Reviews (15)

Pure, distilled Lucinda.
This is a truly excellent album. An early Williams album, it was recorded for Folkways Records, who specialized in folk, jazz and the blues. The clean, simple guitar accompanyment accentuates Lucinda's voice and the songs she sings. She has chosen a collection of songs that includes blues, country and traditional and performs them all well. The blues covers are especially good.

This is a keeper.

Really good accoustic blues
Lucinda Williams is a great find. This is all acoustic 12 string blues. There are three great Robert Johnson covers Ramblin on my mind, Malted Milk Blues, and Stop Breakin Down. The recording is all blues covers except Disgusted which sounds like a blues cover. Unlike most cover alblums this has a great oringal sound. BECAUSE LUCINDA WILLIAMS HAS A GREAT VOICE AND CAN PLAY GUITAR LIKE NOBODYS BUSINESS. I also like her record LUCINDA WILLIAMS.

Ramblin'
Sweet. What Can I Say That Hasn't Already Been Said
About This Amazing Artist Lucinda Wm's She's Awsome
Dang it

I Love This Album
I have to admit, first, that I am already a big fan of Lucinda's work. I saw her in concert in November and she puts on a great show. This album is different than her others. It's folk music in it's most simple form.

You can close your eyes and feel like you're listening to this on the porch of some old mansion in West Virginia circa 1919. If you are interested in historical music this is the CD for you.

It's timeless and so sweet.

Southern comfort
"Purist stuff" is what Lucinda Williams called the material she used for this marvelous blusey folksy recording, made in 1978. There's an exquisite simplicity to the music, and superb musicianship; the only intruments are Ms. Williams on a 12-string guitar, and John Grimaudo on a 6-string. Though her voice might not be "perfect", it is remarkably expressive, with a unique and slightly nasal tone, and an elastic range. I find her sound much more satisfying then a lot of what I hear that is currently popular.

The songs are a delight, from the familiar, like the traditional "Motherless Children", to the rarer gems like Memphis Minnie's "Me and My Chauffeur".
Ms. Williams did the terrific cover photo, the remastering is excellent, and the total time is 44:20
This is an easy, peaceful CD, like an old time classic that takes you back to less complicated times, it is a comfort and a treasure. ... Read more

Amazon.com

Back in the mid '80s, when Conor was still in diapers, Lou Barlow was moaning gut-wrenchingly emotional indie-rock into a cheap tape recorder, on his own and with pal Eric Gaffney. It was a creative outlet separate from his day job as bassist for very loud proto-grunge act Dinosaur, but once Lou left the band the project took on a life all its own in the guise of Sebadoh. Barlow’s best songs are unabashedly dorky nursery rhyme songs sung in a honey-coated multi-tracked croon with generally minimal backing music, the strum of an acoustic guitar often its center. Lou doesn’t always write the best lyrics ("If you love me tell me with your eyes, they never lie"?) but Emoh, his first solo album in a decade, recorded with a host of friends, is a true return to form. A few songs percolate with drum loops and tape hiss is notably absent here. Whether the record-buying public still cares is another question entirely, but, from a heartfelt cover of Ratt’s "Round & Round" to the slowly building and beautiful "If I Could," no one can say Barlow didn’t try. ... Read more

Reviews (8)

If talent was all you needed, this CD would be huge
I love this CD.The arrangements are done with just the right touch.The vocals are solid.The musicianship is top drawer.If I have a complaint, it's that the lyrics could be a bit tighter and that they are a bit maudlin, but you can say that about just about all good indie rock.It seems to come with the genre.

Lou Barlow is one of the most talented singer/songwriters in pop music today.He should be a star.By that I don't mean, MTV and commercial radio stardom, but the college radio crowd should be playing this CD and buying it by the shovelful.

Mr. Barlow has every element of artistically driven pop music nailed down except one, style.He isn't a poseur.He looks and acts like a rather dour, mild-mannered geek.And to my mind, that's the one thing that's keeping Mr. Barlow and this CD from being a commercial success.

This is one of those albums that you'll find in a record cutout bin a few years from now, buy it because it's a bargain, play it and say, "Why wasn't this a hit?"You can say that about a lot of CDs that should get attention but don't.Likely, someone who makes it big in a few years will mention this CD as a big influence.It's the kind of music that other musicians love, but maybe the public just isn't ready for.Big Star.Joe Henry.Graham Parker.The list goes on and on of great, but no buzz acts that sound better and better in hindsight.

Lou Barlow has a winning CD!
I recently heard one of Lou's songs on "The OC", and liked it so much I decided to seek out his music. I am delighted with this CD, as all the songs are well written and have great melodies. I like the sparseness of the musical arrangements, focusing mainly on acoustic guitar, and highlighting Lou's beautiful voice. Highly recommended!

Best of 2005 so far
To read all of this review or many more like it check out my music review blog @ http://twowaymonologues.blogspot.com

"Hit me like a kick to a thickening gut, the beat has gone beaten me up. No-one's gonna lift me out of this rut, the groove has gone ground me to dust. Knocking on the wrong cocoon. spun another web of lies.

And then you break through
And dry before my eyes
Take me with you, where you hide tonight.

Did You feel the beat in a fetal curl? Could you be original caterpillar girl?
Crawling up the vine, splitting your spine.
Flowing through the motion, leave your shell behind.

And then you break through
And dry before my eyes
Take me with you, where you hide tonight.
Away, alone, look out.
The birds, like me, want you now.
Caterpillar come out."

Those are the words to the latest in my favourite song of 2005 thus far. Something tells me though this song has a serious chance of maintaining that esteemed title for a long long while. The song is called "Caterpillar Girl" and considering i've had/have a few caterpillar girls in my life the lyrics of the song are just all the more powerful and relevant to my life. The song is by the wonderful Lou Barlow whom if you didn't know was the lead singer of Dinosaur Jr, Folk Implosion and is the lead singer of Sebadoh. Somewhat hilariously I have never been a big fan of Sebadoh, don't know any songs by Dinosaur Jr and never invested much time in Folk Implosion. Yet somehow I came to be a proud new owner of Lou Barlow's brand new solo album "Emoh". How did that happen?

Well, I really didn't plan on buying the album. I read a few things about it, and decided to download it and review it for the website. Then like so often happens I ended up really liking it, and after a few more listens that like became a love and within a week or getting it on my computer I bought the album. I consider myself to be an unique position where I can review thi album on the merit of the album, without having to worry about comparing it to Barlow's current/previous bands he has been involved with. For a long time fan of Lou Barlow's work it must be hard to accurately review a solo album like this. I honestly can say I am thankful I don't have that burden.

Barlow's style of music on this album can be described to me as being reminiscient of Elliot Smith without the underlying tones of suicide that always accompanied Elliot's music. You could also compare him to Bright Eyes, Damien Rice, and Ben Folds. More or less you can compare him to most of the solo sparse sounding, strong song writing, with heavy emphasis on the guitar group. And unlike the title you can't really call the sound emo. I mean yeah it is emotional no doubt, but emo is closer to punk and nobody in their right mind would call anything on this album anything near punk. The production stands out on the album, with everything sounding very crisp and creative. In terms of range this album has more range than say Bright Eyes did, but most albums that fall into this kinda sound end up being a bit restricted in the amount of range they can show.

............

When I heard "I'm Wide Awake, It's Morning" a few weeks back, I was convinced it would be the best album of its type that came out in 2005. I was very wrong. Lou Barlow one ups his young competition with "Emoh". The album has more range, superior lyrics, and more style than the Bright Eyes album. And if you read the Bright Eyes review that is saying something. Like I said 14 songs, and 50 minutes and not one minute of it is regrettable. The entire album works so cohesively. Everything from the order of the tracks, to the use of different instruments, and even the decision of where to sprinkle the upbeat songs to keep the listener from hitting a rut is noteworthy. I don't know if this will tempt me into going back and looking more closely at Sebadoh, Dinosaur Jr, and Folk Implosion because from what I can gather this is considerably different than that. But what I do know is we have an early candidate for album of the year.

