Música Antiga da UFF – Medievo-Nordeste Cantigas e Romances (2004)

FrontCover1Música Antiga da UFF was formed in 1981, as a universitary group of Medieval and Renaissance Music. The group has a special focus on playing Medieval Iberian music, since those pieces are strongly related to Brazilian Folk music, although the group also plays pieces from other places.

Música Antiga da UFF started its activities in 1981, retrieving and transmitting not only music, but the very worldview of the Medieval and Renaissance periods. Over the years its members have specialized in the techniques of the medieval and renaissance instruments and in the interpretation of the songs of these important historical periods. Formed by Leandro Mendes, Lenora Pinto Mendes, Márcio Paes Selles, Mario Orlando, Sonia Leal Wegenast and Virginia van der Linden, the group is still researching and discovering new ways to inform the public about the early music of Western Europe. Beyond historical and musicological research, the audience has the opportunity to see replicas of the instruments used in those periods and hear the stories that come along with the songs and music performed. During their career, the group has recorded seven CDs and a themed LP that sold a total of 20.000 copies. Over these years the group has held more than 2.000 concerts throughout Brazil, recorded soundtracks to music videos, in addition to organizing courses at festivals and Renaissance fairs. Música Antiga da UFF performs in the most important concert halls of Rio de Janeiro and has also performed in concert halls throughout Brazil. (seviqc-brezice.si)

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And here´s is one their real beautiful albums full of rare medieval music:

Medieval music consists of songs, instrumental pieces, and liturgical music from about 500 A.D. to 1400. Medieval music was an era of Western music, including liturgical music (also known as sacred) used for the church, and secular music, non-religious music. Medieval music includes solely vocal music, such as Gregorian chant and choral music (music for a group of singers), solely instrumental music, and music that uses both voices and instruments (typically with the instruments accompanying the voices). Gregorian chant was sung by monks during Catholic Mass. The Mass is a reenactment of Christ’s Last Supper, intended to provide a spiritual connection between man and God. Part of this connection was established through music. This era begins with the fall of the Western Roman Empire in the fifth century and ends sometime in the early fifteenth century. Establishing the end of the medieval era and the beginning of the Renaissance music era is difficult, since the trends started at different times in different regions. The date range in this article is the one usually adopted by musicologists.

Medieval music

During the Medieval period the foundation was laid for the music notation and music theory practices that would shape Western music into the norms that developed during the common-practice era, a period of shared music writing practices which encompassed the Baroque music composers from 1600–1750, such as J.S. Bach and Classical music period composers from the 1700s such as W.A. Mozart and Romantic music era composers from the 1800s such as Wagner. The most obvious of these is the development of a comprehensive music notational system which enabled composers to write out their song melodies and instrumental pieces on parchment or paper. Prior to the development of musical notation, songs and pieces had to be learned “by ear”, from one person who knew a song to another person. This greatly limited how many people could be taught new music and how wide music could spread to other regions or countries. The development of music notation made it easier to disseminate (spread) songs and musical pieces to a larger number of people and to a wider geographic area. However the theoretical advances, particularly in regard to rhythm—the timing of notes—and polyphony—using multiple, interweaving melodies at the same time—are equally important to the development of Western music. (wikipedia)

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What a wonderful opiece of music, full of inner harmony and peace … for all who like such melodies from very long time ago …

Listen and enjoy !

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Personnel:
Leandro Mendes – Lenora Pinto Mendes – Márcio Paes Selles – Mario Orlando – Sonia Leal Wegenast – Virginia van der Linden

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Tracklist:
01. Verbum Caro (documento do século XIV, anônima) 5.04
02. Virga de Jesse (cantiga de Santa Maria, CSM 20) 6.40
03. Mandad’ei comigo (Martin Codax, Cantiga de Amigo, Ca II) 4.39
04. Santa Maria, Strela do Dia (cantiga de Santa Maria, CSM 100) 2.47
05. Arbolicos d’almendra (tradição oral sefaradita, anônima) 3.07
06. 22:22 Juliana e D. Jorge (romance, Rio Grande do Norte)
07. 26:41 Io mestamdo em Coimbra (excerto de romance documentado no século XVI)
08. 31:57 A Virgem mui groriosa (Cantigas de Santa Maria, CSM 42)
09. 35:49 Paulina e D. João (romance, Rio Grande do Norte)
10. 40:23 Todos me llaman ‘La bohemiana’ (tradição oral sefaradita, anônima)
11. 43:03 Vida e Morte (romance, Goiás)
12. 44:53 A la una yo naci (tradição oral sefaradita, anônima)
13. 47:25 Non sofre Santa Maria (cantiga de Santa Maria, CSM 159)
14. 52:00 Faixa bônus. Vida e Morte

