The Clancy Brothers and Tommy Makem - In Person at Carnegie Hall: The Complete 1963 Concert
March 19, 2009 by Willis
Filed under New Album - Other
The Clancy Brothers and Tommy Makem - In Person at Carnegie Hall: The Complete 1963 Concert
“Even more than most folk groups, the Clancy Brothers and Tommy Makem were all about delivery, especially the introductions and in-jokes with which they punctuated their performances. The classic Columbia album of their 1963 St. Patrick’s Day concert cut most of their asides, but this “Legacy Edition” presents the show as it should be heard: a complete recorded document of a cultural moment when four lads in Aran sweaters could perform on “The Ed Sullivan Show,” then joke onstage at Carnegie Hall about having them “cleaned in celebration—once a year, whether they need it or not.” In the midst of a self-consciously serious folk revival, the Clancys made an outsized impression on a young Bob Dylan, who borrowed from their hipster humor and later grabbed the melody of “The Patriot Game”—itself mostly taken from an older tune—for “With God on Our Side.” As fun as folk music gets.—Rob Levine”
Live - Forever
December 25, 2008 by Willis
Filed under New Tracks - Rock
“Live” is one of my favorite rock bands of all time, and I’m glad to see they are releasing a new single. It’s really a great track, and I hope it does well. 8/10
Sorry, no preview available. Obviously it’s hard to search for “Live” and “Forever” 
Neil Young - Sugar Mountain - Live at Canterbury House 1968
December 3, 2008 by Willis
Filed under New Album - Other
“Neil Young’s “Archives” project is poised to become the new “Chinese Democracy,” but the wait helps get gems like this out of his vault. This album captures Young fresh out of Buffalo Springfield and five days shy of his 23rd birthday on the weekend before the release of his solo debut. It’s an intimate performance in which the songs—including winning takes of “On the Way Home,” “Mr. Soul,” “The Loner,” “Trip to Tulsa” and, of course, “Sugar Mountain”—aren’t necessarily the stars of the show. That spot is reserved for a chatty and cheerful Young and his between-song raps about everything from the length of his hair to songwriting (he decides he needs more “happy” material) and using his first royalty check to buy a 1934 Bentley “with big lights and everything.” It’s the kind of recording that makes you wish you were there—but also makes you feel like you are. —Gary Graff”
Live
November 24, 2008 by Willis
Filed under Artist Of The Day
“Live rose to chart success on the strength of its anthemic music and idealistic, overtly spiritual songwriting, two hallmarks which earned the group frequent comparisons to U2. Live first formed in the early ’80s in their hometown of York, Pennsylvania, when future members Chad Taylor (guitar), Patrick Dahlheimer (bass) and Chad Gracey (drums) began playing together under the name “First Aid” while attending middle school. After losing an area talent contest, they decided to enlist singer Ed Kowalczyk, and as a foursome the group played under a series of names before settling on Public Affection.
After earning a rabid local following, in 1989 Public Affection released a cassette, The Death of a Dictionary, on their own Action Front label. After graduating to CBGB and other famed New York clubs, they earned a demo deal with Giant Records which proved unsuccessful; the completed demo earned them a deal with Radioactive, however, and before drawing their new name out of a hat, Live recruited Talking Head Jerry Harrison to produce their 1991 debut, Mental Jewelry. A collection of songs based on the writings of Indian philosopher Jiddu Krishnamurti, the record made Live one of the key players in the post-Nirvana alternative music scene thanks to singles like “Operation Spirit (The Tyranny of Tradition)” and “Pain Lies on the Riverside.”
