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Dan Zanes, lead singer of the 1980s roots-rock band the Del Fuegos, didn't need to enlist the high-profile help of pals Sheryl Crow and Suzanne Vega to produce a crowd-pleasing kids' record, but he got it anyway. On Rocket Ship Beach, where traditional tunes such as "Polly Wolly Doodle" (with Crow) and "Erie Canal" (with Vega) mingle in loosey-goosey, just-for-the-fun-of-it fashion with originals such as the plucky "All My Friends Live in the Woods" (written by Bad Company buddy Simon Kirke), Zanes exhibits the same plugged-in exuberance that gave his former band its unpredictable zing. Besides the no-amateurs instrumentation, which includes Zanes on guitar, lap steel, banjo-mandolin, and studiophone, and G.E. Smith on banjo-mandolin and guitar as part of a kickin' string band that performs the classic "King Kong Kitchie," plus a cluster of others, what stands out most about this 17-track funfest is its draw-you-in friendliness. Pitching in with the pros (who also include dancehall rapper Rankin' Don--he delivers the gruff stuff on "Father Goose" and "Sunny Side of the Street") are family friends such as the gang of West Indian babysitters turned vocal group the Sandy Girls, who give it up to impressive, get-you-boogying effect on "Emmanuel Road," and a kindergarten class that contributes, adorably, to "Sidewalks of New York." All told, this is way hipper than most kids' records and it also razzle-dazzles with its packaging--Rocket Ship Beach arrives in a chunky, colorful board-book illustrated with sweet, fantasy-fueled beachside scenes by banjo player and Zanes's brother-in-law, Donald Saaf. --Tammy La Gorce ... Read more

Reviews (34)

Not Just For Kids
My wife, son, and I were given this CD as a gift. I was skeptical because I feel many new efforts geared towards kids are either too Smurfy or too preachy. I was very pleasantly surprised. This CD is now not only one of my son's favorites, it is also a favorite of his parents.

Zanes has put together a collection of songs that keep you tapping your feet the 70th time you listen to them. I stay at home with my son and this music has saved me many times when he has been too cranky to eat, or hang out by himself while I get a few things done. After a little dancing to "Polly Wally Doodle" or "Erie Canal" he is bright and cheery.

I knew many of these songs before I heard the CD - - but not all of them. And even though I knew the tunes, Zanes has produced them in fresh new ways sure to surprise even the most jaded parent.

It was fun to hear artists I had heard previously singing songs for kids. I especially like the efforts of Sheryl Crow, Suzanne Vega, and Barbara Brousal - - all of whom sing with the same clarity and spirit their fans love them for on their own CDs.

I can't recommend this CD highly enough. If you have kids you owe it to yourself to buy this and share it with them. If you don't have kids I recommend it as a charming, happy, intelligent collection of cherished songs by a group of talented musicians.

Can't say enough...
I honestly can't say enough...I recently went on a mad search for "listenable" children's music and fortunately Rocket Ship Beach was recommended. I purchased about 10 other children's CDs at the time and this one is the definite favorite! My 2 1/2 year old requests "Goodbye Old Paint" at least once a day and it hasn't even started to drive me crazy. Every track is great! I'm thankful for Dan Zanes and company daily. I bought "Family Dance" (his 2nd CD) as well, and while it's good, "Rocket Ship Beach" gets more air time. I would buy them both, but if you need a place to start go with "Rocket Ship Beach".

Baby Music you can Actually enjoy
My husband and I listen to different children's cd's in the car with our children almost every day, and in the kitchen while making dinner. This one beats them all as we all enjoy the laid back feel it brings to us, the folksy rhythm, the swanky voices. A must for parents who are tired of singing their ABC's.

Kids and Adults will enjoy this music
My husband recently purchased this for our 17 month old daughter. It is music that we both enjoy. We catch her in the back seat bobbing her head to the beat of the music and 'chair dancing' in her car seat. This is a wonderful collection of children's music that adults can enjoy as well. It is not the same old boring nursery songs or the classical music that is more appropriate for wind down time. This music is great for the car or during play time. A must for parents. I wish we would have known about it sooner. Now all my friends are getting it for gifts.

I just love this guy...
We just took our little guy to see him, and he met everybody after the show...He had a toddler mosh pit. It was awesome. And this album is great. ... Read more

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Eva Cassidy fans surely feel something akin to relief when another cache of tapes is opened for release. The singer's 1996 death at the age of 33, after all, rendered her output finite in the saddest and most frustrating way. American Tune's modus operandi is similar to previous Cassidy CDs in its mix of standard repertoire (here, everything from "Yesterday" to "God Bless the Child" and Ray Charles's "Hallelujah I Love [Him] So" rubs shoulders) and fine, less obvious choices (Joe Simon's early-'70s soul hit "Drowning in the Sea of Love"). The sometimes pedestrian backing does little to spoil the pleasure of Cassidy's pure tone and the surprises she's able to wring from the material--on the Charles tune, she even suggests a distaff Lyle Lovett. She'd no doubt be pleased to know that tracks uncovered at this point now sound like, well, notes from a missed, much-loved friend. --Rickey Wright ... Read more

Reviews (47)

Brilliant, but not the masterpiece of "Live at Blues Alley"
New music from the Eva estate. This album will be a huge seller, and may outdo "Songbird". I will say this though, nothing to date surpasses "Live At Blues Alley" (the true Eva CD). Nevertheless, this is still a fantastic album.

"American Tune" is a collection of 10 songs featuring covers of some very humble tracks including Cyndi Lauper's "True Colours" and The Beatles "Yesterday". The title track of course being a Paul Simon cover..

Included on this album is another version of "God Bless the Child" which she did as a duet on her album with Chuck Brown titled "The Other Side".

The highlights on the album are "The Water is Wide" and "You Take me Breath Away" - so beautiful they will bring tears to your eyes.

This may be the last of Eva's recordings, so grab yourself a copy and disappear for awhile.

Eva's amazing voice overcomes all limitations
According to the liner notes, these tracks are from rehearsal tapes and live recordings, yet Eva's remarkable singing is at the same high level as on many of her other excellent recordings. Her voice soars as she sings such familiar songs as "True Colors" and "Yesterday." Her soulful version of "The Water Is Wide" may be the best-sung I've heard heard, possibly only 2nd to James Taylor's. It's all about Eva's vocals, as the backing band is merely adequate, often sounding like a pick-up band at some club. (If you disagree with me, listen to the uninspired support for Eva on "Hallelujah I Love Him So.") Of course some of that is to be expected with the raw nature of the recordings.

One suggestion I have for the Cassidy Clan is to hire an actual professional artist or art company to do the CD covers. The cover for this new CD is yet another amateurish work like something you or I could do with publishing software at home. It's "pick a photo, pick a font, you've got the cover!" The weak CD covers do Eva a disservice.

Eva and Genie make great chill out music - American Tune
I got this CD at the same time as some other Eva and the Wildflowers love songs by Genie. They were recommended together and what a great recommendation - they are both great in their own ways. I splurged but it was way worth it!

The Wildflowers Love Songs CD by Genie is slower and more peaceful. It's like the softer parts of Molly and Yesterday, before Eva gets loud.

I use the Genie Wildflowers CD for resting and dreaming, and I use Eva for a little variety when i've played Genie's about a million times. It's all good. Great music is great music - nothing else in the world can make me feel so good.

Such a beautiful voice...
Her interpretations of these songs highlight her gorgeous pitch perfect singing voice. Get this record. Get all of her records.