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Sarah Brightman – The Harem World Tour – Live From Las Vegeas (2004)

FrontCover1Sarah Brightman (born 14 August 1960) is an English classical crossover soprano, singer, songwriter, actress, dancer and musician.

Brightman began her career as a member of the dance troupe Hot Gossip and released several disco singles as a solo performer. In 1981, she made her West End musical theatre debut in Cats and met composer Andrew Lloyd Webber, whom she later married. She went on to star in several West End and Broadway musicals, including The Phantom of the Opera, where she originated the role of Christine Daaé. Her original London cast album of Phantom was released in CD format in 1987 and sold 40 million copies worldwide, making it the biggest-selling cast album ever.

After retiring from the stage and divorcing Lloyd Webber, Brightman resumed her music career with former Enigma producer Frank Peterson, this time as a classical crossover artist. She has been credited as the creator and remains among the most prominent performers of this genre, with worldwide sales of more than 35 million albums and two million DVDs, establishing herself as the world’s best-selling soprano.

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Brightman’s 1996 duet with the Italian tenor Andrea Bocelli, “Time to Say Goodbye”, topped the charts all over Europe and became the highest and fastest-selling single of all-time in Germany, where it stayed at the top of the charts for 14 consecutive weeks and sold over three million copies. It subsequently became an international success, selling 12 million copies worldwide, making it one of the best-selling singles of all-time. She has collected over 200 gold and platinum record awards in 38 different countries. In 2010, she was named by Billboard the fifth most influential and best-selling classical artist of the 2000s decade in the US and according to Nielsen SoundScan, she has sold 6.5 million albums in the country.

Brightman is the first artist to have been invited twice to perform the theme song at the Olympic Games, first at the 1992 Barcelona Olympic Games where she sang “Amigos Para Sarah_Brightman02Siempre” with the Spanish tenor José Carreras with an estimated global audience of a billion people, and 16 years later in 2008 in Beijing, this time with Chinese singer Liu Huan, performing the song “You and Me” to an estimated four billion people worldwide.

In 2012, Brightman was appointed as the UNESCO Artist for Peace for the period 2012–2014, for her “commitment to humanitarian and charitable causes, her contribution, throughout her artistic career, to the promotion of cultural dialogue and the exchanges among cultures, and her dedication to the ideals and aims of the Organization”. Since 2010, Brightman has been Panasonic’s global brand ambassador.

In 2014, she began training for a journey to the International Space Station, later postponed until further notice, citing personal reasons. Brightman was awarded the decoration ‘Cavaliere’ in the Order of Merit of the Italian Republic on 2 June 2016[19] and an Honorary Doctorate from the University of Hertfordshire in 2018, in recognition of her outstanding contributions to music and theater.

The Harem World Tour: Live From Las Vegas is a live album by classical crossover soprano Sarah Brightman released to coincide with the DVD. The album was released on 28 September 2004. It features a cover version of Indonesian singer Anggun’s “Snow on the Sahara”. (wikipedia)

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Recorded in March 2004 at the MGM Grand in Las Vegas during Sarah Brightman’s Harem World Tour, this live CD demonstrates the musical seductress’s penchant for fusing musical genres – musical theater, classical, rock, & world music – & plays like a collection of greatest hits performed live.

While the sales of Sarah Brightman’s ambitious, Middle Eastern-themed 2003 album Harem may have fallen short of its predecessor, the veteran UK chanteuse’s popularity as a live performer has only mushroomed. This live recording of her ambitious, sold-out Harem World Tour engagement at Las Vegas’ MGM Grand Arena is testament to that appeal, begging the question: Will Brightman become the Grateful Dead of classical crossover? Indeed, abetted by the rich sonic textures of longtime producer/collaborator Frank Peterson, the worldbeat conceits of her recent studio recordings are folded into a larger, even more expansive live vision here.

