enough.

I've had this recording in one media or another for thirty years, and every Christmas another person asks me who the artist is, and they comment on how beautiful it is.

'The New Possibility' is a fabulous recording to play in the background of any Holiday activity (except maybe football). I especially like to hear it at Christmas Dinner or to have it playing while the family 'Unwrapping' ritual is performed.

I'd even go to say that this is probably Fahey's best and most well-rounded album of all. I bet it's probably his most lucrative. It is focused, reverant, and joyful. And yes, I listen to it at all times of the year.

If you want to capture a bit of the old-time feel of Christmas this year, pick up 'The New Possibility' by John Fahey. You'll be playing it for years and years.

It might well become your favorite, too.

com"YULE"ation Cleric :Inspiring Instru- tinsel Interps
With early blues and country as a core, Fahey's guitar playing is considered a pioneering YULEtide accomplishment and like the last 30 years we should cherish and share its' play often.With two albums complilied, reconstructed, repackaged, and reissued this is the one to seek out frist...mas Collector Crafting from this seasonal songsmith still dig~able...this cd packs in a full punch. ~~~Merrily Mix~ 1$, 3#1\2, 4#, 5#1\2, 8$, 9#1\2, 12$, 13#1\2, and 14$ ~~~ Post Script: I've found the liner notes most informative and agian a key arrose... artists accredited with amassing a vey large Treasure Chest of recordings do accomplish mas YULEridGEMality and can twist n' tweak with the best of'em.This is an "American Primitive Guitar YULEage Gem" and predates the ever mutating genre soundscape of New Age.***buyit*saveit*sharemost*donateit to the local library*** YULEridGEMality Factor = 2 1\2

After 25 years, a joyous reintroduction to a master.
I first encountered John Fahey's work in the mid-70's and like anyone with any sense was much impressed. As my musical tastes evolved away from "folk" and "bluegrass", I put Mr. Fahey's guitar playing into the back of my mind. When I went looking for a Christmas guitar recording a couple of weeks ago and found "The New Possibility" I smiled and said, "Oh yeah this guy was good." I was wrong, he is much, much better than that. For anyone with an Episcopal and/or Southern background, this is a must recording for Christmas or anytime. In addition to the classic hymns and carols, you will recognize bits from the Hymn book blended into other pieces flavored with bluegrass. For anyone who is a guitar fan and is not familiar with John Fahey this is a great choice for the holiday. You will be introduced to his great technique as well as his sense of humor and imagination. For anyone who enjoys Windham Hill's Winter Solstice recordings, you have to get this CD -- if Windham Hill is a Hershey's Kiss, Fahey is Godiva.

Not Like the XMas Album Mom Used to Play.
This is my favorite Chrismas album. Fahey fumbles his way through all the standard xmas tunes in a way that makes the CD humorous, but with fresh perspective.

This is solo guitar and its the "stipped down" minimalism of the production and Fahey's playing that makes this album so pretty, fun and unlike ANY other xmas album you have in your collection.

Your family will really like it. But be prepared, these are "gritty" arrangements but with a fine production quality.. Its not the finely mixed, fat production of so many other xmas CDs. ... Read more

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Political militancy so rarely results in more than topical art; thusit's amazing how well Pete Seeger's talking blues, kiddie jingles, angryanthems, and fragile adages to peace have aged. This single-disc successor toAppleseed's double disc WhereHave All the Flowers Gone boasts a finer musical diversity, but isultimately as uneven as the previous tribute. Even after 50 years, performershaven't begun to exhaust Seeger's catalog, and so it's puzzling thatMoxy Früvous wouldwaste tape on the forgettable "Maple Syrup Time," thatBilly Bragg andEliza Carthy would seeany point to another version of "If I Had a Hammer," or thatKim and Reggie Harris(with Magpie) would pushthe sing-along folksiness of "Old Devil Time" to the point of parody. The betterthe song, however, the better the performance.John Wesley Harding(backed by Peter Buck and Scott McCaughey) rocks "Words, Words, Words" straightinto the psychedelic garage,Jackson Browne andJoan Baez surroundthemselves with Cuban musicians for a memorable "Guantanamera,"Steve Earle casts hisbitter, bloodshot eye deep into the heart of "Walking Down Death Row," andEric Andersen, his voicean icy whisper, turns the pure lyricism of "Snow Snow" into the album's mostharrowing and memorable moment. --Roy Kasten ... Read more

Reviews (1)

The Working Class We Have With Us Always. . .
Townes Van Zandt once said that there's two kinds of music: blues and zippety-doo-dah. Pete Seeger's music never was zippety-doo-dah.

Seeger's finely-tuned sensibilities for the endless complications of the lives of the poor and near-poor, as well as for the trades- and craftspeople of America, has given us some of the most lyrically powerful music of our time. If this album contained certain different songs it would be an easy five star work.

It's still very good. Steve Earle's version of "Walking Down Death Row", Dar Williams' and Toshi Reagon's rendering of "Oh Had I a Golden Thread", Eric Andersen's "Snow, Snow", the McGarrigle Sisters' "Little Boxes", and "You Sing It to Me Too" by Guardabarranco are all outstanding interpretations of Seeger's work.

For 45 years I've loaded a lunch bucket and hauled myself off to work at one job or another. Most of that time I've had a Pete Seeger song or two running around my brain, helping me remember who the good guys are. Pete Seeger somehow knows what that's like.

This album is a fine tribute to a good man, one who never wavered in the good but futile fight for social and economic justice. Carry it on, Pete. ... Read more