Tracks you should download: Anything I mentioned, but quite frankly any of the 14 songs on the album are in my opinion download worthy.

SCORE: 9.15 (I reserve the right to reconsider this score at a later date. But I want to leave some wiggle room for future albums that I hear that might top this wonderful record.)

Still so good after all this time...
I saw Lou perform in San Francisco last night.It was the first time in 12 years I had seen him live, but I had to go to the show once I heard this album.It is pure unadulterated Lou Barlow, with sometimes touching, sometimes hilarious lyrics and excellent melodies.If you ever enjoyed listening to Sebadoh (which I spent my entire teenage years doing) you will want to buy this album; it has the same heart LB has always had, but with more life (and musical) experience shining through.

Good ol-fashioned indie rock.
Back in my old days (the early 90s) as a college radio DJ, I used to dismiss Lou Barlow and Sebadoh as stock indie rock fare.Good, but not really anything that made me want to run out to the store and buy it, especially in those days (and I guess still even now) when indie-rock troubadours were a dime a dozen.Cut to over a decade later, and I guess it says a lot (to me, anyway) that I bought this album.I heard "Home" on the local college radio station, and I have to say it's pretty sublime.The perfect mix of strumming.The perfect mix of slacker-cum-poet.The perfect mix of lo-fi production values.The first track is solid, too.Even the cover of Ratt's "Round and Round" is worth it.To quote the ever-annoying American Idol judges, Lou took that song "and made it his own."Who would've thought an over-done 80s hairspray-and-glam-rock song like that could sound like a note-perfect lo-fi melody of white-boy longing?Okay, well that's a stretch.You should still check this out anyway. ... Read more

Amazon.com

The 20th album of Canadian singer-songwriter Gordon Lightfoot's rich career holds a special place in his heart: it's the album he very nearly didn't live to complete. Brought down by a catastrophic abdominal aneurysm during a September, 2001, show in his hometown of Orillia, Ontario, Lightfoot's recovery was long and arduous. He sought relief by turning to his band for help in fleshing out the handful of demos he'd recorded prior to his illness, playing long-distance collaborator from his hospital bed. While some of the vocals here may reflect the temporary, work-in-progress nature of the original performances, they also reveal a more intimate, vulnerable side of the veteran troubadour. But there's nothing tentative about the material--the core tracks here stand with the best of Lightfoot's 30-year canon. The lilting melodies of "Inspiration Lady," "Clouds of Loneliness," and the title track offer his familiar bittersweet takes on romance, while "River of Life" and "Flyin' Blind" musically invoke his love of nature and his fascination with those who challenge it, respectively. Live 2001 renditions of "Shellfish" and "The No Hotel" nicely round out the album, a personal ordeal turned warm, personally scaled artistic triumph. --Jerry McCulley ... Read more

Reviews (31)

Gord, we're mighty glad you're still with us!
"Harmony" picks up neatly where Gordon Lightfoot's "A Painter Passing Through" left off five years ago. The vocal tracks were done almost a year or so before he took ill and nearly lost his life due to internal bleeding from a gastric disorder. During his recovery, polish was added to the vocals, and the instrumental tracks were mixed into the project, overseen by Lightfoot himself. The production does not come close to what he has accomplished in years gone by, agreed. Personally, I think it's amazing this recording exists at all. The voice has thinned greatly over the last two decades, the writing is not what Lightfoot fans are accustomed to, and again, the production suffers. So why four stars? Respect for a job as well as it could be done. Melodically, the title track and "Inspiration Lady" borrow heavily from Pachebel, as a close friend pointed out to me. "River Of Light" sounds like a rewrite of the earlier mentioned album's cut, "Uncle Toad Said", and I don't think that was necessary. Two songs recorded live at Toronto's Massey Hall that Gord sang during his 2001 and 2002 tours, "Shellfish" and "The No Hotel" appear as well.

Word got out when publicity for "Harmony" first surfaced that Gord had written some thirty songs, and chose these eleven from the 30. I truly wonder if any of the other material holds up better than most of the tunes here. Remember, I give it four stars out of respect for what he was able to accomplish. Hopefully, there will be another album at some point when Gord is not so physically challenged, and perhaps that will remind us better of what this guy can really do.

Rates With His Best!
Gordon Lightfoot's new cd 'Harmony' is a grand slam - when you least expect it. Lightfoot has created a collection of songs that are warm, thoughtful, stirring and, in the end, stunning. The circumstance of this album has been well ducumented, but it is not a stretch to say it is near clairvoyant. A sense of being lost, and then found, pervades the music. This is his best work in many years. The songwriting is outstanding, my favorites being 'River Of Light', 'End Of All Time', and 'Shellfish'. The production is understated, never overwhelming the quality of the songs. I believe, given the right PR, this could have been an album that brought Lightfoot to a new generation, ala Johnny Cash and Loretta Lynn. It's that good.

renewal and promise
Even if this is not a great album, it's a welcome one, and not just because it celebrates the happy fact of Gordon Lightfoot's continued existence. It also offers promise, one hopes, of better things to come. It is at least the ghost of Lightfoot's best work, those memorable recordings he did in the 1960s for United Artists and in the early to mid-70s for Reprise. After that, the sound faded off too often into what struck this listener as listless adult-contemporary pop, with arrangements both overdone and now horribly dated. Little of that shows up here, which is good news indeed.

On Harmony, Lightfoot is back to a sparer acoustic sound akin to the folk textures of the classic catalogue. Among the good songs here, not the least is the title tune, which I take to be about Lightfoot's fight to regain not just his life but his muse. "Flyin' Blind" is a nicely imagined modern ballad about a pilot's perilous flight over the arctic wastes. "Shellfish" is an exceptional song, vivid and moving, and the album's artistic high point.

On the other hand, "Inspiration Lady" is as uninspired as its title suggests, the one purely disposable cut. "Couchiching" suffers from some excruciatingly careless writing; it pains the ear to hear couplets that rhyme "hit you with a ping" and "your thing" with "Couchiching" (a lake in Ontario near Lightfoot's birthplace). The song itself comes across as more advertising jingle than anything else. It didn't have to and wouldn't have if Lightfoot had put more effort into the writing.

Though uneven, sometimes a bit tentative sounding, Harmony has its pleasures, and it grows on you. It marks, if not a full return to form, at least a solid step in that direction.

No Mistake About It
Sincere, tactful and urgent, "Harmony" plays like Gordon Lightfoot's "Harvest Moon," a collection of songs whose deeply engaging arrangements, taut song structures and inspired writing recalls the glories of his prime. The title track is quite simply one of the best songs of Gordon's career, while the harrowing soundscapes of "Flyin' Blind," "No Mistake About it" and especially the live "The No Hotel" prove that Lightfoot still has some coal left in the furnace that bore "Sundown," "Early Morning Rain," "If You Could Read My Mind" and "Edmund Fitzgerald." The ghosts of dark geniuses like Townes Van Zandt and Graham Parsons haunt much of the album, making it Lightfoot's most moving record in decades. If "A Painter Passing Through" seemed a poorly-composed eulogy to a dead talent, "Harmony" serves as a remarkable and unlikely resurrection.