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Brightman’s overt dramatic instincts and oft-chaemeleonic vocal abilities drive a slate of material that stretches from the Arabian Nights/Madame Butterflypastiche of Harem’s seductive “It’s A Beautiful Day” through surprisingly effective classical/rock reinventions of Kansas’ “Dust in the Wind” and The Moody Blues’ chestnut “Nights in White Satin” to expected classical bowings “Nessun Dorma” and the obligatory nod to “Phantom of the Opera”Harem’s East-meets-Eurodisco sensibility will also welcome the melodic new studio bonus cut, “Snow in the Sahara.” (by Jerry McCulley)

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Personnel:
Sarah Brightman (vocals)
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unknown live band

Booklet
Tracklist:
01. Kama Sutra (Danna) 2.01
02. Harem Overture (Cançao do Mar) (Seeman/DeBrito/Brightman/Peterson) 3.10
03. It’s A Beautiful Day (Brightman/Puccini/von Deylen/Peterson) 4.27
04. Dust In The Wind (Livgren) 4.02
05. Who Wants To Live Forever (May) 4.02
06. Anytime, Anywhere (Brightman/Peterson/Soltau) 3.17
07. La Luna (Ferrau/Dvorák) 5.16
08. Nessun Dorma (Puccini/Adami/Simoni) 4.11
09. The War Is Over (Benzer/Draude/Brightman/Peterson) 5.24
10. Free (Brightman/Hawkins/Meissner/Schwartz) 3.49
11. A Whiter Shade Of Pale (Brooker/Reid) 3.16
12. Phantom Of The Opera Suite: Twisted Every Way/Phantom Overture/Little Lottie (Hart/Stilgoe/Webber) 4.27
13. Wishing You Were Somehow Here Again (Hart/Stilgoe/Webber) 4.36
14. Time To Say Goodbye (Sartori/Quarantotto) 4.14
15. A Question Of Honour (Peterson) 5.43
16. Snow On The Sahara (Bonus studio track) (Benzi/Matheson) 4.46

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Harvey Mason – With All My Heart (2004)

FrontCover1Throughout his career, Harvey Mason has been a busy studio musician and a highly versatile drummer able to excel in many different situations. Mason attended Berklee and graduated from the New England Conservatory. Early gigs included four months with Erroll Garner in 1970 and a year with George Shearing from 1970-1971. Soon after leaving Shearing, Mason moved to Los Angeles and quickly became established in the studios, working in films and television. In addition to his anonymous work through the years, Mason has often been part of the jazz world. He played with Herbie Hancock’s Headhunters in 1973, Gerry Mulligan for a 1974 Carnegie Hall concert, Freddie Hubbard, Grover Washington, Jr. (appearing on Mister Magic), Lee Ritenour, Victor Feldman, George Benson (playing drums on “This Masquerade”), and Bob James, among many others. In 1998, Mason paid tribute to Art Blakey’s Jazz Messengers in some local Los Angeles club gigs. The early 2000s found Mason continuing with his steady session work, as well as releasing two solo albums with 2003’s Trios and 2004’s With All My Heart. In 2014, Mason revisited his ’70s Headhunters roots with Chameleon on Concord. (by Scott Yanow)

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Because Harvey Mason has appeared so frequently as a sideman on lots of smooth jazz dates, one tends to think of him solely within that genre, even though his roots are in straight-ahead jazz. This rare date as a leader features the drummer leading a series of 11 different piano-bass-drums trios, primarily in post-bop, bop or hard bop settings. His arrangement of “Bernie’s Tune” is very refreshing, utilizing reoccurring displaced rhythm behind Kenny Barron and Ron Carter. The magic continues with Chick Corea and Dave Carpenter in their creative rendition of “If I Should Lose You.” Victor Feldman’s less familiar “So Near, So Far” features Fred Hersch and Eddie Gomez, though the expected influence of the late Bill Evans is minimal. But elder statesman Hank Jones steals the spotlight with his elegant interpretation of “Tess,” a tune that was brand new to him; Mason and Jones’ longtime bassist George Mraz joins him. Some of the other participating musicians for this project include Monty Alexander, Charlie Haden, Cedar Walton, Mulgrew Miller, Herbie Hancock, Brad Mehldau, Bob James and Dave Grusin. Mason’s informative liner notes not only describe how each take came together in the studio but add background about his relationship to each musician or what appealed to him about each individual’s playing. The only oversight on this terrific release is the inadvertent omission of track-by-track composer credits, though a few of them are included within Mason’s commentary. (by Ken Dryden)