Eva is a must
With soulful phrasing, and a haunting voice, Eva is one of the best american singers to date. True, however, she is unknown to many, Eva Cassidy is one singer no one should be without. She is to vocal music as Monet was to paint. Her coupling of notes is much like that of an the painter, coungering up images and thoughts, leaving even the most burdened heart left with an uplifting embrace. She was one of a kind, and will serverly and sadly be missed. ... Read more

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Imagine songs in the populist, topical tradition of Woody Guthrie and Pete Seeger set to the soundscapes of Moby-style electronica. Not all of Ellis Paul's first album in three years offers such an aural adventure, but the opening track, "Blacktop Train," combines propulsive syncopation, synthesized punctuation, and an ethereal female vocal that take the music far from folk convention, while "Kiss the Sun (A Song for Pat Tillman)" sets acoustic guitar to a digital pulse. In the centerpiece that passes for a title track, the veteran New England troubadour asks for a jukebox instead of a headstone on his grave, evoking a litany of inspirations that extend from Hank Williams and George Jones to Marvin Gaye and Joni Mitchell. Though Paul's reedy vocal remains relentlessly earnest, and his lyrics can get a little precious ("Time is a bird that can't be caged"; "I want to paint your world like Marc Chagall"), the inventive arrangements and buoyant melodies help lighten the artistic load. --Don McLeese ... Read more

Reviews (2)

Imagination and skill results in a polished & fanciful album
Playing Time - 55:06 -- From the stock of Maine potato farmers, Ellis Paul moved to Boston, studied music, connected with the roots of the folk genre, then proceeded to develop a signature singer/songwriter sound that now incorporates pop, rock and contemporary sensibilities. Ellis Paul's wise perceptiveness and charisma have built him a strong fan base. He's also a hardworking, resilient touring artist who has garnered numerous awards for ten album releases andmusic, some of which has been featured in soundtracks for the films, Shallow Hal and Me, Myself, & Irene.

"American Jukebox Fables" is Ellis' first solo CD since 2002's "The Speed of Trees." I immediately noticed that his voice has much character, and his songs understand the bond between land, life, heart and soul. The CD begins on an up-tempo note, but Ellis can also create an intimate and familiar feeling with songs like "Time" and "Goodbye Hollywood." Keyboards and percussion provide the primary instrumental excitement that serve to increase the emotional impact of his material. I did feel, however, that some selections could have included more vocal harmony. Produced in Boston by Flynn (see flynnmusic.com), "American Jukebox Fables" also had the able support of Rachael Davis.

Ellis possesses all the fundamental elements for success as a singer/songwriter.His messages are profound, and they make us think. "Bad, Bad Blood" is a hard-hitting tale about a life of being addicted to money and love. "Home" is a lover's tribute with Ellis singing "this house is just an address, you're my home.""Jukebox on my Grave" leaves us with his simple wish to mark the music man's ultimate resting place. His jukebox songs also reference some of his influences - Bob Dylan, Joni Mitchell, Marvin Gaye, Johnny Cash, George Jones, Rolling Stones, Hank Williams, Buddy Holly, and others. It takes a lot of imagination and skill to be both polished and fanciful all in one. Ellis Paul shows us how to do it in a distinctive, erudite and masterful fashion. (Joe Ross)

"folk storytelling and compelling lyrics ~ Ellis Paul"
Philo and Rounder Records present the latest contemporary folk album "American Jukebox Fables", featuring Boston's own Ellis Paul on Guild D-100 high string and a Santa Cruz 6 string acoustic...along with Ellis we have Flynn who brought up the rear on everything under the sun, plus Rachael Davis vocals on background and various parts and Keith Reid sitting in on a strident piano on two tracks.

All songs composed by Ellis Paul and in alphabetical order:

ALICE'S CHAMPAGNE PALACE
BAD, BAD BLOOD
BLACKTOP TRAIN
CLARITY
GOODBYE HOLLYWOOD
HOME
JUKEBOX ON MY GRAVE
KISS THE SUN (A SONG FOR PAT TILLMAN)
MARC CHACALL
MYSTIFIED
SHE WAS
TAKE ALL THE SKY YOU NEED
TIME

Paul's stories told through his lyrics are sometimes overpowering...his signature is folk with blends of rock arrangements...creative settings utilize both his way with acoustic and background sentimentality...entire album is amazing, instantly grabs you...very beautiful and haunting can't get enough of "JUKEBOX ON MY GRAVE", with lyrics like "my friends when they drop by can drop a quarter down, as flood of memories come wave by wave"...and the rest is "you can hear Hank Williams, George Jones, Beatles song, Dylan, Rolling Stones, Joni Mitchell, Marvin Gaye and Johnny Cash singing "Ring of Fire" upon my grave", the point is well taken, fits the times and events that have gone on decades before.

Many highlights on this album, but listen to "ALICE'S CHAMPAGNE PALACE", "I guess sometimes you gotta go to the end of the earth just to turn yourself around"...Ellis poetry is brilliant as you become completely engulfed in his melodies with heartfelt lyrics...open the jewel case, put on the CD and sit back in your car or at home, forget about what else is happening around you...just relax you can feel the music and are transported into another world...just the way it should be!

Total Time: 55:00 on 13 Tracks ~ Philo/Pgd 711246 ~ (4/05/2005) ... Read more

Amazon.com essential recording

For decades, Leo Kottke would inspire generations of fingerpicking acoustic guitarists (and help pave the way for New Age and contemporary instrumental music), but this 1969 album is the one that started it all. Kottke's brilliant debut was released, fittingly, on John Fahey's Takoma label. Showing the influence of Fahey himself (and Takoma labelmate Robbie Basho), Kottke performs impossibly difficult solo compositions that meld blues, bluegrass, and jazz techniques. Whether surefooted and quick ("The Driving of the Year Nail," "Jack Fig," "The Fisherman") or slow and reflective ("Ojo," "Jesu, Joy of Man's Desiring"), Kottke's instrumental work is simply awe-inspiring. He'd forge an entire career out of this music and eventually incorporate singing onto his albums, but this gem is Kottke at his very best. Essential. --Jason Verlinde ... Read more

Reviews (38)

The seminal steel-string guitar album
I have no wish to duplicate my fellow Kottke admirers' reviews of this particular album, only to lend my own impressions of it. I was a young lad, jamming my foot into the door of the local 'underground' FM station in 1970; the station was getting all kinds of albums that year; it was a very busy time in pop music. I recall one of the DJs reading part of the liner notes out loud, and laughung; Kottke's first 12-string, a 'Mexican cheapie with a nail behind the 12th fret', and of course, the legendary, infamous, iconic remark about Kottke's voice resembling fowl flatulence on a muggy day. Then we listened to the album...and listened...and heard. My jaw dropped, literally; for years, "Busted Bicycle" was one of my favorite tunes from any genre, instrument, artist, etc., etc. I had never heard anything like this; nor had most of us. The sound of Kottke's finger-picks (he used them on that album) hammering the steel strings; his seemingly impossible skill with his fret hand; the slide work, especially on "Vaseline Machine Gun", and "Watermelon", where, when he slams that slide onto the strings, it sounds as if someone just dumped a box of clocksprings onto some taut metal cables...well, you get the audio image, I hope. There aren't any new adjectives to describe Kottke's talent, skill, and elegance; and I am even stealing this from some other reviewer: there are two levels in the world of finger-picking steel-string guitar: Leo Kottke...and everyone else. '6- and 12-String Guitar', though early in his recording career, remains a best-seller and even today ranks amongs his best efforts. You sit there listening, stunned, and wonder 'How the hell can he DO that'? Never mind how; just enjoy!

Really good, but really rough
This is Leo Kottke's first album on a major label, and it sounds like it too. Kottke, not yet in his mid 20's at the time, recorded this album in a single eight-hour work day. The tone of 6 & 12 String Guitar is of a young gun who is playing way fast because either 1) he's young and hasn't quite matured as a musician, or 2) he can only afford so-much studio time.

Acoustic hyperactivity: Kottke plays a little too fast and too rough for his own good. Not much attention is paid to the way he produces his notes, particularly from his right-hand technique. Sometimes his 12 string borders on going out of tune. And the slide work yields lots of bumps and clunks that got too close to the microphone. You may have to lower the treble on your EQ to minimize the excessive noises.

But 6 & 12 String is a keeper because of the songs contained. They are all fairly naive and instinctual, but that's half of what makes the CD so special to begin with. Watermelon has been a favorite of mine and Vaseline Machine Gun always manages to make its way onto his numerous best-of collections.

