Amazon.com's Best of 2001

As one might expect from an album called End of Amnesia, adateless aura exists within, as if it could have been recorded 100 years ago or100 years from now. Portland, Oregon, resident Matt Ward's often captivatingsophomore CD fuses a bucolic folk sound with a postmodern lo-fi sensibility.Ward's intriguing tunes are sung in hushed tones, and his fragile voice has anoffbeat beauty even when he whispers. The atmosphere here is stark and mostlyacoustic (save for "Flaming Heart," an odd little rock rave-up that appearsmidway, like an intermission), and an eerie calm pervades the album. Ward'smusic features deft, poised guitar playing, vivid lyrical imagery, and melodiesthat burrow into your brain--as if they'd been there all along. --MarcGreilsamer ... Read more

Reviews (7)

Beautiful
End of Amnesia is a modern folk rock classic. From the first line sung in the album to the very last, Ward's mellow raspy voice conveys a immense sense of feeling and emotion which perfectly compliments his acoustic guitar playing. While the songs on this album are typically quite mellow and relaxed, it is extemely capable of holding a listener's attention for an infinite amount of plays without getting boring. There are also tracks on the album which are very upbeat and more fast paced, so it never lacks in energy.

While there seems to be an emphasis in modern music to convey a complication and strength in musical arrangement, Ward finds a point that combines perfect simpicity with stunning technicality in each of his songs. Not only is his song writing wonderful, but his entirely captivating stage presense as well. Not many modern artists can hold an entire audience's attention through a ten+ minute guitar solo. Ward's energy and humbleness on stage is unmatched by any other artist. If you have the opportunity to see Matt Ward live, or pick up one of his albums, you will not be disappointed.

disappointing compared to the live show
I saw ward open for bright eyes and was amazed by his charisma, technical virtuosity, and fascinating revival of the blues. in a way, his crazy look and vocals reminded me of isaac brock, though musically you could say they have little in common. however, when i listened to the cd on the way home i got vaguely interesting acoustic and folk noodling, like a much better mason jennings. it's still a pretty good album but i would recommend seeing him live instead. the man clearly has some soul.

there are no words
M Ward is simply amazing, his voice, his guitar...indescribable. Also a truly nice guy who answers fan mail. Please see him live if you get the chance...

Album of the Century (So Far)
This is flat out the finest and most consistent album I have heard in years by any artist in any genre. People ask me to compare it to other artists, so I'll summon the ghost of Nick Drake possessing Jeff Tweedy as he sits alone in Tom Waits's studio at 3am on the longest day of the year. But that's a very imperfect comparison. Listen to some clips on the web, and I thin you'll want to buy this CD... Then turn down the lights, put on the headphones, and begin forgetting.

Hearing is Believing
The very first time I heard M.Ward, I had to have it. It's just so.....good, for lack of a more profound term. When I first heard Beck (indirect comparison) I loved his slide guitar, I thought wow, how clever Beck, slide guitar. If you love the feeling that slide guitar and acoustic guitar eminates, you'll love this album. The review that compared M.Ward to Tom Waits and Grandaddy, a true comparison. Lighthearted, makes me want to skip around with my headphones on, oh yeah, smiling. ... Read more

Amazon.com

DeMent's debut album, "Infamous Angel," appeared out of nowhere in 1992 on the small Philo label with a ringing endorsement from John Prine on the cover. It made a big enough splash to be picked up by Warner Bros., and now DeMent has beaten the infamous sophomore jinx with an even better album, "My Life," produced in Nashville by Jim Rooney with musical help from Jack Clement, Stuart Duncan and Robin & Linda Williams. The collection includes songs by Mother Maybelle Carter and Lefty Frizzell plus eight DeMent originals just as powerful in their rural simplicity. --Geoffrey Himes ... Read more

Reviews (30)

adenoidal angst
If you are offended by hillbilly accents, you won't like Iris Dement -- but her accent suits her homey songs. Cut through the twang and she's a sophisticated lady who sings of commonplace things to make profound observations. She usually skirts the right side of maudlin -- although she crosses the line on "Mom & Dad's Waltz" (sample line: "I'm happy ...and I pray everyday for ma and pappy." There's such a thing as trying too hard to make a rhyme!) Balance that against an intriquing line like "the dance floor is for gliding, not jumping over ponies." There are two songs I love. "No Time to Cry" is a lament for a lost father and "Easy's Getting Harder Every Day" is all about a loveless marriage. Dement's first two CDs are similar and equally good -- about family and childhood and growing up and lost innocence. She hasn't recorded anything of note, to my knowledge, in several years. I wonder what happened to her?