Three years later, Live returned with the muscular Throwing Copper, which lingered a number of months on the charts before pushing the group into the rock mainstream; after a series of popular singles like “Selling the Drama” and “I Alone,” the album’s slow build climaxed with the funereal “Lightning Crashes,” which propelled the album to the top of the charts and paved the way for the hits “White, Discussion” and “All Over You.” Secret Samadhi, the third Live LP, followed in early 1997, but failed to match either the commercial or critical success of previous efforts. The band resurfaced two years later with The Distance to Here. Through 2003, the band continually refined their ambitious, spiritual sound; both 2001’s V and 2003’s Birds of Pray cracked the Billboard Top 30. ~ Jason Ankeny, All Music Guide”
Charlie Daniels - Preachin’, Prayin’, Singin’ With Charlie Daniels & Friends: Live From Nashville
November 22, 2008 by Willis
Filed under New Tracks - Other
“Filmed in black and white at the intimate Ford Theater inside Nashville’s Country Music Hall of Fame and Museum, this project showcases music from “Songs of the Longleaf Pines,” Charlie Daniels’ 2005 homage to the bluegrass gospel music of his North Carolina youth. Guest turns by members of bluegrass first families like the Scruggses, McCourys and Whites make the DVD a historical treasure. After a rousing opening version of “Walkin’ in Jerusalem” spotlighting Daniels, Mac Wiseman and the Whites, the highlights are many, including Daniels and the Scruggs family doing “Salty Dog Blues,” Daniels and Del McCoury duetting on “Uncle Pen” and an all-star finale on “I’ll Fly Away.” The bonus features find Daniels visiting U.S. troops in Iraq and reminiscing with his concert guests in interviews. A night to remember and just as powerful when viewed at home. —Deborah Evans Price”
Roger Kellaway - Live at the Jazz Standard
November 22, 2008 by Willis
Filed under New Album - Other
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Roger Kellaway - Live at the Jazz Standard
“A choice group of players joined Roger Kellaway for this May show at New York’s Jazz Standard: Russell Malone (guitar), Stefon Harris (vibes), Jay Leonhart (bass) and Borislav Strulev (cello). Disc one opens with a vibrant cover of Duke Ellington’s “Cottontail” and also features a stylish performance of Paul Desmond’s classic “Take Five,” a song not often covered, much less reimagined this proficiently. On disc two, make note of the wonderful treatment of the cowboy tune “Tumbling Tumbleweeds,” with an amazingly cool Kellaway arrangement. The song lopes along appealingly while Kellaway and Malone lay down an instrumental commentary that’s one of the major highlights of this wholly engaging album. —Philip Van Vleck”
Buena Vista Social Club - Buena Vista Social Club at Carnegie Hall
October 19, 2008 by Willis
Filed under New Album - Other
“This bravura concert double-CD is, in fact, only the second Buena Vista Social Club album featuring the original members. This Carnegie Hall show took place July 1, 1998, before a wildly enthusiastic audience, and 10 years later it’s still easy to hear why the crowd was crazy for the music. The recording is immaculate, the performance breathtaking. Disc one opens with “Chan Chan,” a memorable BVSC tune and an ideal intro number that sets the festive mood for the duration of the listening experience. Throughout the discs we hear the incredible voice of Ibrahim Ferrer, the fluent guitar of Compay Segundo and the gorgeous piano of Ruben González (”Almendra,” “La Engañadora”), all of whom have since died. Together with Cachaito Lopez, Omara Portuondo, Eliades Ochoa and a stellar crew of second-line players, these legends of Cuban music brought some Latin heat to a legendary venue. —Philip Van Vleck”
Paul Motian Trio 2000 + 2 - Live at the Village Vanguard - Volume II
October 6, 2008 by Willis
Filed under New Album - Other
“This is certainly a recommended album for anyone who harbors a penchant for the more abstract jazz forms. Drummer Paul Motian leads a trio—Larry Grenadier (bass) and Chris Potter (tenor sax)—and augments his threesome with pianist Masabumi Kikuchi, alto sax man Greg Osby and viola player Max Manieri. The seven tracks include five original pieces, though the two covers, “Till We Meet Again” and “If You Could See Me Now,” are so thoroughly reinterpreted that they may as well be originals too. Osby and Potter embark on an extended flight of free-form fancy on these tracks, as we hear quite vividly on “The Third Walk.” The vitality of the improvisational impulse that rules this disc is most compelling on the tune “The Divider,” a striking ensemble performance that’s equal parts discipline and spontaneity. —Philip Van Vleck”