But to appreciate a song like Ojo, you really need to hear it re-recorded for his 1988 Private Music album Regards from Chuck Pink. Over the years, Kottke's playing has matured vastly. His right hand technique has toned down his approach. He now releases his notes with much more grace and his slide technique is nearly perfect.

And after hearing all that Kottke has done recently, you may find yourself going back to 6 & 12 String Guitar and saying "yikes!"

One of the greatest guitar albums of the 20th Century
If Robert Johnson indeed sold his very soul to the devil, then the devil surely thrust part of his soul right back into the lap of young Leo Kottke in 1969. Vaseline Machine Gun amazed radio listeners when it first eminated from progressive, underground FM rock stations. I still vividly recall the first time I heard it on Detroit's legendary WABX in 1969. Yes, this album is naive and sloppy compared to Kottke's more technical offerings from the last 25 years. But, "6 and 12 String" will always remain as 37 minutes of some of the most shocking wildman fretwork, righthand thumbing and base slamming we will ever hear in our lives. It's one of the most exciting and importaint acoustic guitar albums of the 20th century.

Groundbreaking.
The dexterity, fretboard mastery, and overall ability demonstrated by Leo Kottke on this album is stunning. I've spent much of my time trying to obtain the greatest guitar album ever. It took a while, but I may have found it here. Lord only knows how many guitarists, electric and acoustic alike, have been influenced by this man.

Mindblowing
Leo Kottke (who would seem to have nothing in common with New Age music, despite claims by the editorical review. Right now might be a good time to go into a discussion of the term "New Age. What exactly does "New Age" mean, anyway? The name itself implies a breaking away from past tendencies, a new establishment of structural and technical paradigms, and a presumption that this new philosophy will last for an extensive period of time -- hence the word "Age." However, upon investigation of what is normally classified as "New Age" in the popular sphere -- most notably Yanni and John Tesh -- all we find is very streamlined, dumbed-down, anti-intellectual background music with baroque tendencies. There is nothing revolutionary about this music; if anything, it is reactionary. It is certainly not difficult to digest - the tonal language is as palatable as it gets. In academic and classical music circles, there is another type of music that has been labeled "New Age." This type of music is more difficult to define, and stylistically it lies somewhere between Gorecki-style minimalism and neo-spectralism. A strange amalgamation, to say the least, but at least this version of "New Age" offers listeners something arguably new, giving some legitimacy to its moniker. However, academic "New Age," like its popular counterpart, also suffers from being nothing more than a passing fad, giving it little right to call itself something as lofty as an "Age." "New Temporarily en Vogue Idiom" might be more appropriate. Forgiving the imporoper use of the lexicon, "New Age" does not adequately classify Kottke's music - at least not on this record [I must confess I've heard little else of his music]. Kottke's music is made dense with unusual counterpuntal lines, which are particularly difficult on the guitar, which usually lends itself to single-line melody with accompaniment, simple harmony, or just "block" chords. Kottke's style demonstrates both techinical wizardy as well as musical taste. But the quality that makes the record a true classic is Kottke's ability to constantly employ his sense of humor while tickling your heart with his playful and touching music.) is great. ... Read more

Reviews (15)

Folk at its most pristine
These sixteen tracks encompass all of Judy Collins' most popular and familiar songs and make for delightful listening. There are covers of songs by The Byrds (Turn! Turn! Turn!), Leonard Cohen (Suzanne), Dylan (Just Like Tom Thumb's Blues) and Joni Mitchell (Both Sides Now) and Judy transforms them all with her beautiful voice. It's hard to pick favourites, but I love her version of Who Knows Where The Time Goes and Send In The Clowns more than any other versions. This graceful album concludes with her stunning a cappella rendition of Amazing Grace, a song that amazingly made the UK Top 20 in 1971. Once you've heard these songs, you'll want to investigate further and you won't be disappointed since Collins had a prolific output, all of which is good, most of which is great.

Strong set of singer's standard hits...
I was a Judy fan from her debut, but really got into her work with her third LP. I stayed involved until about 1975, when she left my favorite folk/protest stuff behind. Since then, she has been a bit artsy for my taste, with her voice going higher and higher, her notes lasting longer, the songs seeming slower and slower. But this collection goes from that beloved "Judy Collins #3" through 1975's "Judith." I saw Judy in concert three times in the '60's, and each time she did fewer bold folk songs and more and more "literary ballads." This collection has some of both forms on it, and it is very listenable. Her strengths are as well-showcased as her (to me) weaknesses are. Even the songs and performances I don't personally love are well-crafted. For one disc, covering her 12 years of highest fame, this one is a good job. My favorites on here are "So Early, Early in the Spring" and "Suzanne" and "Both Sides Now" and "Someday Soon" and "Chelsea Morning" and "Farewell to Tarwathie" and "Cook With Honey." But I cannot argue against the other songs I like a little less.They are still fine. I would have liked "Hey Nelly Nelly" and "Come Away Melinda" and "Simple Gifts" added on, and there is probably just enough room. But the hour-plus this gives you is a good value.

ruby throated sparrow
Judy Collins is the conservative's Joni Mitchell. She arrived on the music scene a bit early to be fully indoctrinated into the countercultural movement, cutting her first recordings with Electra Records in 1961. Blessed with a golden voice, she represented a key voice in the mainstream of traditional folk music from the mid-1960's into the mid-1970's.

Sweet Judy had a string of hits from 1968 through 1979, but none charted better than her remake of Mitchell's 'Both Sides Now', which rose to number eight nationally. She tapped Mitchell's songwriting talents a second time in the following year, bringing 'Chelsea Morning' to number 78. The hits continued with 1970's 'Amazing Grace' (#15), 1971's 'Open the Door' (#90), 1973's 'Cook With Honey (#32), 'Send In the Clowns' which charted in both 1975 (#36) and 1977 (#19), and finally in 1979 'Hard Time For Lovers' reached number 66. All seven songs, and 9 others comprise this somewhat limited compilation.

While Collins is best known for her signature vocal gifts, and is often pegged as a cover artist, this collection does demonstrate her capacity as a composer as well. Several fine songs from the disc, 'Since You've Asked', 'Albatross', 'My Father' and 'Open the Door' are all Collins compositions. But certainly her greatest success has involved covering the work of reknown composers such as Bob Dylan ('Just Like Tom Thumb's Blues'), Leonard Cohen ('Suzanne'), Ian Tyson ('Someday Soon'), Stephen Sondheim ('Send In the Clowns'), and Pete Seeger ('Turn! Turn! Turn!', which features Byrd Roger McGuinn lending his trademark 12-string guitar to Collins' rendition).

Collin's special talents have brought other reknown artists into the studio as well. Most notable is Stephen Stills, who was so deeply involved in a personal relationship with Collins that he penned perhaps his greatest work 'Suite: Judy Blue Eyes' for her, contributed lead and bass guitar work for her 'Who Knows Where the Time Goes' album. Three tracks from that disc, which also features Derek and the Dominos drummer Jim Gordon, are offered on this disc.

While Collins work is exemplary, and certainly difficult to be critical of, I find myself still preferring the original artists renditions of the tracks she is covering here, and of her own original recordings I find a lack of boldness in the mix. While there is a place for light and soft, it needs to be reinforced with some dark and tough. When 'Who Knows Where the Time Goes' is as rugged as you get, you better be in the mood for some smooth sailing.

Truth in Advertising
This really is truth in advertising; few Best Of albums necessarily are, and I have always preferred actual albums, but this particular "Best Of" plays like a real album. I suppose I date myself, because I remember when you couldn't delete tracks from a playlist, or rearrange the songs, and I still have a taste for playing albums straight through, which I do with this one. I even have two copies of it, so I can keep one in the car, and one in the house.