Required listening for vocalists, songwriters, producers
There are few artists in music today, none-the-less this genre, who can be seen as a true icon of musical greatness. With a heartache wrenching voice, music and lyrics which can wrench open the deepest parts of your soul, and such a simple amazing production, Iris's first two releases are truly required for anyone who adores music. I've enjoyed all 3 releases (with a few reservations with #3) and watched in awe at her live shows. She let Nashville get to her with her third release. (Iris please return to Jim Rooney!) Despite her soundtrack and other one or two song tribute album contributions, I anxiously await her next revelation of music from the heart. The first artist of any genre who I recommend to anyone and everyone.

Wonderful, once the taste is acquired
Iris Dement is an acquired taste. Her voice is stark, gritty--kind of like Nanci Griffith without the sweetness. It's more effective for that reason. But the best thing about Dement, especially on this album, is the lyrics and the powerful, highly personal way in which they are sung. Her style is entirely original. Here are no whining confessions or tales of loves past, but mature, compelling insights into life, relationships, society, growing up and growing old.

This was my introduction to Iris Dement. I'll be buying more!

Achingly beautiful
Some of the most poignant folk/country music you'll ever hear. In "You've Done Nothing Wrong", Iris laments a breakup but chooses not to blame her former partner. In "Easy's Gettin' Harder Every Day", she perfectly characterizes the day to day drudgery of a life without hope of change for the better. In the title track, she reflects on the simple good things we can accomplish in our lives. These are wonderful songs, but the highlight of the CD is the autobiographical "No Time To Cry", which describes, with tremendous subtlety, the difficulty of adjusting to a parent's death. Great voice, great songs, great CD.

Fate
I believe things happen for a reason... I've recently was introduced to Iris and her work. I am not a country music fan at all, but after learning a bit about her and listening to this cd over and over, I have found I love her music. I am buying two more of her cds. She has made a convert out of me. ... Read more

Amazon.com

Warm, gentle, and welcoming, Gordon Lightfoot's folk-rock disarms even the most cynical listener. When his bright melodies mesh with his full, deep voice and his innocent poetry, the result is almost hypnotic, like floating away on a soft cloud. Of course, after 21 songs' worth, you might float into a deep slumber. In 1975 Lightfoot rounded out this hits collection by revisiting nine of his 1960s compositions, including "I'm Not Sayin'/Ribbon of Darkness," "Song for a Winter's Night," "Early Morning Rain," and "Steel Rail Blues." Rather than maintain the direct approach of his early work, he adds the string arrangements that mark his 1970s work. The smashes "Sundown" and "If You Could Read My Mind" accompany outright gems such as "Cotton Jenny" and "Cold on the Shoulder," although this set predates "Wreck of the Edmund Fitzgerald." --Marc Greilsamer ... Read more

Reviews (42)

Lightfoot at a peak in his career
Although Gordon did re-record 9 of the songs from his UA years, the fact that it includes most of his biggest hits and many great album tracks from 1970-1975 is what makes this worth buying. Although as every fan knows, "Wreck of The Edmund Fitzgerald" isn't on here because he had recorded it later in 1975 and it appears on "Summertime Dream" and on the "Songbook" boxed set in its original version and on "Gord's Gold Vol. 2" in a re-recorded form. The other 3 of his top 10 hits, "If You Could Read My Mind," "Sundown," and "Rainy Day People" are included. This is a must have to introduce yourself to the timeless music of the legendary Gordon Lightfoot. To make up for the re-recordings of the UA material that are on this set, I'd recommend you to buy "United Artists Collection," yet one of the medleys on this CD, "I'm Not Sayin'/Ribbon of Darkness" was first released on "Sunday Concert" (which can also be found on CD either at your local music store or right here at Amazon.com) while the "United Artists Collection" contains the entire songs for both songs in the medley and is cheaper than buying the imports of the same albums this 2 CD set contains although the domestic CD of "Sunday Concert" is now harder to find than the import CD's of it.