What an Album
I must say that I am Very impressed. After I heard A Painter Passing Through, I thought that the old Lightfoot was gone. I actually enjoyed that album, but this one just beats the heck out of it. He can still write some Awesome songs. None of the tracks stand out in this album because they are all of equally excellent quality. This would certainly be a fitting farewell album for Lightfoot; I hope it is not his last, but it is a very fitting farewell. His lyrics are just so great, sometimes a little light-hearted, but always heartfelt and of the highest caliber in this album. No, there are no songs like Ringneck Loon, which I happen to like. If you are a Lightfoot fan, buy this cd. It's beauty and flowing melodies are sure to please. ... Read more

Reviews (9)

I am WIERD
OK....see if you can make sense of this...my favorite bands are Radiohead, the Cure, Bauhaus, Talking Heads, Kraftwerk, and Dan Fogelberg.....so, where does his sound fit into this genre' of music? IT DOESNT...i just happen to love this guys voice and his tunes....my favorite one on here is Same Ol Lang Syne...oh my god, i melt when i hear this....i have to admit, lots of his music is sentimental to me due to my childhood, but i listen to him pretty much every night when i go to bed..i think his music is beautiful......Peace :)

Dan's Still The Man!!!!!!
I remember seeing Dan Fogelberg in concert when I was about 15 or 16 years old. Awesome! After seeing him in concert, I became a fan! The power of his music and song have deeply touched me! Everytime I hear "Leader of the Band", I am moved. It's such a heartfelt tribute to his father. Every picture tells a story--and Dan tells a fine story behind each song. To sum this album in five words or less: Beautiful and Relaxing!

Really Good CD
This is a very good, consistent CD. Of the 10 tracks, I don't rate any of them below Good (3 Stars). I give two tracks Excellent ratings and four each get Very Good or Good ratings. My specific track ratings are:

1. Part Of The Plan -- 3 Stars
2. Heart Hotels -- 4 Stars
3. Hard To Say -- 5 Stars
4. Longer -- 4 Stars
5. Missing You -- 3 Stars
6. Power Of Gold -- 3 Stars
7. Make Love Stay -- 4 Stars
8. Leader Of The Band -- 3 Stars
9. Run For The Roses -- 4 Stars
10. Same Old Lang Syne -- 5 Stars

LOVE THIS ALBUM
This is a cd my mother used to listen to when I was younger. It brings back so many memories. My husband and I are taking our 3 year old to see Dan perform in 2003, and I can't wait for my daughter to hear this excellent musician!

Fogelberg's Greatest is one to cherish
Im not going to get into analyzing the art of critiqing a greatest hits compilation. I dont have to. This is one that if you dont already have then you would not understand anyway. My favorite is "Heart Hotels", but "Power of Gold", " Make Love Stay" and the annual favorite of "Same Old Lang Syne" will most certainly get you in replay mode. Its hard to resist the acoustic, piano, sizzling lead guitar and sax that make this album a rocker and a roller, if you know what I mean. Any romantics out there listening. The lyrics may be the best attribute of this "must have", which to me seems to be perfect for sharing with that special someone before a fire and during the heat of passion as well. Dont miss out!! ... Read more

Reviews (5)

Dynamo
Because it's so well done, this package is a welcome addition to Judee Sill's legacy.While she is unknown by much of the public, to those who really focus on music, she is a legend.The book detailing her life is revelatory.I had heard about a troubled past, but had little understanding of the depth of problems from the alcoholic mother, abusive stepfather, brother who died, prostitution & lesbianism.While I had heard about her heroin addiction, I was unaware that she'd also had committed armed robbery.The funniest quote is from Russell Giguere, one of the original members of the Association, "She told me that she got busted for armed robbery & was so nervous she actually said, 'Okay mother sticker this is a fu*k up.'"This is the stuff from which movies are made!

But her musical muse is well in tact on her "lost album," one to be sought by those for whom "Heart Food" and the self titled Asylum LP are classic listening."The Apocalypse Express" showcases Judee's lovely sense of melody & harmony, "Here it comes with dynamos churning, Love steady burning & knowing no rest, Savage shield is twisting & turning, screaming a sermon, That's smoldering stress.""Things Are Looking Up" has Judee's lovely vocals that seem to float effortlessly, "What a spell I'm under, I've been smiling at the Earth way up here on high, Is it any wonder that my trouble disappeared & I learned to fly?"The studio demo of "'Til Dreams Come True" is beautiful just to hear Judee playing piano sans vocals.

Of the music on the second disc, it's interesting to read about the tunes in the booklet."Dead Time Bummer Blues" is referenced as the first song she wrote and was during her incarceration, "My cellmate stole a Cadillac & she's going home tomorrow.""Sunny Side Up Luck" has Judee's lovely sense of melody that makes you wish you could have heard the arrangement she'd have developed for the tune."Emerald River Dance" is another delightful gem, "It seems like everyone's so afraid of the ocean 'cause they can't bear the pain, but the deeper sorrow carves in the heart of your being, the more joy you can contain."Judee's home recording of the randy tale "North Country" is a hoot, particularly when you realize it was sung by bank robber and has the cooing of a small child in the background.

Judee's life was a hard one, some of it by choice.However, the religious imagery and the exquisite sense of melody give birth to the beauty of her music.While this set is for those who already appreciate her craft, it is a welcome addition to her recorded legacy.The concern footage is also welcome for giving a glimpse of her live performance.Enjoy!

Get the studio albums first
Although I have given this 4 stars, this has been put together with tender loving care, with packaging which is very well done and quite unique.

I have been a Judee Sill fan since her first album came out in the very early 70's. I knew of Heart Food but not until it was unavailable. Then both became available on CD last year (or the year before) and I splashed out £40 for each - they are still selling in UK shops for about that, but they are well worth the high price.

I never knew of any other material. So this is a treat. The songs are typical of the type she wrote and the album sub-title (Hi I love you right heartily here) oozes Judee Sill-speak. I think the songs mask the troubled life she must have left. You only have to read the extraordinarily informative booklet to get an idea of the life she led a tortured soul, perhaps. However, the songs fly away on the breeze but always make a soft landing.

The film footage from 1973 on disc 2 is not great quality, but is the first I have seen of her and is very enlightening and enchanting.

So if you liked her first two albums, then you need to have this little gem - but I think you need the two studio albums first to appreciate her at her very best before embarking on this package.

mind bogglingly awesome
let me say that iam a true fanatical fan of those two judee sill records and that HEARTFOOD in particular is one of the pinnacles of the greatest ever records..yep along side PINK MOON BLOOD ON THE TRACKS ASTRAL WEEKSthe great tragedyis that she is so unknown..nice to see uncut magazine hopefully starting some sort of huge revival ..like nick drake and brian wilson have ..i urge all readers to buy the rhinohanmade versions of the first two albums immedietly...sell the car..pawn the tv..but get those cd,s..they are limited editions.and they are both total masterpieces.Anyway when i heard about DREAMS COME TRUE icouldnt beleive it.I got a copy immedietly and it does not dissapoint in anyway..The packaging is simply beautiful with a book so lovingly put together containing many interviews with those who knew her..she obviously seems to have left a huge mark on thier lives. And even more incredible is there is video footage .But its the music and her songsthat make this wonderful release one of the most exciting cd,s in years ..yesthis is as greatas her two albums i kid you not.Okay i admit it took me a good few listens over a few days before the whole thing just really blew my mind,what an incredible bunch of songs..how on earth did this go unreleased..the whole cd is heartbreakinly beautiful and so very sad...its one of those very rare releases which i just cant get outta me head.I will let other reveiwers describe its detail as m totally inebt at being rational enough o gather my thoughts clearly enough to say how much this has knocked me out..best thing ive heard this century by the greatest female singer songwriter of all time..