That said, I'll admit I would probably listen to Judy Collins sing "Close to You" or "The Best of the Brady Bunch." She has of one those rarely beautiful voices that is a national treasure. I hope she will take her vitamins, button up her coat in the winter, and avoid driving in the rain, to make sure she is around for a long time to come.

One thing I will say for CD players is that I can loop this album to play over and over, and the grooves don't wear deep so that I have to replace it from time to time, which would be the case if I had this on vinyl.

I'd recommend this to any Judy Collins fan, but especially to people who don't know her music well, and need to be acquainted with her. Which is everyone.

Lived my life by it
Thank you Judy Collins for recording this song. I have lived most of my life humming this song by you. I plan to have it played at my funeral(100 years from now)as everyone who knows me knows how much I have always loved it. My Son, Brett, who was killed seven years ago, bought me everything that pertained to your song. To me you are the only-one who can really sing it. Thank you. ... Read more

Amazon.com essential recording

Despite denied claims that it's about marijuana, "Puff the Magic Dragon" now ranks as one of the finest children's songs in musical history. It's sung around campfires and in nursery schools to this very day (while still occasionally taking a tug at adults' heartstrings as well). So, it only made sense when Peter, Paul & Mary released this "kiddies" LP in 1969, beginning a trend they've returned to throughout their career. Mary Travers had indeed recently become a "mommy," and the trio celebrate here not only with a new version of their classic tune and the traditional "Mockingbird," but clever children's songs from the likes of Tom Paxton, Gilbert & Sullivan, and Shel Silverstein. --Bill Holdship ... Read more

Reviews (23)

A magnificent children¿s album
This is everything that a children's album should be. It has songs with obvious appeal to children, but sung in the normal style of the singers, so adults can also enjoy it.

Recorded as a result of their success with Puff the magic dragon, the last track here, it also includes another of their classic songs, Day is done, as well as covers of two great Tom Paxton songs, The marvellous toy and Going to the zoo.

Boa constrictor is a silly song that only Shel Silverstein could have written. I first heard it on Johnny Cash's less than serious album, Everybody loves a nut. Mockingbird has been well covered down the years and is ideal for this album. I didn't recognise It's raining from the title but as soon as I heard it's pouring, the old man is snoring, I remembered it.

Fans of Peter Paul and Mary's other music need have no fears about this album. If you enjoy Puff the magic dragon, you will enjoy the rest of this album.

Classic Children's Songs for Each New Generation
I've been singing for children since I was a teenager in the late 1960s, when I began entertaining my nieces and nephews at family gatherings. Many of the songs on this album became a standard part of my repertoire, not only with the family, but as I eventually became a music teacher and also in my involvement in many camps, and now as a school librarian. At the drop of a hat you can still get me to pull out my guitar and sing "The Marvleous Toy," "Goin' to the Zoo," "The Boa Constrictor" and my favorite, "Puff, the Magic Dragon." (Incidentally, most people don't know that "Puff," was inspired by "Custard the Dragon," a silly poem for kids written by Ogden Nash. It was written years before Peter Yarrow knew what marijuana was. I often introduce the poem before singing the song in my library.)

This album captures the intimacy and simplicity of folk music at its best. It sounds as good today as the day it was recorded. Some recordings are timeless, and this is one of them.

Let's pass these great songs on to yet another generation. My nieces and nephews already have!

This is so great!
I hadn't thought about this album in over 30 years. My mom had the 8-track (yellow) when I was little and I loved it. I recently bought it for my 6 month old daughter, (so happy to find it on CD) and every word to every song came back to me as if I had heard it yesterday! I just love it and so does she.
Just like they sing it The Marvelous Toy, "She loves it just like me..."
Buy it for every child you love!

An essential for anybody
I remember when I was little and all I had was my little red tape player that I would play this tape over and over again. I eventually lost or broke it, I can't remember which, but it was always my favorite PP&M recording. I just ordered the CD because as I have become more acquainted with the world of music, I just keep ending up back here.

My favorite track is "I Have a Song to Sing, O!" For those of you who don't know, the song is actually an old Gilbert and Sullivan pattersong from "The Yeoman of the Guard".

Everyone should have a copy of this album.

timeless
I've enjoyed this albumn since I was young; sharing it with younger brothers & sisters, my own children, & now grandchildren. The songs are timeless, and the memories are priceless. My oldest grandchild is a boy of 14, and the youngest girl is 5 months. The songs are something that we all share together regardless of age. I recommend this albumn for any family, young or old. I've hunted down & bought several copies over the decades. I want each of my children to be able to share this with their own children and build their own treasury of memories. ... Read more

Reviews (32)

Just a stone throw from infinity
Trying to explain Jane Siberry is like lecturing a sixth grader in calculus: it's futile. Lyrically, there are three persons in each of Jane's songs. There's the narrator (Jane), the subject (Jane) and the narrator's thoughts (Jane). And just how does this perplexing triple Jane point-of-view work? I don't have the faintest idea, but somehow it does.

The music of 'When I Was A Boy' is light years beyond standard pop stuff. This is a synthesized sea of sound, space and heartache. Also, as if Jane's work wasn't weird enough in its own right, she enlists the godfather of avant garde (Brain Eno) to assist with production. 'Calling All Angels,' 'Love Is Everything,' 'Sweet Incarnadine,' 'The Gospel According To Darkness' and the final 'Love Is Everything (Reprise)' are bittersweet melodic voyages on the ship of love and loss. 'Sweet Incarnadine' gets as perilously close to Heaven as any mortal should attempt.

Unfortunately, all of 'When I Was A Boy' is not so enchanting. 'All The Candles In The World,' 'An Angel Stepped Down' and 'The Vigil' exceed the prudent limits of experimentation. The compositions do not have a melody or rhythm strong enough to carry them forward. Ambiguous and incoherent.

'When I Was A Boy' is a bold musical undertaking. When it succeeds (and it usually does) it will transport you to a place which is just a stone throw from infinity.

Extraordinarily difficult, but impressive.
This record has always captivated me since I bought in in 1996 even though it is an extraordinarily difficult listen for anyone, especially in a country like Australia, where its autumnal tone is so antithetical to a culture obsessed with the beach and ridiculously hot weather.
However, Siberry is a highly expressive singer and this album was positively beautiful and lushly expressive. Her lyrics, in contrast to the worldy themes of previous albums, were focused on spirituality and coping with darkness. Indeed, occasionally ("All The Candles In The World") the lyrics are almost religious, yet Siberry shows she can rival Kate Bush as "The Sophia of popular music", especially on "Temple", "The Gospel According To Darkness" and the k.d. lang duet "Calling All Angels", all of which stand out as beautifully moving pieces after many listens, aided by the melodic viola and cello fighures that complement Siberry's songs to great effect.
The standout songs were the opener "Temple" on which Siberry expressed with wonderful internsity the pain of unrequitted love, "The Gospel According To Darkness" a beautiful and lush anthem about not finding love, the danceable "All The Candles In The World" and "An Angel Stepped Down", and "Sail Across The Water" a highly melodic tune about loss of wisdom of remarkable beauty. On these songs, Siberry sung with a beauty approaching that of Karen Peris, yet at times her voice had the depth of a gospel choir. Despite her intense spiritual focus, she did not give up her ability to depict the everyday observations of nature that she had concentrated on during the 1980s, as shown on "At The Beginning of Time".
However, many of the longer songs are just so difficult to get into that even years of listening does not permit them to be easily appreciated. The album also contains an unnecessary mix of the underproduced "Love Is Everything", which certainly needed more atmosphere for Siberry's voice to function at its best.
This is a fine companion for a fan of Kate Bush or Karen Peris, despite the fact that it takes almost n listens to appreciate.

Deeply Sensuous
This music is at times almost cunningly dissonant and yet it builds into an almost sensual invocation in "Temple."

"Calling All Angels" is far more likeable than the first selection and you feel drawn into listening to the rest of the songs because this sound is rather original in some regards.

"Love is Everything" gets a bit introspective.

"Sail Across the Water" is more an explanation of love that takes a while to take off and then is actually quite beautiful. A conversation with love and about love.

