Since the mid-sixties, producer Joe Boyd's name has been synonymous with the British folk/rock scene. Through his Witchseason productions, Boyd produced the classic albums of The Incredible String Band, Fairport Convention, Richard and Linda Thompson, Nick Drake, Martin Carthy, and Sandy Denny among others. During that fertile musical period, the Witchseason logo on an album was an ironclad guaranty of good music- and fine sound.
In a career spanning almost 30 years and 18 albums, Joan Armatrading has established herself as one of the most durable and respected artists in popular music. Her honesty and integrity as both a musician and world citizen are rare in a field that regularly breeds shooting stars.
Born in the West Indies on the island of St. Kitts in 1950, and moving to England when she was 7, Armatrading absorbed both the lilting, sunny rhythms of the Caribbean and the grittiness of post-industrial Birmingham. Her tough, yet vulnerable musical stance has influenced two generations of performers, attracted to her unique, difficult to categorize brand of music.
Ry's son Joachim started stringing tracks together last year attempting to create a cohesive picture of his father's soundtrack work- one which would sound like more than just a series of unconnected cues. Ry liked what he heard and this long overdue project was born. The two CD set contains highlights from most of Cooder's soundtracks: Paris Texas, Alamo Bay, The Border, Blue City, Crossroads, Johnny Handsome, The Long Riders, Blue City, Trespass, Geronimo: An American Legend, and the unreleased Southern Comfort and Streets of Fire.
The concert pianist Christopher O’Riley says Radiohead has been “the music in my head,” since he discovered OK Computer back in 1997. Because Radiohead’s music isn’t formally published, O’Riley took it upon himself to create transcriptions so he could play heavily embellished versions of the group’s themes for himself and then as station-break filler for From the Top the public radio show he hosts that spotlights young musicians. He later performed a longer set of Radiohead tunes on NPR’s Performance Todayand the band’s fan base responded positively, which set in motion the process that resulted in this album.
One of the most underrated of all ‘60s bands, the puppy-dog earnest The Lovin’ Spoonful sounds better and better as the 20th Century fades from view. This was their 3rd album, issued late in 1966 and the first containing all originals, many of which are stamped indelibly into the brains of Baby Boomers. The band combined folk, rock, jugband, country and of course, the influence of The Beatles.
Beginning with his eponymous 1970 debut, and continuing throughout eleven Warner Brothers solo albums, Ry Cooder has demonstrated that in addition to being an extraordinary folk/blues guitarist- particularly on bottleneck, and a serviceable, though hardly distinguished vocalist, he is also a high caliber musicologist and A&R man. While Cooder’s specialty has been mining the more obscure tributaries of the rich vein of American music deposited during the Great Depression, he has also unearthed musical riches from around the world, particularly the Caribbean and Mexico.
His solo albums are sprinkled with unknown and out-of-the-way delights like Dickey Doo's "Teardrops Will Fall" and the calypso "F.D.R. In Trinidad"- as well as some better known songs like "One Meat Ball", Woody Guthrie’s "Vigilante Man" Huddie Ledbetter's "Teardrops Will Fall", The Drifter’s 1954 hit "Money Honey", and Johnny Cash’s "Hey Porter".
Song Cycle dominates the Van Dyke Parks discography the way "Citizen Kane" overshadows Orson Welles' cinematic output. That simply cannot be denied, though Welles created other outstanding films- "The Magnificent Ambersons" and "Touch Of Evil" for example.
Friday afternoons around 4PM, after a hard week’s schooling back in 1968, my roommates and I at Cornell University engaged in a particular ritual: one of us would go into the garage behind our rented house and retrieve our well-hidden pot “stash.” The most skilled roller amongst the 4 of us would produce a doobie, and then we’d smoke away our tensions while listening to? Charles Lloyd’s Forest Flower (Atlantic SD 1473), recorded live at the 1966 Monterrey Jazz Festival.
It is difficult to grasp the date this session was recorded: December of 1956. That makes it almost 50 years old. Yet the music is as utterly fresh and full of surprises and good humor as it was in 1956. And the sound remains vibrant and full bodied as well; the highs extended and crisp, the transients sharp and clean. In fact, this double 45rpm set positively kills the Riverside original in every way: I know, because I’ve owned a copy since the mid ‘60s. During my first year at Cornell in 1964, either Riverside was going out of business or needed some quick cash, because the book store had what seemed like the entire Riverside catalog on sale for $1.98. I bought as many as I could afford.