brilliant
Judee Sill's first two albums are two of my favorite records of all time.They are consistently brilliant in every way.So you can imagine my great anticipation when I heard that her fabled 3rd album (plus rarities) was to be released.Needless to say, this collection does not disappoint.Disc one, which is devoted to the 3rd album "Dreams Come True", is fantastic.The 2004 mixing and mastering of these titles is tremendous, with a very rich and full sound.Interestingly enough, Judee decided to change her style a little bit.At first listen, the Sill fan will notice a much "earthier" approach.Not only in the song production (which has a very "jam session" kind of feel), but in the material itself, which is more upbeat.It's still catchy, concise and clever as hell, but in a new way - which is refreshing, because every artist should grow.Her back-up band is wonderful - there's not a misplaced note anywhere in these 8 songs (supposedly all recorded live in the studio, including Judee's lead vocal).These tunes aren't as immediately accessible as her previous ones and I think that is due in part to the strange, new environment in which we are hearing Judee's music.But once you get used to this, it's classic Judee Sill.Each of the 8 songs is a gem, but the finale in particular ("Til Dreams Come True") is an absolutely beautiful song and worth the price of the CD alone.It's just Judee and her piano running through one of the most achingly powerful performances I've ever heard.After the proper album, there are 3 demos, which are a nice touch (especially the solo piano backing track of "Dreams Come True").Disc two is a collection of "lost songs", which are pretty much all home demos, so the scratchy, amateurish quality is to be expected.The songs themselves are great.One of the discs is enhanced, featuring an old Judee Sill video performance.It looks like she's playing in a University courtyard or something.The quality is inferior, but that's perfectly understandable and only enhances her haunting legacy.I'm happy just to see her in action.Lastly, the accompanying booklet is about 70 pages and features all you could ask of a booklet.Overall, this is an excellent collection that Sill fans and non-fans alike will surely enjoy.

"Dreams can come true...but not here!"
What is there to say about Judee Sill?..a true true genius/unique60's/70's singer-songwriter!!!!BOTH her previously released solo albums were quite simply exquisite!First heard her (now i show my age!), when "Jesus was a cross-maker " first got radio airplay('71?), anyway , when i finally picked up the vinyl album , ijust could not believe my proverbial ears!Literally the whole of her 1st. album, now on c.d., is a bonafide materpiece!She quickly proved the more or less equal of , say , Joni Mitchell/ Laura Nyro / Carole King e.t.c.In fact i'd say , Judee was definitely out there, completely on her own.True, true talent.With the 'help' of David Geffen's Asylum label , Judee showed enormous potential!Songs such as Crayon Angel, Bless the Ridge Rider, Lamb ran away with the Crown, Abracadadabra, are now forever snuggled in to my 'collective conscience!!How did she get such remarkable lyrical talent??And that voice ,,,angelic, beautiful, worldly-wise, all this and more!!That 1st.ALBUM -"Judee Sill" gets my vote as one of the BEST album of songs ---EVER !!!!!!the fact a 2nd. album of also incredible music..."Heartfood" made it quite obvious , to the discerning listener, thaty Ms. Judee Sill was truly a one off , even amongst her 'peers'!The 2nd. album(beautiful strings , added by no other than the Grreat Mr. Henry Lewy(Jimmie Spheeris/ Joni Mitchell e.t.c.) was also magnetic/ mystical/Beautiful to behold, also(The Pearl/The Bride-groom), what fabulous lyrics!-those piano -hooks..phew,those marvellous choruses Judee crafted-here was a true , true musical Genius, no doubt!!!............and then ....she was gone!!!!!What happened to her talents ..why did she not make a return ??As time elapsed , we sadly heard of her previous 'drug problems' , and her oh so unhappy childhood(alcoholic parentse.t.c.) Judee may have grown up quick, rebellious, sreet=-wise and hard , but somehow her 'uniqueness' brought her through this!Also , we learned of her terrible 'back problems' . made worse by incompetent surgery!!She certainly went thru' life's wringer!!When news broke thru' about this current release of a previously 'unreleasde 3rd.,album.."Dreams come true", no-one here in England could have been more delighted than myself!!!So, ...here's the review!!!If you know of Judde Sill's ENORMOUS , mostly still un-recognised talent, as a singer-sopngwriter from the halcyon 1970's, if you know and rate her work/songs anything like i do ......this double c.d. release will probablyba one enormous let downto you , as it surely has been for me , sadly.I truly ponder as to whether this so called 3rd. album shouldEVEN have been released at all!!!!Maybe 3 of the entire 2-c.d. batch of songs is worth remembering!!!!!certainly"Apocalypse Express" is remeniscent of the genius she showed on her 1st. to CLASSIC albums, as is "oMEGA..." possibly the Best song here!.......the rest just probably needed more work doing on them , which Judee herself would probably have done to great success , had this '3rd.' album been on release!The 2nd. c.d. , of unknown songs , is so , so badly recorded i feel whoever released this album , they did Judee's memory a great dis-service!!So , anyway , there's my review ...had to write it!!Judee SILL ,you are greatly, GREATLY missed by us all!!!!Get this c.d. maybe , tape and sell, just to hear it!! ... Read more

Amazon.com

One of the many oddities of Bob Dylan's long and unruly career has been the rather cursory recording treatment given his stint as ringleader of the Rolling Thunder Revue. It's a shortcoming that's rectified with the release of Live 1975. Prior to the appearance of this two-disc collection, Rolling Thunder's eclectic road show was chronicled only in the infrequently screened, Dylan-directed Renaldo & Clara film and the bafflingly brief and one-note 1976 live set, Hard Rain. In contrast to its predecessor, this set, culled from four appearances made in November and December of '75, captures the breadth and subtleties of Dylan's Rolling Thunder performances. "Tonight I'll Be Staying Here with You," formerly a coda from Nashville Skyline, is given a rather incongruous bite here, while "It Ain't Me, Babe" is colored brightly by multi-instrumentalist David Mansfield along with erstwhile David Bowie guitarist Mick Ronson, the sparkplug of the gratifyingly ragtag group that coalesced on short notice. Solo acoustic performances weave through caterwauling full-band treatments of songs old ("The Lonesome Death of Hattie Carroll) and new ("Hurricane" and four other selections from Desire, which wouldn't hit the racks until early '76). While the contributions of a number of caravan cohorts and guests are left out, Joan Baez shares the spotlight with Dylan on four numbers, most notably on the rarity "Mama, You Been on My Mind" and the traditional "The Water Is Wide." But despite its cavalcade trappings, it was Dylan's show, and this collection demonstrates finally just how close to his '60s peak the '70s Dylan was. --Steven Stolder ... Read more

Reviews (107)

a worthy addition to the catalog
The Rolling Thunder Revue performances were a mixed bag but the compiler put together a representative sample with this collection. The solo performances beginning disk 2 are a highlight. The Baez duets are also very fine. As usual with Dylan's radical arrangements some things work better than others. 'Just Like a Woman' is performed in an one of its worst arrangements ever. 'It Takes a Lot to Laugh' is jaunty and lacks any of the original blues/country feel. 'Hard Rain' follows the same jaunty beat, which detracts from the lyrics to my ears.

Most of the Desire songs were performed prior to the release of that album and are carefully played on this set. 'Sara' follows the studio arrangement but is warmer sung live and sounds lovely. 'Isis' is less bombastic than the Biograph version (some will miss the bombast but not me). 'Simple Twist of Fate' gets a drastic rewrite, though not as successful a rewrite as Dylan's 1984 'Tangled up in Blue'.

The instrumental stars are pedal steel player David Mansfield and fiddler Scarlet Rivera, although Dylan plays some of the best solos on the harmonica. I believe this one was released for the fans, who will buy it, and for posterity. Great idea! Keep them coming, Sony.