"All the Candles in the World" is probably one of the most unique songs I've ever heard. This is music that is going to a place that is ancient and modern all at once. Most confusing. LOL First I'm drawn into the sensuousness of the rhythm and then seduced by the angelic voices drifting off into eternity. Is there an escape? I fear not...I continue listening.

"Sweet Incarnadine" - almost like a hymn mixed with a wedding song.

"The Gospel According to Darkness" deals with security issues and being worthy to be loved.

"An Angel Stepped Down" is rather funky in comparison to the rest of the songs. Be prepared to be jolted into a entirely new world of sound. Voices and sounds mingle in a pause and take off fashion. This song can't decide whether it should stop or start or finish.

"The Vigil" More poetic thoughts in a song that will help you develop patience waiting for each word.

"10 Bells" is Exactly that. Finally, I understand this music.

"At the Beginning of Time" is an imaginary wandering of thoughts about what it was like before the world was created. This was actually a bit comical at times.

Difficult to listen to at times because the pace changes in not so subtle ways. More of a conversation set to sound because Jane Siberry almost seems to set her own rules. This can at times create subtle beauty or ethereal and delicate.

A thing of beauty -- Siberry's best
On When I was a Boy, Jane Siberry crafts some of the best music of her career -- with a little help from her friends.

Among the high-profile talent that appears on Siberry's sixth CD are veteran producer Brian Eno (U2, Talking Heads), and fellow Canadians k.d. lang and Holly Cole. The ensuing CD is nowhere near the stylistic mismatch that one might expect. Maybe that's because Siberry's music and poetry are so strong that no amount of outside talent can upstage them.

From the disc's opening "Gimme" on "Temple", Siberry's lyrics impart previously unrevealed assertiveness and sensuality (just listen to "Waitress" on her second CD "No Borders Here" for a stark comparison). Siberry who, on her earlier records, mourned lost love and loneliness is succeeded by one who dumps her lover on "Love is Everything" because she "can't wait 'til you make the whole kingdom come."

The sensual (and sexual) imagery continues over the expanse of the CD. On "An Angel Stepped Down", Siberry urges, "Come on baby come on give me" and the aggressive vocal on "Temple" implores, "Come on come on/Let me into your temple." Is it getting hot in here?

As always, Siberry's music is a thing of beauty, especially in the moving "Love is Everything", the CD's first single. Her high and broken-hearted vocal floats above the sparse instrumentation and it's nothing less than magic.

Overall, there isn't one misstep on When I Was a Boy. The songwriting, musicianship, and production make it a CD that is well worth owning, and one that seems to get better with each listen.

Jane at her best.
Jane Siberry really hit her stride with this album. Even better than "Bound by the Beauty" in my book. She should have released "Temple" as the first single though. Beautiful melodies and poignant words make for a first rate experience. ... Read more

Reviews (26)

Classic 1978 Record That Makes Me Think of Summer :)
I think it's because of Gerry's deep, silky-smooth vocals and the uptempo music that makes me think of summer days when I was a kid. Of course, everybody who grew up through that time knows "Baker Street" (which was one of the few non-Bee Gee's songs to go #1 that year-- and it held that top spot for about 6 weeks!). Although it IS a 1978 classic, there are other reasons to own this great album on CD. There's the pretty (but not mushy) love song "Right Down The Line" and my favorite track, the wonderful "Home and Dry." What a great, inspiring, upbeat track that just makes you feel good all over!! Gerry Rafferty made me a fan for life with it. :) Overall, this is a VERY good CD which is well worth picking up and reliving "the good old days." :)

One of the best albums of the 70's (maybe of all time?)
"City to City" is a great collection of Gerry Rafferty's most compelling songs. Everyone is familiar with the mega-hit "Baker Street", but this CD is so much more than that, "Stealin' Time" is a terrific ballad that really shows off Gerry's voice, and "The Ark", "Right Down the Line", and "Mattie's Rag" are great songs in their own right. I have this CD on my "Must have if stranded on a desert Island" list, and have had it there for at least twenty years. The songs on this CD don't get old, they age like fine wine. As you can no doubt tell, I highly recommend this CD to anyone who truly enjoys listening to great music.

Top 20 '70s Album
Of all the immortal albums in rock 'n roll history, this one just HAD to be recorded in the 70s, the most confused decade in the genre's history. For an era that was pumping out acts like Alice Cooper and The Clash alongside a seemingly endless barrage of disco trash and some of the most mawkishly produced pop music ever to soil the ears of man, calling it "confused" is an act of extreme courtesy. Yet this seems precisely the thing that designates "City To City" a masterpiece. Despite the album's love affair with the flowery, post-psychedelia production that turned pop music into a pageant of circus cast-offs by 1978, the strength of Rafferty's songwriting stands firm. The album's most amazing moments come at times when Rafferty seems to have sent his producer out on another take-out run for the band. Good clean tracks like the stirringly intimate "Whatever's Written in Your Heart" and the flawlessly composed "Right Down The Line" attest to the power Rafferty can command when left to his own devices, while the hysterical onslaught of bells, cymbals and keyboards that usher in "Baker Street," Rafferty's most famous single, sound like the start of some 25-year-old Perillo Tours ad. Yet the songs themselves endure: Baker Street soon clears the clutter and slides effortlessly into a gorgeous ballad with that unmistakable sax riff cutting a backbone through the song, rivaled only by Rafferty's stinging guitar work. "The Ark," a beautifully understated ballad brought to fruition by a particularly moving vocal performance, is as successful an opening track as there has ever been. Only the title track and the album's last two songs seem incapable of overcoming the desperate production that threatens to derail the album throughout but, thankfully, never manages to do so. It is this tension between indulgence and tact that makes for one incredible listening experience. That Rafferty essentially abandoned his talents soon after is just as tragic as "City To City" is miraculous.

Forget the "classic oldie" label, this is just plain classic
Like a lot of the reviewers, I first heard this album when it came out and of course, the magical, mythic megahit, "Baker Street," was what prompted me to buy the album.

After opening with "The Ark," followed by "Baker Street" and "Right Down the Line," the rest of the song lineup -- which has the tunes placed in perfect sequence, by the way -- is great all the way through.

Everyone who loves the album has their own memories and mine began with the anthemic sax intro of "Baker Street" as I drove through southern Idaho on my way to Colorado on a blistering hot day in 1978. The Idaho AM radio stations must've played that song every hour as I drove along I-80N as it was known then.

The lyrics resonated with me then and still do to this day. I always like to play it when I'm driving on remote, lonely roads in the West -- I always get that old vibe time after time. In fact, I never get tired of hearing "Baker Street," or the rest of the tunes on the album -- which is a pretty rare thing, considering that I've listened to consistently for 26 years!

Why Gerry Rafferty didn't become a superstar is kind of a mystery to me, but this album will always stand out as one of the very best rock albums recorded. A desert island disc for sure.

Five stars plus.

An absolute classic
I remember splashing around in the pool as a kid in the summer with the sun beating down and hearing "Baker Street" over the radio. There aren't many memories better than that. This record always gets played on the first sunny, warm, deep-blue-sky day of the year. ... Read more

Amazon.com essential recording

Before Joan Baez, the closest thing to a white female folksinger was Jo Stafford. Baez made her professional debut in 1959 at the Newport Folk Festival and started recording for Vanguard the next year. Her early association with Bob Dylan and performances of his songs did him no harm. The material in this CD comes from later in her career, when she had left Vanguard for A&M. Listeners who enjoy this CD will probably want to hear her earlier work. She is among the classic American voices. --Stanley Booth ... Read more

Reviews (16)

A Wonderful Collection - but.......
This selection of prime cuts contains all of Joan Baez's best works, but some of the recordings are live. Warning: these songs are just as good, but you may have a preference of studio over 'live'.

"The Night They Drove Old Dixie Down" is a live recording, but misses none of the mood or flair of the single. "Please Come To Boston" is nearly better than the original and Joan captures the tenuous love longings with her voice. "Oh Happy Day" is given the justice and respect it deserves and "Never Dreamed You'd Leave In Summer" is still heartbreaking.