Gord's Gold: As Good As It Gets - 5 Stars
This outstanding album is a compilation of Lightfoot's very best songs up to the time of its original release as an LP (1975). The CD contains 11 songs originally recorded at United Artists (two as medleys) and 12 songs from his first five albums at Warner Brothers/Reprise. Three of his four biggest commercial hits are on this album (If You Could Read My Mind, Sundown, and Carefree Highway) making this an excellent first Lightfoot album to buy. (The fourth big hit, Wreck Of The Edmund Fitzgerald, was written and recorded later in 1975. You can find it on Summertime Dream, or, in a rerecorded version, on Gord's Gold Volume II).

The rerecorded songs from his UA period ('66 - '69) are all truly exceptional songs. A true Lightfoot fan would want to have both the original UA recording (in a much simpler style) and this one, but there is no arguing with the fact that the Gord's Gold versions of these songs are exquisite. In particular, the recording of Canadian Railroad Trilogy, perhaps his finest song, sends chills down my spine and the recordings of Early Mornin' Rain and the medleys For Lovin' Me / Did She Mention My Name and I'm Not Sayin' / Ribbon Of Darkness demonstrate his songwriting and singing at their very finest.

In addition to the three top-10 hits from his Warner Brothers years, Lightfoot has included several other masterpieces of that era. My favorites of these are Minstrel Of The Dawn, Beautiful and Don Quixote.

This album is a 'must have'.

Gord is Golden
This was the first Gordon Lightfoot album that I ever heard. Enough said. I was hooked after that. He is such a talented song writer, and he is so easy to relate to, especially if you are a guy. What guy doesn't like For Lovin' Me? I mean, come on, in my experience, it has always been the other way arround, and I am the one who gets my heart broke, not the girl, but it still Awesome to think that I was the one who is breaking all the hearts! This collection is truly timeless and is one of my favorite albums to be sure. Give it a listen, and you may get pulled in by his beautiful, poetic ballads and his snappy little rhythms.

the best of easy listening
As a die-hard-yet-casual fan of Gordon's, I have loved this album for probably about 7 years. I like to recommend Lightfoot to those who have not heard him, but I don't really find myself going out and buying all of his original albums. So the compilation suits me just fine. Lightfoot is perfect "remember when" music. Every song makes me think of a certain time or place ... regardless of whether or not I heard that song in that exact time or place. Favorites from the album (not too surprising) are: "If You Could Read My Mind," "Sundown," and "Song for a Winter's Night." I also highly recommend, "Carefree Highway," "Canadian Railroad Trilogy," and "Beautiful."

In short, if you're looking for something easy to listen to, and easy to relax to, Gordon's your guy. Perfect for a mellow, folky day.

Kippewa, Quebec, summers, 1970s through the 80s...
I wish I could give this 100 stars. Really. When I was young, our family would drive north for some twenty hours to a remote cabin in the Kippewa wilderness. We'd listen to this on 8 track in the family station wagon.

Where we stayed electricity was generated and shut off at nine p.m. We'd play this album (along with Eagles, Jimmy Buffett's early stuff and some albums that have remained tops on my list) by battery power on (what was cool at the time) the portable 8 track player under the warm glow of candlelight.

Some of my fondest memories of youth are inextricably tied to this very album. It never ceases to remind me of the Canadian wilderness, kicking back on the rocks by the side of the never ending body of water, listening to the glorious sounds of the natural world.