Glad it's out officially for everyone to hear
Had Dylan taken the Rolling Thunder Revue through the midwest instead I would have been lucky enough to hear this music live as a college kid. Instead I heard "Mama, You Been on My Mind," "The Water is Wide," and the intense live versions of "Romance in Durango" and "Isis" on a vinyl bootleg a friend turned me on to the following spring. That was just the beginning. A few months later I picked up another bootleg which contained for me the definitive versions of "It Ain't Me Babe," "Just Like a Woman," and "Knockin' on Heaven's Door" (Providence, R.I.) CDs brought along CD bootlegs and later I got a great two-CD set from the Boston Music Hall (from which several songs for this new official release are drawn). For years I've made tapes of this sweetly magical gypsy-circus rock and roll music for friends, and am glad now everyone can hear it so easily (and in such powerfully clear sound). In response to the reviewer critizing bootleggers for muddy sonics, I'd just say, at least they didn't wait 27 years to put it out! If you like this record, I'd encourge folks to seek out songs left off: "When I Paint My Masterpiece," "Never Let Me Go," "I Dreamed I Saw St. Augustine," "Dark as a Dungeon," and "This Land is Your Land," among others. Still, the sound here is revelatory - three-dimensional at times, especially Scarlet's violin on "Durango." Other highlights include "Mr. Tambourine Man," maybe Dylan's best version ever of this song, (and muffled on my bootleg) "Love Minus Zero/No Limit," one of Dylan's most tender ballads, rendered beautifully here, and "One More Cup of Coffee (Valley Below)," reminding us what superb album Desire was (strange how these songs have vanished from Dylan's current repertoire). To CBS: how about something from 1997-2002 next? The current piano/covers tour is fantastic. Will we have to wait until 2029 for that one? (Bootlegs available now.) Or how about a complete issue of the basement tapes (most of the songs still unofficially released after 35 years). Thanks, though, for this one. It'll be in my player for a long time.

I'm so glad I got this CD
I would say that these are his best recorded live performances, period. Better even than the 66' tour with the Hawks. Its clear that by 1975, Dylan's legacy had only grown--these aren't just 60s songs but songs for any age. He is the greatest American songwriter. I'll say it again: He is the greatest American songwriter! Its hard to not get emotional when listening to these.

5 stars is not enough
This is the best Bob Dylan CD there is. If you like the Blood on the Tracks & Desire era of Dylan then this is the album for you. It is perfect. The band is very strong and tight while sounding relaxed and focused at the same time and Dylan is in top form. If you're one of those people who like the songs but don't care for the singing, this one just might change your mind.

Great!
It's Bob! Get it! You can't go wrong unless you don't. ... Read more

Amazon.com essential recording

It took John Prine seven years to make his peace with the "New Dylan" expectations that accompanied his critically hailed 1971 debut. Which isn't to say that the Illinois-born singer/songwriter didn't make some fine music in the years that passed between his initial recording and this, a comfortable-as-an-old-shoe collection that signals the start of Prine's settling-in period. Folk-circuit fellow traveler Steve Goodman's sympathetic production suits Prine just fine. The songs, meanwhile, are sprinkled with wise and witty wordplay. "Sabu Visits the Twin Cities Alone" chronicles a misbegotten movie promotion. "If You Don't Want My Love" is an oddly unrepentant exercise in self-pity copenned with reclusive pop producer Phil Spector, while "Aw Heck" is its polar opposite--a sing-it-from-the-rafters celebration of passion ("I could get the electric chair for a phony rap / Long as she's sittin' in my lap"). It's not faint praise to note that Bruised Orange is thoroughly likable. --Steven Stolder ... Read more

Reviews (16)

JOHN PRINE'S GENTLE WIT & WISDOM
This album is filled with examples of the wonderful songwriting, easy delivery and comfortable performing style that define the greatness of John Prine, one of America's finest singer-songwriters. The production, by long-time Prine pal Steve Goodman, is excellent -- clear, uncluttered and unpretentious. Every song on this collection is a gem, and the mood varies like a soft breeze from track to track -- the journey is over far too soon.

There are great examples of Prine's strengths here. His famous humor nudges us in 'Fish and whistle', 'That's the way that the world goes round', 'There she goes', 'Iron ore Betty', 'Aw heck' and 'Crooked piece of time' -- and his incredible poignancy graces 'Sabu visits the Twin Cities alone', 'Bruised orange' and the lovely, haunting set-closer 'Hobo song'.

I once saw Prine appear on the wonderful PBS program 'Austin City Limits' -- and I noticed he was chewing gum on stage during his set. He was probably the kid who chewed it in class as well -- appearing to spit it out when the teacher caught him, then commencing to work on it again when authority's back was turned. Everybody loves a clown -- and this one has a sensitive side as well. This album -- along with Goodman's JESSIE'S JIG (from the same era) is a great example of the genre. Don't miss it.

John Prine "Bruised Orange"
"Fish And Whistle" 5/5
"There She Goes" 3/5
"If You Don't Want My Love" 1/5
"That's The Way The World Goes 'Round" 4/5
"Bruised Orange (Chain Of Sorrow)" 3/5
"Sabu Visits The Twin Cities Alone" 5/5
"Aw Heck" 4/5
"Crooked Piece Of Time" 3/5
"Iron Ore Betty" 3/5
"The Hobo Song" 3/5

"Bruised Orange," is John Prine's fifth studio album. Highlights include "Fish And Whistle" and "Sabu Visits The Twin Cities Alone."

Overall rating: Three and a half stars.

I Beg to Differ
While this album is just as wonderful as the reviewers below have said, and a classic of the singer-songwriter genre, I want to cast a vote in favor of the cut "If You Don't Want My Love" which is much-maligned below. While it has none of the whimsy and humor which characterize most of Prine's work, it is in fact a perfect encapsulation of a bitter cast-off lover's state of mind -- and stays on and on in the memory. It is in fact my favorite cut on the album!

good stuff
this is a great record! its got all of johns sides on it from fun country licks to slow folksy love songs if i had to reccomend one jonh prine album this would be the one.

A Musical Mark Twain
Wow! I forgot just how terrific John Prine is. I purchased this album (yes, album...it was THAT long ago!) when it first came out and was blown away by Prine's wit & perception. I listened to the sample tracks and could still sing along...my favorite being "That's the way that the World goes round". I highly recommend this CD to everyone! I'm off to purchase it myself! ... Read more

Album Description

At long last, all seven of Belle And Sebastian's "Jeepster" EPs have been collected into a convenient 2-CD set. Often considered their best work, and previously only available as hard-to-find imports or in a box set, the EPs, consisting of 25 songs recorded from 1996-2001, are now available for the price of a single frontline CD. The four tracks from the EP "This Is Just A Modern Rock Song" have never been released in the US before. Also available in a deluxe 3-LP gatefold vinyl set and a deluxe double CD hardbound book. ... Read more

Reviews (12)

More definitive than other Joan compilations
While this compilation covers more of her songs than "Track Record", it still isn't complete. Either way you look at it, you really need to buy all her early albums to fully appreciate the magic of Joan Armatrading.

This compilation is ideal though for those just discovering her because it features early gems such as "Whatever's for Us" and "Love & Affection".

Joan was recently voted in the top 200 influential women of rock of all time. Well deserved.

Joan is underrated in many countries, and almost forgotten by radio now. It's sad that so many only know her for the success of "Drop the Pilot" in 1983. That song is not really representative of her magic.