"Diamonds And Rust" is the first cut and with reason. It has to be her best written song/recording to date. Faded memories, lasting longings, the broken heart; ah, Joan Baez is truly gifted.

The remaining songs are her classics from over the years. If you have any misgivings about this album, listen to some of the clips to decide if these versions are the ones you want.

AMAZING JOAN
It's amazing the degree of versatility Joan Baez has demonstrated in her long, illustrious career. She is known, of course, mainly for her political stance, and some of her music certainly speaks clearly on her convictions. However, good music is good music, and Joan has delivered more than her share over the years. Her voice is crystal clear and she possesses a phenomenal range in its use.

"Diamonds and Rust," is one of her most impressive songs, a haunting, dark, yet romantic look at love and its' repercussions. She also does an outstanding job on Janis Ian's "Jesse," Stevie Wonder's undiscovered gem, "Never Dreamed You'd Leave in Summer," and Dave Loggins' "Please Come to Boston."

"Forever Young" is a touching and beautiful offering that stands the test of time.

That's what amazing about this collection. These are good songs, and except for the two live versions of her most recognized hits ("Night They Drove Old Dixie Down" and "Amazing Grace"), this is an outstanding representation of her unique career.

Look elsewhere for these songs
I was very disappointed with this CD. Firstly the remaster is not digital. The sound is flat. Then some of the cuts are from concerts. Amazing Grace, one of her most beautiful songs, is done with audience participation. To make matters worse, she rapidly speaks the words to each verse before singing it to that the audience can participate. This breaks the mood of the song.

I really feel that I wasted my money.

ok
This album isn't great, and she always sounds the same through different songs. I do like the song she made a tribute to Janis though.

Greatest Music Ur Ever Listen To
I love this cd and I highly recommend it to anyone who loves 60-70's music.
Joan Baez is a true legend in her own time. ... Read more

Reviews (26)

Not that different from other offerings
From the opening notes of "It's Only Fear," you know exactly what you're going to get from Alexi Murdoch's debut EP, simply entitled Four Songs: simple acoustic (with some minor accompaniment) songs with oh-so-earnest lyrics of self-discovery. Exactly the kind of thing that I'm getting really burned out on--especially since I became a music reviewer and everybody that owns a guitar is releasing an album these days.

I'm sorry, but am I the only person that thinks that "Orange Sky" is getting way too overplayed on independent radio? Now, I don't mind the occasional long song (I am a fan of progressive rock, after all), but at least say something interesting or have some amazing music--either moody ambience or rocking solos. But "Orange Sky" takes over six minutes to get to its point, mostly because Murdoch continually repeats his one-line chorus over and over again--and that's not to mention how the verses all start with the same repetitious two lines. Unfortunately, in the end, all I get is out of it all is that he loves his siblings. Well, great, but he could have said that is one line in another song. An example of "show, don't tell," I guess.

"Blue Mind" is nice, especially that strumming and patting of the guitar rhythm. There is some banjo that peeks in occasionally, and Murdoch's Scottish lilt comes into play a little bit, even though I think he's trying to hide it most of the time. "Song for You" is probably the best song here. The genuineness that grates on the other tracks is delivered here with a smoothness that belies its origins. Also, the level of instrumentation increases throughout to make it more intense throughout its relatively short (for this record) running time. It's really a sweet song that I respond to emotionally.

Despite all the negativity, I do truly admire Murdoch for sticking to his guns of independence in the face of having loads of money flashed before his eyes in the form of studio record contracts. He has decided to his preferred method of distribution for Four Songs and is steadily at work on a full-length LP that, I'm sure, will satisfy everyone who loves this album so much.

Best "find" of 2003
Heard "Orange Sky" on KMTT (local Seattle Radio) and both times I heard it it stopped me in my tracks. Saw Alexi live twice and he was great. The songs are beautiful and quiet and simple. Alexi gives you time to listen and reflect on the music. It will take your breath away. I can't wait for the next songs! BUY THIS CD - you will like it.

PS: Some compare Alexi Murdoch to the late British singer-songwriter Nick Drake.

Hurry With Another CD!
This CD is just beautiful and I just can't get enough. I hope he is writing more songs even as I write this because I can barely wait for his next work. I have never written a TV show but I wrote "The Ellen DeGeneres Show." and told her she should get him on. That's how wonderful I think Alexi Murdock is.

Stick with Nick Drake
Don't waste your time with this. Yes, Murdoch bears a superficial resemblence to Nick Drake. But the mimicry rings false & hollow. Not to mention that the 4 songs in question aren't even close to the quality of Drake's leftovers.

Perfect EP
I first heard Orange Sky on the OC soundtrack and the song stopped me in my tracks. I had to have the ep and to say the least I was not let down. This is a tie for album of the year with Damien Rice's O. ... Read more

Amazon.com

Though Ray Wylie Hubbard ran with the rowdiest in progressive country through the 1970s, when he fronted the Cowboy Twinkies and wrote "(Up Against the Wall) Redneck Mother," he has since matured into one of the most reflective of Texas troubadours. Following a pair of bluesier releases, Hubbard returns to his folk roots with a collection that could pass as a Lone Star coffeehouse hootenanny. He applies his warm, weathered voice to "Drivin' Wheel" (popularized by Tom Rush), harmonizes withEliza Gilkyson on her bittersweet "The Beauty Way," and collaborates withCross Canadian Ragweed's Cody Canada on the hipster's credo "Cooler-N-Hell." A hallelujah chorus including Gilkyson, Patty Griffin, Slaid Cleaves, and Bob Schneider transforms a Woody Guthrie lyric into an a cappella spiritual ("This Morning I Am Born Again"), while the acoustic rendition of "Roll and I Tumble" evokes the rural roots of the blues standard. Though this collection spotlights Hubbard more as an interpreter than a songwriter, he revisits his outlaw days with "Dust of the Chase" and "Dallas After Midnight," trading verses with Jack Ingram on the latter. The album pulls out all the stops on the eight-minute closer "Choctaw Bingo," powered by the dual guitars of songwriter James McMurtry and producer Gurf Morlix. Its reckless spirit suggests that Hubbard hasn't totally settled down. --Don McLeese ... Read more

Reviews (5)

AFine Release From One of Texas'Holy Songwriting Trinity
Texas seems to produce an awful lot of singer-songwriter story telling types, and Ray Wylie Hubbard ranks right up there with Robert Earl Keen Jr and James McMurtry as one of the best.
I am not originally from Texas, but I have been aware of Hubbard's songwriting genius since Jerry Jeff Walker introduced him to the wider world back in the mid-70s with a cover of the riotous Redneck Mother. Since that time, I have been an occasional fan, picking up a Hubbard CD here and there as I became aware of a new release.
Delirium Tremolos is no different. A friend who is a regular buyer of Hubbard recordings alerted me to this about a month ago and told me how much he enjoyed it, so I gave it a shot.
As you might already know from the industry blurb or from other sources, this is a collection of mostly cover songs written by somewhat obscure songwriters, some of whom are unfamiliar to me. That's OK, I like to find hidden treasures, and there are a lot to discover on Delirium Tremolos.
My favorites are Eliza Gilkyson's The Beauty Way, Roger Tillison's Rock and Roll Gypsies, Gurf Morlix's Torn In Two, the Hubbard/Canada joint composition Cooler-N-Hell, and James McMurtry's epic Choctaw Bingo. That last I like specially because of its wry humor and because I know all the places mentioned in the song. Though I'd yet to hear McMurtry sing Choctaw Bingo himself, the way it is written has McMurtry all over it. To add to the listener's enjoyment, Hubbard brings in McMurtry to play guitar on this rendition.
I also like Dust of the Chase, though it took me a while to warm to the version here. The original is on Loco Gringo's Lament, and in my opinion, is the best song Hubbard has ever written!
If you are into alt-country outlaw type music, you are sure to like Delirium Tremolos whether or not you have heard Hubbard before. Give it a shot, you can't go wrong.

backroads poet
Ray Wylie Hubbard's new CD continues in the style of his previous recording, Growl, but does not merely reiterate it.Delirium Tremelos is less, er, growlier.As much groove as melody, Growl was a rough-edged evocation of the imaginary America conjured up in its traditional folk music -- though the songs were Hubbard's originals.