Nothing fancy, no theatrics, just good ol' storytelling with acoustic accompaniment. Lots of acoustic guitar and lyrics that place you in the story. It's a great place to start (and a great place to stay if you ask me!). ... Read more

Amazon.com essential recording

Reflecting the growth Amy Ray and Emily Saliers experienced during the late '80s and early '90s as songwriters and as performers, Swamp Ophelia finds the duo feeling more experimental, and also more relaxed. Guests like Lisa Germano (violin, mandolin), Jane Scarpantoni (cello), and Jane Siberry (vocals) assist in creating a satisfying and full sound. Songs like the romantic "Power of Two" and Amy's solo venture "Fare Thee Well" would do Jackson Browne proud. The Roches add a lovely vocal layer to "Reunion," and bongos and percussion give the bouncy "Least Complicated" an interesting texture. The darker tones of "Dead Man's Hill," with its haunting melodica and tom-toms, provide needed contrast to the lighter moods in the collection. Their harmonies are a delight, and the closer, "This Train (Revised)," is a wonderful, energetic nod to Woody Guthrie.--Lorry Fleming ... Read more

Reviews (33)

Their best effort, tuneful and sophisticated.
This album ranks as the pinnacle of the Indigo Girls' development as a singer/songwriter duo, and even made the US Top 10. However, the duo's sophisticated and autumnal tone has precluded serious Australian interest - none of their records have reached the Australian Top 40, indeed only "Indigo Girls" charted at all.
However, this is a most impressive album that I must recommend to listerners. It is a wonderfully orchestrated work with brilliant use of acoutic instruments on the first three tracks, which blend together brilliantly in soaring vocal harmonies, most apparent on "Least Complicated" and "Language or The Kiss", with Emily's lyrics expressing perfectly the paradoxes evident in an ordinary romance. "Power of Two" is the pinnacle of the duo's career, perfectly expressing the desire for undrstanding in human relationships. "Touch Me Fall" shows Amy's harder-edged songwriting contrast with the folksy Emily Sailers, and indeed this song rocks exceptionally hard whilst retaining an impressive sophistication. "Mystery" with Jane Siberry adding backing vocals, is almost as impressive as "Power of Two". "Dead Man's Hill" is a sparse Amy Ray tune with most impressive acoustic guitars, whilst the opener "Fugitive" blends this sparser tone with beautiful horns and cellos and an intriguing lyric about a lost woman.
This is quite a package of two distinct songwriting and singing styles blended to near-perfection. I recommend it wholheartedly.

Keeps on Getting Better
This was my first Indigo Girls CD, and the minute I heard it I knew I had discovered something precsious. -The Wood Song- sweet, haunting and one of the best songs Emily Saliers has put forth since earlier days. The first Indigo Girls song I ever heard and ever fell in love with, I never tire of it. Never. -Least Complicated- blunt and relaxed, this song is one that puts everything you struggle with into perspective: the hardest to learn was the least complicated. No kidding, guys. -Fugitive- sad and strong. -Power of Two- always is there for a smile. -Touch Me Fall- unique and a bit uncharacteristic of the Girls, this style is one you won't hear again until Come on now, Social. -Fare Thee Well-heartbreaking and lonesome. -Reunion- a wonderful song, typical Amy Ray style. A song perfect to kareoke to with a hairbrush in your bedroom alone at night. This is the best Indigo Girls CD next to the breathtaking Rites of Passage,which is amazing.

A Slow Winner!
I must admit that I was a little disappointed when I first listened to "Swamp Ophelia". I had real great expectations after "Rites of Passage" and "Nomads, Saints . . ". There were no immediate "hits" there - like on the previous albums.

On the other hand, like on all Indigo Girls albums, there are no poor songs. Many of these songs may not be among their very best, but they grow on you when you get to know them. So eventually it became a winner for me

My first favourites were "Least Complicated", "Reunion" and "Power of Two". But also "Dead Man's Hill" and "Fare Thee Well" are very strong tracks.

Most of the album is rather quiet, but on a couple of Amy's songs they get real hard rocking; especially "Touch Me Fall" and "This Train Revised".

Still in the swamp....
I still find it hard to believe that it's been nearly 10 years since the release of "Swamp Ophelia", and it's still a recurring theme in my personal playlist. Before I purchased the CD, I'd had a passing interest in the Indigo Girls, but I'd heard Amy Ray's song "Fugitive" used as a backdrop for modern dance, and I was hooked.

Today, this still remains my favorite of their CD's; little of it is socio-political, like much of their work. I can even forgive the use of one of the light ballads "The Power of Two" in the soundtrack of one of those forgettable Drew Barrymore movies.