With Much Love & Affection
The first time I heard "Love & Affection", I was a snotty-nosed 16 year old who thought Genesis and E.L.P. were the cat's meow. When I heard her rich, deep, soulful voice sing about the price of love and the cost of friendship, when I heard the gorgeous ear-candy pop arrangements that underscored such a beautiful voice, I knew then and there that heaven would sound exactly like Joan Armatrading. I rushed out to buy JOAN ARMATRADING, a wonderful album released at a time when her label (A&M) boasted incredible pop smarts and a great promotions team (especially in Canada); their hard work meant pop radio stations sometimes took chances and played music just like hers thereby impressing a younger generation (like mine). Her voice has been a constant companion since then. From the jazzy inflections of "Show Some Emotion" to the new-wave electro-pop of "I'm Lucky", the edgy eighties soft-rock of "Drop The Pilot" to romantic ballads like "Willow", Joan's music has always been there to pick me up when I'm down. A&M's remastered hits anthology is a breath-taking collection of all her best moments (fans should try to find a double CD anthology released by A&M U.K. in the mid-nineties that was even better!). It's to her credit that this stuff still retains all its passion, power and soul.

Joan Armatrading-Greatest Hits
oh my...brings back many memories from the 80's in Colorado. wonderful, soulful and angelic. rock on joan

overwhelming
a friend recommended "joan" -I'd never heard of her! now I am possibly her biggest fan- the range of her voice/music- is incredible-she goes everywhere and does a magnificent job in all areas! Am sending this cd to my daughter-i'ts too good not to be shared!

"I am not in love, but I am open to persuasion..."
...is one of the great opening lines of pop music ("Love and Affection.") Story goes that Armatrading thought she'd be a songwriter. Fat chance. Way too idiosyncratic. Hard to imagine others covering these songs, though there must be a tribute album in the works somewhere.

Standard greatest hits (and near hits). Standard greatest hits package gripe: no documentation. None of the musicians who played on any of these pieces is credited, so if you want to know who played the bass...well, you're out of luck.

About 20 years ago an out of town friend came to visit. Wanted to go see Joan Armatrading. I went along to be hospitable. Expected singer-songwriter wimpiness. Instead, I was treated to a much more energetic show than I had expected. This comes across in the closing "bonus track" of this disk, a previously unreleased live version of "Kissin' and A Huggin'". The inclusion of this track really sets this disk off from the other collections and compilations of Armatrading's music which are currently available. ... Read more

Amazon.com

It's no accident that Jim White is on David Byrne's Luaka Bop label. His odd, oblique tales from Pensacola, Fla. and beyond wouldn't be out of place in Byrne's quirky movie of smalltown Texas, True Stories. In fact, White has his own new film, Searching for the Wrong-Eyed Jesus, to capture his chosen milieu of motel rooms, truck stops, and churches, and--as described on "If Jesus Drove a Motor Home"--waffle houses: "Jesus eating eggs with ya'll." Not that the artist needs visuals to project his skewed vision: Drill a Hole in That Substrata and Tell Me What You See is dense with dreamy, wasted scenarios, each spilling into the other. His vocals, which rarely rise above a half-whisper, are those of a loser at love cursed by self-knowledge ("You can't waste the whole damn day loving what you need to cast away") and a winner at ennui who spends his drifting hours "listening to the song behind everything I think I know" and finding only static. The album, his third, is treated to offbeat textural touches that reflect the edgy ambient approach of his co-producer, Joe Henry--electronic washes, horn charts, banjo, bebop trumpet. A colorful character whose real-life exploits include stints as a professional surfer and Milan fashion model--and struggles with drugs and religion--White is supported by an expansive cast including fellow tortured Southerner Mary Gauthier, Aimee Mann, Barenaked Ladies, and guitarist Bill Frisell. --Lloyd Sachs ... Read more

Reviews (3)

A Great New Album from Americana's Rimbaud
Jim White's South in its own dark way spins another yarn of wondrous stories where strung out Santa Clauses and Jesus listening to Dylan and driving a motorhome, are but only part of a lyric universe that owes as much to Country myths as to the ghost of Rimbaud.
Yes, this is another of White's "seasons in hell" more Texas, though, than nineteenth century France but probably as hallucinatory. These are tales of a man who, more than raised in America, has been abducted by it as it was an alien mothership.
For those who loved his first two albums, this one may not necessarily be that different, and what I said so far, not completely farfetched. This is not to say that this album lack musical surprises nor artistic growth, and Joe Henry's production has no small part of such accomplishment. Jim White can be dark all by himself but with Henry's aid gains a smokier, jazzier feel, which fits the songs like a silk glove.
In general, the tunes Joe Henry helmed as producer -which account for half the album- are the most interesting ones. I'd say that this is, in its own way, as inspired a collaboration as Loretta Lynn found with Jack White in Van Lear Rose. Of course, the music is far from similar but the producers' tugging and pushing an artist's certain style into new colors and atmospheres is comparable.
"Static In The Radio" -sung with Aimee Mann- and "Combing My Hair In A Brand New Style" are great examples of the musician-producer connection I've described, and so is "Buzzards of Love" with some powerful horns, somewhat reminiscent of Henry's own "Tiny Voices." And then there are three personal favorites of mine: "Bluebird," "That Girl from Brownsville Texas" and Phone Booth in Heaven" -stunning ballads all ... a weakness of mine- which are tender in their own wounded ways.
As White sings that a friend once told him ... "Jim, what you cling to, that's the thing that you had best forget. For ain't no rose bed ever gonna bloom in an untended field of regrets." Well, Jim White is definitely tending those regrets again and some glorious roses have begun to bloom.

absolutely brilliant (as usual)....
no one (in recent memory) has explored the worlds of Greyhound Bus stations, small-town Southern preachers, passing trains and poetic trailerpark dream-state melodrama better than Jim White. (the usual) biblical references are present as are the ethereally whispered tales of bodies floating down rivers accompanied by misinterpreted radio broadcasts and birds perching quietly on telephone wires. this is a remarkable album from an artist that deserves MUCH more appreciation than he has received. fans of Jim White might note that this record has a bit LESS "hip/trip-hop" presence (in the production) and a displays a "jazzier/lounge" feel than NO SUCH PLACE. this is not a bad thing. it works VERY well for the songs on this recording.
"Static On The Radio", "Bluebird" and "Objects In Motion" are mesmerizingly gorgeous and the entire album is an absolute knock-out. EXCELLENT stuff and HIGHLY recommended. i give it TWO Stuckey's Pecan Logs UP!!!

If you only buy one CD in 2004....
On the cover of Jim White's latest album is the ghostly image of a man and a woman, faces close together, looking out from the shadows. The image recalls nothing so much as the art of the late Howard Finster, where fleeting yet ever present spirits flow in and out of this realm and another distant place and time, maybe even in and out of heaven itself. Like fellow southerner Finster, Jim White's art is infused with the presence of God and Jesus, sin and redemption, and in White's case, also with the beauty and mystery of love. In White's world, love often comes with its cruel traveling companions, heartbreak and deep sorrow.
Several of the songs on "Drill a hole.." have been reworked into their current versions from having been played live in different incarnations over the last few years.
As with his previous two albums, this one can't be neatly pegged into any particular genre, but somehow, the different styles of the songs fit together much like individual pieces of a mosaic, ultimately forming a beautiful picture.
Co-produced by Joe Henry, this CD has a more jazzy overall feel than "The wrong eyed Jesus" and "No such place". "Combing my hair in a brand new style" and "Buzzards of love", both showcase a mindblowing horn section unlike anything on White's previous CDs, and while neither of these two is a short song by any means, both offer only a glimpse into the extended improvisations which might be possible if the band were unleashed on stage. The opening track, "Static on the radio", with backing vocals by Aimee Mann, has an easy, laid back feel, is instantly accessible, and should be a hit on the radio if there were any justice in the world. "Bluebird" is a heartwrenchingly melancholic love song in which White tells of finding salvation in the eyes of his daughter. In "If Jesus drove a motor home" White gives us another installment of his humorous take on the Lord along with more horns.
"Objects in motion" is one of the songs which has evolved through years of playing it live, and is given the dreamiest treatment of the different moods permeating the album.
Jim White is unquestionably one of the best singer/songwriters/storytellers working today, and this is a must have CD from a one of a kind musician who is just hitting his stride. --John Graham ... Read more

Reviews (25)

Kaki King is the John Petrucci of acoustic guitar....
This is a good cd by a great musician, and excellent for a debut album. While there are a couple of weaker tracks, the stronger tracks (Carmine Street Sign, Everybody Loves You, the first 6 minutes of Fortuna, Kewpie Station, and Happy as a Dead Pig in the Sun) are so incredible that it more than makes up for it. Kaki can play an acoustic guitar as well as legends like Yngwie and progressive masters like John Petrucci and Alex Lifeson, and she's as original and interesting. I can't wait to hear more!