This time he's borrowing mostly from other writers, all good ones; nobody would question Hubbard's intelligence and taste.The sound is sweeter in many places, sometimes downright pretty (e.g., Canadian writer David Wiffen's "Drivin' Wheel," recalled by all who were there for Tom Rush's classic 1970 reading, and Woody Guthrie's declaration of spiritual independence, "This Mornin' I Am Born Again").The old-time folk-blues "Roll and I Tumble," another of the album's particularly striking moments, comes closest to the antique, anarchic spirit of Growl.

With each recording -- and with the help of Gurf Morlix's producing genius -- Hubbard moves closer to the front rank of roots-based American performers and composers.Onesenses that this veteran, evolving from a decent literary singer-songwriter to a grittier, more engaging backroads poet, is finding that dark and raggedy voice that was always inside him.

His music has a gruff side, but that is its ballsy charm
Playing Time - 45:35 -- Ray Wylie Hubbard may be best known as the composer of "Up Against the Wall, Redneck Mother," and he also wrote "Wanna Rock `n Roll," Cross Canadian Ragweed's party anthem. On his "Delirium Tremolos" album, the Texas singer/songwriter with the strong, growling baritone primarily interprets songs of Eliza Gilkyson, Roger Tillison, James McMurty, Slaid Cleaves and others. Three originals from his own pen are also offered. "Dallas After Midnight," originally recorded about 20 years ago with the Lost Gonzo Band, is a hard-hitting tale of a liquor store robbery gone wrong with all its social commentary. Jack Ingram sings with Ray Wylie on this number. Another Hubbard ballad, "Dust of the Chase" relates the story of a scripture-reading gambling man who is "lost in the dust of the chase" that his life brings. Written with Cody Canada, "Cooler-n-Hell" is straight-ahead blues that speaks to those things under heaven which are cooler-n-hell.

When choosing covers, Hubbard shows an affinity for meaningful songs that are both funny and serious. His socially conscious messages have built him plenty of fans in the alt-country crowd.Back in 70s, Hubbard and his Cowboy Twinkies band had a very short fling with Warner Brothers. Some additional albums followed during the 80s. The decade of the 90s found him cleaned up after 25 years of drugs and alcohol and with some top Americana releases such as "Eternal and Lowdown" and "Growl." At age 43, Hubbard also took his first guitar lesson, learned to fingerpick and actually began to study songwriting. On the road, he carries an inspirational book entitled "Letters to a Young Poet" by Rainier Maria Rilke.

"Delirium Tremolos" features some material which is a very good fit for Ray Wylie, chosen with the help of producer Gurf Morlix.The project opens with "The Beauty Way," written by Eliza Gilkyson and Mark Andes about Gilkyson's father, Terry, who wrote a number of big hits. Gilkyson sings with Hubbard on this cut, as well as with four others on "This Mornin' I Am Born Again" presented a cappella with only percussion.

The album closes with a personal interpretation of James McMurtry's "Choctaw Bingo," an 8-minute party trip to a family reunion in Oklahoma. The song paints impressionistic pictures of some characters like Uncle Slaton who makes moonshine and cooks crystal meth. We're gonna have us a time with Roscoe, Bob, Mae, Ruth-Anne, and Lynn. Especially the last two I reckon, as Ray Wylie sings, "And they're second cousins to me, Man I don't care I wanna get between `em, with a great big ol' hard-on, like a old bois d'arc fencepost..." Other guest singers on "Delirium Tremolos" include Jack Ingram, Patty Griffin, Kimmie Rhodes, Bob Schneider and Slaid Cleaves. Musicians include Ray Bonneville (harmonica), Rick Richards and Jon Hahn (drums), Cody Canada (electric guitar), Ian McLagan (Hammond B3 organ), and Gurf Morlix (bass, guitars, percussion, steel, mandolin).

On a personal side, Hubbard leads a more conservative life than some of the eccentric people he sings about. He's married (Judy), has a son (Lucas), attends Lucas' baseball and basketball games, and hosts a Tuesday folk and blues radio show (KNBT in Gruene, Tx.). He also plans to tour, write songs, and re-release some of his earliest work in the near future. The music has a gruff side, but that is its ballsy charm. Ray Wylie Hubbard's expressive musicality continues to build a large following, albeit not with that many audiences of mainstream country music. (Joe Ross)

Hometown Boy Made Good
Since we live in the same town, I can't say anything bad about Ray. Opening with a cover of Beauty Way, a darn fine song to begin with, but Ray gives it the road weary touch it needs, the singer who's seen too many honky tonks, the character the original seemed to lack (but the original is much better than most dreck being recorded now) and closing with another cover, the equally great Choctaw Bingo. I must say this is not as good as the live version on Live in Aught Three, but the snaky guitar is worth the price of admission. Buy it, you'll like it.

A rock and roll gypsies' masterpiece
Ray Wylie Hubbard's "Delirium Tremolos" is the best CD I've heard in a month of Sundays.The craggy old Texas singer/songwriter mostly sings songs by other people, backed up by fabulous guitar work and female singers on some tracks who counterpoint Hubbard's growl with a bit of sweetness.

I suppose you would call RWH's style alt.country.His formula is to sing songs with interesting --sometimes deep, sometimes humorous, always surprising -- lyrics, backed up by heavy duty guitar work and little quirky touches such as a harmonica or a gospel organ that breaks in now and then.Maybe he's more like Lucinda Williams than any other artist -- although Hubbard seems to me to have a broader range of interests.

"Driving Wheel" is perhaps the most melodious song on the CD with a killer steel guitar wailing in the background and Patty Griffin adding her voice to the choruses. "Dust of the Chase" features an eerie harmonica weaving in and out of the vocal."Choctaw Bingo" is eight minutes of hypnotic chanting and heavy, heavy guitar. All the other songs are equally interesting.

At first listen, this sounds like a CD that will be an all-time favorite of mine.

Smallchief ... Read more

Amazon.com

Like a stateside Sandy Denny, Eva Cassidy's voice managed to be ethereal yet soulful, haunting yet warm, and evocative enough to make you believe--at least during those moments when you're listening to it--that she's the best singer you've ever heard. The purity of the late Washington D.C. singer's voice, set against tasteful strings and her own angelic backing vocals, shines on the opening "I Know You by Heart," catches fire on "Wade in the Water," and never fades throughout this 1997 studio album. And while Cassidy's gorgeous vocals may be best served by quietly reflective tracks such as "Nightbird" and "Waly Waly," it's still fun to hear her attack "Time Is a Healer" with a melismatic fervor that could kick Whitney and Mariah's asses. If you're new to Cassidy, either this CD or the Songbird compilation would make a fine introduction to a great American artist. --Bill Forman ... Read more

Reviews (62)

The greatest female voice you will ever hear.
Barbra Streisand? No. Mahalia Jackson? Uh-uh. Joan Baez? No way. Aretha Franklin? Nope. Bessie Smith? Billie Holiday? Sorry. Ella Fitzgerald?... that's a tough one.

I humbly submit that the greatest female voice of the pop, jazz, blues, gospel, soul/R&B and/or folk genres belongs to Eva Cassidy. Her range of expression, style and tone quality are second to none and must be heard to be believed.

"How Can I Keep From Singing?" and "Wade In The Water" showcase Eva's gospel talents. Her vocal talents produce a truly astounding gospel choir in "How Can I Keep from Singing?" along with lead vocals that will send chills down your spine.