Like most Indigo Girl collections, the music varies between the emotional ballads and light folk songs of positivity that are Emily Saliers, and the darker, more brooding rhythms of melancholy Amy Ray. One thing never varies, and that it the crisp and pure quality of their vocal harmonies; they are perfectly matched. They utilize a variety of folk instruments (cello, acousic guitar, different drums and bongs, the mandolin) and a variety of friends helping with lyrics and vocals to blend this collection into something memorable.

Fugitive may be my favorite of all Ray's songs, but the pace, tempo, and lyrics to her "Reunion" keep the first side of the CD flowing....

"I don't want you to feel
any obligation
It feels so funny to be free"

The song feels like a treatise on psychological care - perhaps Ray drew it from her background, or that of a friend. Ray's "Dead Man's Hill" on side two is another show stopper, with an amazing mix of sounds, and loaded with interesting percussion. Dead Man's Hill feels like a place and time revisited from Ray's youth - it starts out with friendship, but there's a scary, cold feeling to the closing lyrics of the song.

Not a big fan of Amy Ray's lyrics, there is only one song on the CD that I dislike, and it closes the first side -"Touch Me Fall". It's a tirade of a song, notable for the fact that the "swamp Ophelia" title is chosen from its lyrics.

I'm much more partial to Salier's songs than those of Ray, and there is not one on this CD that isn't inspired. Judging from the reaction to the IG songs in concert, apparently many fans, in addition to me, love "Least Complicated", a song that is truly uncomplicated and joyous in its rhythms and lyrics. It always draws a cheer at live performances, and the whole audience sings along....

"I'm just a mirror of a mirror myself
All the things that I do
And the next time I fall
I'm gonna have to recall
It isn't love, it's only something new"

Her ballads, "Wood Song", "Mystery" and "Fare Thee Well" are all trademark Saliers, with simple arrangements and notable harmony. Perhaps her best on the CD (although I still play "Least Complicated" at least three times whenever I put in the CD) is "Language or the Kiss", which is one of the standards the duo perfoms when live. Here there's a full sound and instrumentation, with emphasis on percussion. But it is the lyrics that are telling...

"But I'm made mute by the virtue of decision
And I choose...
Most of your life goes on without me.
Oh, the fear I've known
That I might reap the praise of strangers
And end up on my own".

If you purchase only one disc of the Indigo Girl's music, don't go for one of the hits compilations, because you miss so much of the texture of where they were when they wrote the tunes that fit together in a single CD. "Swamp Ophelia" transcends time and talent, and obviously, lasts a decade. Wonder if it will last a lifetime with me?

Bravo, Emily and Amy!

amazing!
Just saw IG live again last night and was inspired to write this review. I could write a similar review for "Nomads Indians Saints," "1200 Curfews," "Rites of Passage" and "Indigo Girls". These cds are among an elite group of music in my collection where I can listen to the whole album from beginning to end...and over again (and again!). I was hooked from the first chords of "Fugitive" and there isn't a song on this work that doesn't connect with me somehow. The harmonies are phenomenal, as always. The ballads are moving and the songs that are supposed to rock don't disappoint. Hard to pick a favorite song, but I'll have to go with "Mystery." If you are an enduring IG fan or if you are new to their music and want to see what it's all about, buy this album! ... Read more

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

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

Album Description

On his first release in six years, Miten delivers a heartfelt musical testament to the redeeming power of self-acceptance. Graced by Deva Premal’s vocal harmonies, Miten’s songs take flight, seamlessly blending male/female energy to reveal the healing balance that comes through true connection with the self.Miten created Songs for the Inner Lover as a soundtrack for the love and life experiences we all share. Insightful lyrics and refreshingly simple, melodic arrangements examine the many faces of love: from its manifestation on the physical plane and the master-disciple relationship to longing for meaningful companionship and the inner dialogues we conduct with ourselves.