A must have.....
I just saw Kaki King at the Bonnaroo festival in TN the weekend of the 13th. I had never actually heard any of her songs before the show and went on only having read about her music. I must say that I was completly blown away right from the start. ... her technique isn't exactly groundbreaking, but she does it so well, with so much dicipline ... that it is nothing short of amazing. The first person I thought about was Michael Hedges upon hearing her play. I can't wait to see the direction she goes in the future...especially since she is only 23!!

Quirky, Quick, and Intelligent
Kaki King seems to flow endlessly in Everybody Loves You. She captures quick picks with grooving taps that seem to lighten the mood. This is a wonderful cd for any guitarist or anyone who just wants to relax. If you like the purity of acoustic guitar then Kaki King's Everybody Loves You is a wonderful pick.

Spirited & free rhythm & harmonic associations...
...are totally energizing! It's so pleasing to hear someone, in particular a woman, do something different with a guitar! The old strumming thang just gets so tiresome!!!

Types of tunes were well balanced so as not to get too repititious and tedious. I don't know what 'ejfan19' is used to listening to (elton john?) but obviously has a bit of a problem dealing with talent!

I Don't See What The Big Attraction Is
Kaki King isn't that great. People have been praising her and praising her. She just isn't anything to write home about. She isn't even in the same leagues as Adrian Legg, Michael Hedges, or Leo Keottke and frankly never will, because here songwriting is lousy. Hey, I know she's young, but that's just an excuse. If she wants to continue to make music, then she music realize the importance of melody, harmony, and rhythm, because without it she's got nothing. She's just another Preston Reed or some other wannabe who can't play the guitar. She needs to take some pointers from other acoustic guitarists like Adrian Legg, who not has an unbelievable technique, but also is a fantastic songwriter. In other words, he is something that she is not. ... Read more

Amazon.com

Where has Leonard Cohen been for the past nine years? The legendary songwriter's mostly been in a Zen monastery, it turns out, obsessively rewriting and polishing the oblique, lapidary lyrics for this austere collection. Ten New Songs is arguably Sharon Robinson's record as much as Cohen's--she cowrote all the songs, plays most of the instruments (primarily a synth that seems to have freshly emerged from a chintzy 1984 power ballad), and accompanies Cohen's gloomy croak with her own crooning. This is the most subdued album Cohen's ever made, which is saying something. It's as if he no longer has time for anything in music or performance that could alter the meaning and force of his words. --Douglas Wolk ... Read more

Reviews (119)

The Soul Of Leonard Cohen
I suspect if you are reading this review that you like Leonard Cohen and his type of music since he never has had a hit, and when I ask people if they know who he is I get the typical confused look. Since 1968, Cohen has been writing exceptional poetry and setting them to music. "Ten New Song" is his first studio cd since 1992's "The Future". In general, Cohen does not push the musical envelope more than he has on previous albums, but he does offer up what I think is a soulful sound. If Cohen can actually be soulful with his one note singing style. Yet, he pulls of the r&b nicely here with songs like "In My Secret Life", "That Don't Make It Junk", "Alexandra Leaving" and "Boogie Street". All ten songs are very well written, especially if you compare them to, say, Aerosmith's latest. The kind of music Cohen creates isn't for everyone, but what he makes he makes well. A good solid album, "Ten New Songs" should last us another 10 years until his next album!!

Bare-boned spirituals from the zen master of minimalism ...
Stripped down to its essentials, this album of "Ten New Songs" shows Leonard Cohen at his most austere and brilliant, with work that shines brightly as poems set to simple melodies, but which do not always succeed as music.

Overall, however, there is little not to like here. Although I loved the background vocals of Perla Batella on Cohen's earlier records, Sharon Robinson does a great job of crooning harmonies with the monotoned artist, and her production of these tunes is nothing short of magnificent. The whole thing has a rich, full, disciplined yet leisurely sound that manages to seem precise and somehow loose at the same time.

Some have criticized the instrumentation and singing on this album, but such carping really is unjustified. After all, no one listens to Bob Dylan or Townes Van Zandt for the quality of their croaking out lyrics or the tunes they play. It is the words that matter, and on "Ten New Songs" Cohen proves that he is easily in their league as a writer. And it is oddly appropriate that these tracks are very different from the almost weird optimism of "Closing Time" and "Democracy" on "The Future" when it was released in 1992. Nine years later and into the 21st century, Cohen appears to be in a more reflective mood. The change is indeed welcome. Especially under the current circumstances, with the nation now at war and in a recession, a bit of thoughtful perspective is not only instructive but a relief as well. As the man says, "May the lights in the land of plenty shine on the truth someday."

For what it's worth, I believe that the best tracks on this record are "Alexandra Leaving," "In My Secret Life," "That Don't Make It Junk," "You Have Loved Enough," and of course the tune quoted above. "Love Itself" is good, too. On the other hand, "A Thousand Kisses Deep" came across as a retread of "Waiting For A Miracle To Come," and "Boogie Street" and "By The Rivers Dark" strained for originality as they tried to capture the alternately buoyant and depressed beat in their creator's apparent heart of darkness.

Those are minor complaints, however. In general, these "Ten New Songs" were worth waiting almost a decade for, and 20 or 30 years from now, when no one can remember Britney Spears or J-Lo, this is the music that people will play as an archive of how they could find contentment and peace even in an autumn of fear. For that reason alone, you should give the new Leonard Cohen album a spin. As long as you do not expect a toe-tapping series of catchy pop tunes, there should be something here that you will enjoy. Yes, maybe it is a little too serious in places, but it also combines a cynical dry, world-weary sense of humor with a soothing tenderness that is all too rare in this strange day and age. Relax, and grok the fullness. ...

I could just cry.
After waiting all these years, Leonard finally came down from the mountain to deliver this mouse. Most of the song lyrics are just "Westernized" Zen cliches. You want to know the sound of one hand clapping---listen to this CD and you'll find out. Boring!!!!

The only song that shows his wry sense of humor is "That Don't Make It Junk."

Also, Leonard, spring for a real studio next time with real musicians. Trading hard-drives with Sharon (Oh, Sharon, beautiful Sharon...What Happened???!!!) just didn't pan out.

And please, Leonard, next time pick up the tempo.