"I Know You By Heart" is as poignant a ballad as you will ever hear. "Songbird" and "Nightbird" show you the absolute clarity of tone and purity of emotion that her voice had. "Waly Waly" lifts you above the clouds and takes you away to a most ethereal world.

But her best effort on this disk, in my opinion, is "Blues In The Night". WOW! The incredible power that she shows on this track will nail you to the wall. And her styling should be the textbook definition of "blues"- alternately smoldering and shouting, wailing, bending notes, sultry and seductive- the entire range of emotions in about 4 minutes. If there is a better recording of this tune anywhere, I have not heard it and I don't think I will in my lifetime.

The bottom line here is that this is music of the highest order- technically stunning, emotionally searing, every song made hers personally so you really feel the communication between performer and listener. She achieves the highest goal of a performer- making the listener feel what she is feeling on every song. Music does not get any better than this.

The most amazing voice I've ever heard
I was visiting a friend a couple of years ago and she told me she had a copy of this woman singing "Over the Rainbow" and she wanted me to hear it. To be honest I was cynical,thinking "Oh God ANOTHER one..." but when I heard Eva's voice I really choked up - especially near the end when she hits this unexpectedly beautiful note. The dynamics of her voice, her range, and versitility is phenomenal! I have been a professional singer for 20 years,(and I am also totally obsessed with alot of different music) and if I thought I have ever moved anyone to a fraction of what Eva has I'd be happy. I immediately bought "Songbird" and later "Live at Blues Alley" and I will eventually buy all of her material. It's just so amazing and refreshing to think that even in this plastic MTV world a real, gutsy, raw, and genuine voice can touch so many so deeply even in death. I am not easily inspired but this woman has inspired me beyond belief. DEFINITELY get some Eva in your music collection!!!!

Poor recording (re-mastering)
I totally agree with R. Scott Richter, but i think it`s the recording (or better re-mastering) who makes this album sound bad, i have more albums of other singers who are RE-MASTERED and they all sounded bad in comparing with the original, this is my first album from Eva Cassidy, so i can not compare it with the original recordings.
The music though is very good, so the two stars are just for the quality of the recording (re-mastering).

absolutely wonderful
one of the few times i've known that i would love a cd from the first note was quite recently when i stumbled upon miss eva. her voice alone is reason enough to buy this record, but once the melody and lyrics hit you, you know it's one of those records that is going to blow you away everytime you hear it.

When you get the blues in the night
This is the album that many of the songs from "SONGBIRD" compilation were plucked from.

Eva Cassidy possessed one of the greatest voices in my opinion. I am proud to own all her albums including this one which features a standout track called "Blues in the Night". It is an awesome song to listen to in the car. I turn it up so loud at the traffic lights!

As many have stated, her version of Christie McVie's "songbird" is stunning - in fact, she makes it her own. The album also boasts "Wade in the Water" and "wayfaring stranger".

This album comes a close second to "Eva - Live at Blues Alley".

For all those people yet to discover Eva, you do not know what you have been missing ... ... Read more

Reviews (6)

One problem
The song brain damage seems to be a complete rip of Iggy Pop's The Passenger, which is a fantastic song.I have not heard anything else on this album and though brain damage was certainly well played, a 1 star is warranted for completely cribbing a song.When I say completely, I mean it's not even close.

A brief review
From their early days busking outside supermarkets in far north Queensland, gigging in remote pubs and mines to their recent sell out shows around the country, the Waif's career encompasses music that has been forged in the fires of long days and months on the road, crappy day jobs and an honest and admirable desire to make uncompromisingly good music at the expense of an easy living. They have paid their dues and now, it would seem are reaping their just rewards. This double live album is a synopsis of their career to date and, in contrast to it's eulogical title, gives the unacquainted a splendid insight into what has gone before and more importantly what, possibly, is yet to come.

Recorded in venues as diverse as the Athenaeum in Melbourne, the Metro in Sydney, the Belvoir Amphitheatre in Perth and Tilley's in Canberra, one could expect the sound to be a little patchy over its thirty one tracks. These fears however are quickly dispelled by the sparkling clarity of the opening track, right on through the duration of the album whole. Either because of the intimacy of some of these venues or as a testament to the bands selection process these tracks sparkle with crystal clear acoustics and a bright balanced tone. All of those Waifs mainstays are here, London Still, Lighthouse, Crazy Train and the musicianship, groove and interaction they are performed with here is nothing short of sumptuous.

There are moments of musical splendor here that, for me, rise above the others, like Vikki Simpson's jaw-dropping harp solo at the start of Crazy Train (ala Sonny Terry's "Hootin' Blues"), that even after dozens of listens, still gives me goose-bumps. Josh Cunningham's bright, twangy acoustic guitar work here is tasteful, lavish and full of that major key warmth that permeates much of these tracks.I am surprised at how he has slipped under the radar for so long as he is simply, an astonishingly accomplished guitarist. This is evident on some extremely elegant solos in songs like "Lies", "Brain Damage" and a rollicking version of Dylan's "Don't think twice it's alright".

There is none of the twee `audience participation' moments one would expect from a double live album, rather there is a superb and witty dialogue, not only between the audience and band but between the band members themselves. Listen to the raucous appreciation from the female portion of the crowd, for Vicky's tongue in cheek pontificating during "Haircut"or the downright hilarious moment when Josh Cunningham's mobile phone starts buzzing the mike reception during the still intimacy of one of Donna Simpson's more somber vocal moments.

I cannot praise this album more highly, it faithfully encapsulates the mood and swinging momentum of this amazing band. It actually feels like a good night out in a buzzing venue listening to great music - which, after all, is what a live album should be all about don't you think ?

Simply amazing
I must preface this by admitting that I have had very poor luck with live albums, in general. Something just usually gets lost in translation, whether it be poor sound quality, crowd noise, etc., and I am usually left disappointed.

This double-album is so very different, thankfully. The only reason that I chanced purchasing it is because The Waifs blew me away when I saw them in concert in May, 2003 in Tampa. Believe me when I tell you that this offering replicates the live experience beautifully!! The sound quality is terrific...very crisp and clear; very pleasing to this picky ear. While all of their songs are represented well, my favorites are "Gillian" (with great crowd interaction) and the beautiful "Bridal Train" (both live and studio versions). Every trip through this CD gives me a greater appreciation for Josh's amazing guitar playing and Vicki's harmonica talent. Truly.

Simply put, if you are one of the thousands who count themselves as musically-blessed after having been exposed to The Waifs in person, you must add "A Brief History" to your collection. If you have never seen them live OR your Waifs exposure is a limited one, THIS is the opportunity for you to get a taste of the Waifs experience and be forever thankful that you did. I know I am.

Get on board!
The Waifs are an Australian folk institution. They have been touring around Oz for ten years or so, and their momentum just grows and grows. In recent years they have also taken the US by storm, and have become festival favourites. Even Dylan has had them as a regular support act - and he certainly knows a good folk act when he sees it.

And that is what this double live album captures - a great live band, singing pretty well all their best material, as if you were seeing them at a festival. In fact, the album is collated from a number of gigs taken from all types of venues (I was at one of them, in fact) but the show sounds seamless on record. Their charisma and basic charm shines out in the performances captured here, which are all well recorded.

The real frontline of the band are two sisters, with broad Aussie accents, but aided and abetted by a spouse and a floating support band/rhythm section. But it is the songs that tell the story. Try "London Still", "Crazy Train", or "The Haircut". Warm, clever, and funny - but also moving and artistic. I am not sure where the Waifs go from here - this album certainly brings them to a watershed - but this collection stands as their peak so far. One of the year's best.

Waifs on a roll!!!
If you love these great folk sylists from Down Under, you will love this disc....not too slick or too rough.....just right...and spirited audience response sets it all off.
They win over unsuspecting crowds around the world,...I witnessed this at the New Orleans Jazz Fest a few years ago where I and the curiousity seekers were captured for the whole set!(hope they're back in Louisiana soon!)
If you haven't gotten Waifed yet, this is a great overview ...if you like both touching and rowdy live folk rock. ... Read more