Through their long and storied musical and life partnership together, Miten and bestselling mantra singer Deva Premal have created a true heart connection with each other and thousands of adoring fans worldwide. On Songs for the Inner Lover, Miten draws from that nourishing experience to offer a truthful and universal sentiment sure to provide healing comfort to all who are touched by love--or long to be. ... Read more

Reviews (1)

Wear your Mitens!
This is a CD made with love. Seriously, you can smell love. What does love smell like? I don't know. So stop asking. I honestly don't see how they can do it. Its magic. When I listen to this CD I feel like I am being held. I am not a lonely person. Believe me when I tell you, I am not. OK. Maybe sometimes. ... 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

Reviews (2)

Incredible first album
This first album is incredible. Because it's wild, true and spontaneous. You know, Bob Dylan doesn't write songs like "Hattie Carroll" anymore. Mary does. We feel the raw rebel thing: she's herself from the marginal people, and she sings for them - though it's not conscious: there's not any commercialism here (what's worse than the commercialism of the rebel thing?).
Actually, with many other singer-songwriters not very well known, Mary incarnates what's so human, real and exciting about what we call the "americana" today, a musical world which stands wild and true because the artists are performers on the road who make music by love of music, whatever they sell records much or not. They don't mind of reaching a wide young audience, they don't care of the rock'n'roll circus ("Rock & Roll Lies").
If you love John Prine, Fred Eaglesmith, Slaid Cleaves, Greg Brown... you'll love Mary Gauthier. You're in the same world. I'm not sure this is the one of Ryan Adams.
Let's speak more about this first album: you hear a voice - a provocative, defiant voice (this is how sounded the 60's Dylan); you hear a sound, an immediate feeling - punchy on upbeat songs, with excellent players; the slow ballads are scotching: how can a person sound so right to your heart? "Goddamn HIV" is pure and straight, it's unbelievable. Now just tell me here's not a great singer-songwriter: only the best ones can make that. And how about the music? As a french I can just be moved by the melody of "Ever Easy", without paying attention to the lyrics (though they're excellent). Her tender singing must be for something as well.
There is also light and humorous stuff with "You're All I Wanna Do" ("the way you leave the bathroom gives me a heart attack"...).
That makes of "Dixie Kitchen" an album as unpretentious as involuntarily important, because it keeps the music alive, as long as the music will be done that way.

Down Home As Country's Gonna Get
The Fred Eaglesmith discussion list was abuzz with news of Mary Gauthier; so I decided to pick up her disc & see what all the fuss was about. Dixie Kitchen is about the most down home that country's likely to get. Mary didn't go to opera class to learn how to sing country; she doesn't pull any punches; she lays it on the line; and lays it down clean. "When you're 10 years old, it's cute to be a tomboy, but in a couple of years you gotta deal with the ways of the world," she sings on the opener, shouting out, "Sorry, Mom," as her live wire acoustic guitar sails through the song. The breakup song "I Don't Know Nothin' About Love" is a track that went past me the first few times with this CD, but now is one of my favorite tunes. "The Other Side of Free" with its slow mandolin is pretty good. In a most unlikely country setting, Gauthier does a real good job on the anti-AIDS ballad "Goddamn HIV." "I've been a queer since the day I was born," she sings from a gay man's point of view recounting the ravages of that brutal disease. "Old Love Never Dies" is a soft song that she as much moans as sings. "You're All I Wanna Do" is a lustful country tune with a bouncy guitar line, "Sexual satisfaction turned into a chicken fight." Matt Leavenworth's gorgeous fiddle enhances the simple melody of "Ever Easy," "I don't want to leave you; and I don't want to stay; I don't want to keep going on this way." "Skeleton Town" is a peppy little tune about terminal illnesses. In "Rock & Roll Lies" Gauthier references Jack Kerouac, Janis Joplin, Jimi Hendrix, Kurt Cobain, Elvis Presley & Jim Morrison with a vocal holler straight from Hank Williams, "What's left when the glory consumes you & you can't tell the truth from the lies, while the one thing you still believe in, you must sell to whoever will buy." She nails the contradictions of popularity and commercialism. The CD concludes with country hoedown "Mama Louisiana." Mary Gauthier's music is rustic, rough edged, not perfect pitched -- she won't be doing duets with Celine Dion. But on Dixie Kitchen, she sings with honesty; her music is about something; and the musicianship is first rate. U snooze U lose! ... 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

Reviews (1)