One more road for Leonard Cohen
I would have rated this record higher but I didn't love all the cuts. Still, comparing this cd to Cohen's others, it's one of his best. OK, why the 4 stars? Well... I actually love Cohen when I like him but when I don't like him I hate him. Leonard Cohen has genius, but he lacks continuity. I've been a Cohen fan since the 60s and I know his music pretty well. Cohen seems to wander around...as a person who is driven by life and circumstances will do. Thats the key to understanding Cohen's short comings, musically speaking. Where Dylan's lyrics are clearly secondary to his music, Cohen seems to be more lyrically focused...at least his literary side overshadows his musical abilities more often than not. I use to think he was maybe the best spokesman for my age. He's really preaching at times. Then other times you can hear his musical abilities come through. Start and stop. Stop and start. Cohen just never had the run Dylan's had, because with Dylan it's about the music always. Still Cohen's out put is overall better than Charles Aznavour, but they share some of the same structual weaknesses. In Aznavour case it's the lack of good material. Two careers, that needed good management. But like I implied, Cohen is a preacher, not a business man. I wonder if Cohen lacked good collaborators? Great musicians who could make it happen? Maybe he wasn't as lucky with friends in the business as others. Whatever it is/was I think Cohen has had very few perfect records. This one is as close as he's come in a while. So..this one may do it for you, at least in places.

His best
This album is surprisingly good. If fact, its better than anything Leonard Cohen did in his so called hey-day. Strange but his voice is actulaly more appealing to me now than in the 60s when he sounded like Bob Dylan, only not as good.
The songs are different. Its not folk anymore, its much closer to RnB, but its still great. Very atmospheric and slow. All the songs are good, not one stinker in the whole album. ... Read more

Reviews (80)

Jeff Buckly - Sketches
I am 12 and have had Sketches for a about six months. My sister introduced me to Jeff Buckley's first album about a year earlier. Me, being a Jimi Hendrix, and Beatles fan, I didn't take much notice of the album. But after a while, after a long time of listening to it in the car, I relized I knew all of the songs on the album, and began listening to it over and over. Grace was an amazing album, polised to perfection, and when buying Sketches, I wasn't sure of what would come of this 2-cd set. The first cd, being my personal favourite, doesn't seem unfinished at all. Even if the sound wasn't as solid as compared to Grace, it made the music stand out more, mainly Jeff's incredible voice. I have had the CD for a while, and almost all the songs are great, 'The Sky Is A Landfill' being a powerful lyrics and heavy yet beautiful music. And of course, 'Everybody Here Wants You' is a lovely song, which definately stands out. 'Nightmares by the Sea' is pretty cool, and 'New Years Prayer' has a great haunting sound. The second CD, does have some good tracks, yet doesn't come to the same standard of the first. The majority of the songs, are home recorded, and you can hear how well he used his resources(banging on the microphone for a thumping beat) There is some weired sounds here too. The last song though, 'Satisfied Mind' is one of the albums best. It's the sort of slow, heavenly, yet bluesy, song that leaves you humming(if you can sing that well!) Sketches is a good as Grace, if not better. I was horrified to hear of Jeff Buckleys death, and I don't think that there is many young, great musical poets left who could bring out emotions like Jeff could. His death was a great loss. Recently, I heard of 'Mystery White Boy' and I have heard Jeff live in Australia on the radio. I am eager to check this out.

Words Cannot Describe Anything To Do With Jeff Buckley
I became a Jeff Buckley fan on first hearing "Grace" - an album that inspired me, changed my life, and made me complete. I had also bought "Sketches for My Sweetheart the Drunk" at the same time as "Grace", but his debut album just held me so much so that I didn't really give "Sketches..." a *real* listen until I had been truly filed by "Grace".
When making this album Jeff did not want to make a "second Grace": He had to develop, and this album shows just what a talent this man really was. Every single song on this album is on the same level as "Grace", if not higher. The songs are mature, rock-y, passionate, brave - they are songs of *emotion*. Disk One shows the songs which Jeff had made good quality recordings of, hinting that these would have made the final cut had he lived to see it. "Vancouver", "The Sky is a Landfill", "Morning Theft", "Everybody Here Wants You", and "Nightmares by the Sea" are all among my top favourite songs of all time, but to be honest, there is no one *superior* song in this collection - they are all the most beautiful, poetic and astounding pieces, I feel that have been written in at least the last twenty years. Each song helps you with different emotions - you feel and think differently during each song - they are a snippet of genius.
Disk Two is the more "sketchier" area of the CD, but this does, in no way lessen the value of the songs. "Back in NYC" really hit home to me when watching a Jeff documentary when drummer Parker Kindred says "on a bad day, the city can take your soul": this song shows Jeff knew how that felt. "Jewel Box" is perhaps the prettiest song I have ever heard in my life - and shows how poetical and sensitive Jeff could be - in stark contrast to the humourous and hot "Your Flesh is So Nice"
Truth be told, I could go over each and every one of these songs and say why it is amazing, beautiful and the work of the most gifted singer/songwriter/performer of our time, but words can't describe what you get from "Sketches..". It's that feeling of raw emotion - sadness to know he'll never be here again; the emotion of lost love, of dreaming, and any other human feeling that ahs ever existed. "Sketches for My Sweetheart the Drunk" is a mature album, and shows Jeff Buckley in his best light - the songs have changed my world forever, and if you buy this album, they will change you, too.
Jeff Buckley, is, in my opinion the most gifted songwriter/performer/singer of *all time*. If you don't believe me, listen to this album!

unfinished masterpeice
so experimental and beautiful. Disc one is much more polished than two but doesnt mean its better. the gems that stand out on both cd's for me are "everybody here wants you" and "I know we could be so happy" but just like grace a new favorite pops after each listen. he was a true musical genius and it seems like the pot of them just keeps gettin thiner. i recommend this only for those who truly appreciate the music.

This generation's 'SMILE' ...and the evil twin of 'Grace'
It is a tragic shame this album was not completed. This shows Buckley's willingness to evolve into a true artist. He finished 'Grace' with class, it was time to move on. Some of the songs on this album would fit perfectly on Radiohead's recent releases, while others could be attached to an almost endless list of random artists. The first disc is a group of studio cuts destined, most likely to never see the light of day(not these versions at least).The second disc is comprised, mostly of home recordings(after Buckley was dissatisfied with direction).This record may just be "sketches", but one day it will get the attention it deserves.

Here's what this stuff REALLY is...
Ok. I've read a lot of reviews about this cd set, and a lot of them are not really appropriate. The songs that are piled together on this cd are simply what the band memebers and Buckley's mom found after his death. None of these songs were "ready" to be on any official album by Jeff Buckley. These are unfinished works, and there's really no reason for people to think that these songs are a far cry from Grace. Do your research. This is not mainstream music that is going to grow on people like a couple songs from Grace were. This cd set is for the true fans who "get it". ... Read more

Amazon.com

Vuelta is Shindell's first new studio album since moving to Argentina in 2000. (2002's Courier was a live set recorded at venues around New York City the year prior.) The nine originals here are joined by a cover of Pete Seeger's "Waist Deep in the Big Muddy," all of which are united by a keen sense of portraiture, quiet dignity, and subtle narrative dramatics. It may well be that living abroad has sharpened his talent for telling stories set back home, in some cases through the eyes of foreigners or the disenfranchised. The emotionally compelling characters range from the taxi driver in "The Last Fare of the Day" to the little girl and her bird in "There Goes Mavis." --David Greenberger ... Read more

Amazon.com

Only in America could an album like this have come together: Eva Cassidy, a young vocalist who, had she lived, might have gone on to become her generation's favorite song interpreter, trading verses with Chuck Brown, seasoned godfather of the D.C. underground funk movement known as go-go. By the time this was recorded in 1992, the go-go trend had long since peaked for Brown, while the twentysomething Cassidy was still an unknown local session vocalist. Yet, on this set of standards, the two collaborate as if they were picking up where they'd left off decades earlier, from easy-riding versions of "Let the Good Times Roll" and "Gee Baby, Ain't I Good to You" to near-definitive renditions of "Over the Rainbow" and "Dark End of the Street." And while it's easy to focus on the posthumously acclaimed Cassidy, Brown's haunting solo turn