Gibbard shines...Rest of EP goes through the motions
Benjamin Gibbard of Death Cab for Cutie takes you in about ten minutes and four songs places you'd never thought could be experienced in such a short amount of time. Tracks such as, "You Remind Me of Home" and "Carolina" are so poignant you alomst don't want them to end. The infectious acoustic guitar work and brilliant lyrics are such a beautiful combination to the honey sweet voice Gibbard emits track after track. Pure pleasure through all four of his cuts is a recommendation on it's own to purchase this cd.
Andrew Kenny is another singer-songwriter much in the same fashion as Gibbard but his songs tend to lack when you'd expect them to break. Repetitive lyrics and simple guitar playing have to display some emotion in order for them to truly be enjoyed, and Kenny's songs seem to abstain from doing that.
You do hear promise on a couple tracks such as, "Hometown Fantasy" and "Secrets of the Heart", but overall they just fall short when you've been hit with such brilliance that Gibbard gives you with his four cuts.
Overall, this cd is definetely worth owning like much of Death Cab's catlogue. Check them all out and I doubt disapointment will be the feeling you experience. ... 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 (2)

What a wonderful CD to give as a present!
I love giving this cd as a gift, to teachers or childcare providers, or new moms. It's kids' music you can stand to hear over and over (and some of us know just how rare that is), and feel good about exposing kids to traditions and musical concepts they might not otherwise encounter. We listen to the numbers songs in the car, we sing the shoo-fly song when we go walking--it's been a gift to my little family to have these songs added to our lives.

Sweet Honey in the Rock is Fantastic!
Although folk isn't a style a music much heard by anyone but its devotees, there can be some real treasures in this section. Sweet Honey in the Rock is one of them. As a young teenager, I find that this music doesn't fit into the "fuddy-duddy" image that young people today think of as Folk. Sweet Honey provides you with cool, soulful tunes, with beat and fire to spare. Try listening to "Young and Positive", and see if that doesn't bolster your self-esteem. The complex harmonies appeal to me especially, since I am a singer, but to the uninitiated ear, they are pure ecstasy. This is a rare and amazing gem in the soup of today's music! ... 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

Rusby's fifth solo recording, like previous efforts, boasts a well-crafted selection of original compositions and ancient ballads. While she has rightly been praised for the sheer beauty of her voice--which has never sounded better than on these dozen tracks--her greatest gift may be her ability to choose traditional songs and rework them in subtle and imaginative new ways. She's not afraid to add new words and compose her own melodies to melancholy odes to lost love like "Let Me Be" and "Cruel," which fairly trade emotional intensity for authenticity. Rusby is helped out musically by her husband, Scottish fiddler John McCusker, who produced the CD and helped ensure that every note played by the guitars, citterns, accordions, and flutes is perfectly placed to accent the vocals. Underneath the Stars is not a departure from Rusby's previous work; rather it is a refinement of what she has done before. --Michael John Simmons ... Read more

Reviews (5)

Folk at its best
Rarely can one find a CD where they like ALL of the songs. I'm pretty new to the folk music world, but Kate's music is a delightful blend of upbeat melodies and whimsical storytelling. I have bought several of her CDs and now consider her my favorite musician. I plan on traveling to England this year to see one of her shows. Her beautiful voice and Welsh accent combine for the lovliest songs I've ever heard. Please tour in the U.S., Kate! You have many fans here.

Kate Rusby can take you to your "happy place"
If you are not familiar with Kate Rusby, do yourself a favor and purchase this CD...or get it for a loved one. Kate has one of the most beautiful voices on the planet, and she is joined by tasteful and creative accoustic musicians. Each arrangement is unique and enjoyable, and there is a continuity of flow and emotion. I like a CD that does not jump around in mood and ambience; you can settle into this one and enjoy the variety of finesse, without being rudly jolted into another space. The lyrics tell interesting tales from another time. I love the harmony singing on "Cruel"; I would have preferred more vocal harmonies, but Kate's voice is so pure and fulfilling and the instrumentation is so interesting that the sound is still delightful.
I love giving Kate Rusby's music to friends...what a privalege to share such a gift...what a discovery for people who are primarily exposed to commercial "pop" music.
"Underneath the Stars" is one of my favorite Kate Rusby CDs, and I have enjoyed them all immensely!

Beauty, thy name is Rusby
I've come across several criticisms of Kate Rusby's latest release "Underneath the Stars" where the complaint is lodged that the album sounds too much like her previous recordings and she might consider recording with a different producer and some different musicians. There may be some validity to this complaint, however personally I just can't get enough of this brilliant group of musicians Kate has brought together again for this album.

All of "the boys" are back: John McCusker, Andy Cutting, Michael McGoldrick, Ewan Vernal, and in particular Ian Carr. Ian is on board for 11 of the albums 12 tracks, again contributing his wonderfully oddball guitar arrangements and creating lush, vibrant soundscapes for Kate to sing over. His and Cutting's intro to "Cruel" will break your heart even before Kate enters with her achingly beautiful vocal.

The arranging throughout the album continues the gold standard this group has established on Kate's previous recordings. John McCusker brings his cittern playing to the forefront and even adds a little mandolin, creating some hypnotic moments as his and Carr's string playing weave in and out of each other.

Kate's vocals continue too defy you to come up with adjectives to describe her bittersweet voice. In the song "Young James", Eddi Reader contributes another pristine moment reminiscent of her harmony vocals with Kate on "Withered and Died". You can almost feel yourself lifting off the ground as Eddi and Kate's voices join together for the final verse of the song.

Amongst all the exquisite vocal and instrumental performances on the album, you might almost overlook the fine songwriter Kate is becoming. Her song "Falling" is the highlight of the recording, a heartfelt love song which will either fill you with undying love for your partner or leave you bereft and crying into your beer, depending on your perspective.

"I'M HERE AGAIN, THE STARS BEFRIENDING"
In the past two years I have acquired all of Kate Rusby's solo albums as well as Infinite Blue where she sings as a member of The Poozies. There are few artists in my quite large CD collection that even compare with Kate Rusby in terms of talent, lyrical content, or in the sheer beauty of her music. None top her.

The British release of Underneath the Stars came a few months before the its appearnace in the U.S. I couldn't wait. I bought my copy from Amazon UK. I was not disappointed.

While all of Kate's CDs are great (there is not a weak one in the batch), Underneath the Stars is, in my opinion, her best album so far. It is filled with great songs, one of which has become one of my favorite songs.

Kate is a master of writing great tunes and arrangements for traditional songs. She is at the top of her form here. Two tunes in particular--"The Goodman" and "Let Me Be"--stand out. They both are rather humorous songs. Both feature first rate instrumentation and singing.

Kate compliments (and I would say ultimately transcends) the traditional songs on the disc with great songs of her own. "Falling" and "Underneath the Stars" are the best songs on the disc. The title track is a work of sheer beauty that I defy the listener not to fall in love with.

It has become my favorite song.

I cannot recommend this album enough. Quit reading these reviews. You are wasting time better spent listening. Get a copy of Underneath the Stars today. I give it my highest recommendation.

Acoustic Folk Doesn't Come Much Better
Kate Rusby's fourth solo studio album, "Underneath the Stars" does not deviate much from what she has done on her previous three, or the excellent compilation "10."

The same producer, and musicians are present as on previous outings, with Eddie Reader once again providing backing vocals as she did on "Little Lights."

Really, Rusby is sticking with the same formula she discovered with her debut "Hourglass" and perfected on "Sleepless." There are no radical departures here on "Underneath the Stars."

There is, however, also no real drop in quality. These acoustic ballads are gorgeous. Rusby is as superb at picking traditional songs that suit her vocal as she is at writing her own tracks. Her voice is again stunning, and despite the fact that she's made four albums now, it can still surprise with its incredible naturalness and sheer beauty.

The arrangements here are unpretentious but never dull. Ian Carr's guitar is accomplished but understated, so that all the attention is on Rusby's voice. Citterns, diatonic accordians, fiddles and whistles abound on the CD, but none of the instruments ever distract from the vocal performance at the centre.

Highlights here include Rusby's interpretation of Let Me Be, which is defiant but understated, and her own song Young James, which continues the Yorkshire lass's obsession with sailors and the sea.

Rusby does have a habit of altering her traditional material to suit herself - she adds and takes away lyrics, she uses her own tune for two-hundred year old words, etc. She possibly does more of that on this album than she has before. This annoys some listeners, who believe it to be "unpure". However, Rusby is not the curator of a museum, she's a contemporary artiste. A tradition that is unchanging is a tradition that is