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Harvey Mason’s motto on With All My Heart seems to be “The one who plays drums in a jazz trio with the most bad-ass pianists and bassists wins. Arguably, that can be also stated of his entire career, as he has played and recorded with a mind-numbing amount of artists through various historical periods and musical styles. The lengthy and illustrious development of the quintessential small jazz group is definitely boosted by this recording.

The premise of the production was quite simple: Mason endeavoring to pair several of his favorite pianists and bassists to record material that is largely familiar to both musicians and the average jazz audience, as well as suited to the respective instrumentalists involved. With the exception of bassists Dave Carpenter, who performs on “If I Should Lose You and “Speak Like a Child, and Ron Carter, who executes on three compositions, the only common thread of the recording is the dexterous and versatile drumming of the leader. Blessedly, Mason also decided to write the liner notes—hence the prospect of knowing what he had in mind for each super-trio, their respective interpretations, and their raison d’être.

“If I Should Lose You, interpreted by Chick Corea, Carpenter, and Mason, is a first and only take. It’s emblematic of the best this project, the traditional jazz trio, and this type of music has to offer. Herein the devil isn’t only in the details, even though they tell a story by themselves. The cymbal ride, Carpenter’s in-and-out march (he seems to vanish while being ever more present), and Corea’s elegant and robust lyricism are some particulars worth mentioning. But those are minutiae within a dreamily tight and expressive cohesiveness that closes with an understated driven coda.

Hank Jones and George Mraz join the leader in “Tess. Jones opens by himself and takes immediate ownership of this number. Mason does quite a bit with it, without intruding one bit as Mraz lays it heavy yet unruffled before following Jones for a couple of bars. It is finger lickin’ good! (Javier Aq Ortiz)

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Personnel:
Monty Alexander (piano on 04.
Kenny Barron (piano on 01.
Dave Carpenter (bass on 02., 10.
Ron Carter (bass on 01., 06., 08.
Chick Corea (piano on 02.
Eddie Gomez (bass on 03.
Larry Grenadier (bass on 07.
Dave Grusin (piano on 09.
Charlie Haden (bass on 05.
Herbie Hancock (piano on 10.
Fred Hersch (piano on 03.
Bob James (piano on 05.
Hank Jones (piano on 11.)
Harvey Mason (drums)
Brad Mehldau (piano on 07.
Mulgrew Miller (piano on 08.
Charnett Moffett (bass on 04.
George Mraz (bass on 11.)
Cedar Walton (piano on 06.
Mike Valerio (bass on 09.)

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Tracklist:
01. Bernie’s Tune (Barron/Leiber/Miller/Stoller) 3.41
02. If I Should Lose You (Carpenter/Corea/Rainger) 7.27
03. So Near, So Far (Gomez/Hersch) 4.42
04. Swamp Fire (Alexander/Moffett) 4.18
05. Smoke Gets in Your Eyes (Harbach/Kern) 6.13
06. Hindsight (Walton) 5.26
07. Dindi (Grenadier/Jobim/Mehldau) 7.48
08. Without A Song (Miller/Youmans) 6.40
09. One Morning In May (Grusin) 4.42
10. Speak Like A Child (Carpenter/Hancock) 5.18
11. Tess (Jones/Mraz/Surman) 4.50

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Razorlight – Up All Night (2004)

FrontCover1Razorlight are an English indie rock band, formed in 2002 in London by lead singer and guitarist Johnny Borrell. Along with Borrell, the current line-up of the band is composed of founding member Björn Ågren on guitar, keyboardist Reni Lane, bassist Ben Ellis and drummer Mat Hector.

The band have gone through several line-up changes, with Borrell remaining the sole permanent member. They released three studio albums before splitting up in 2014. The band reformed in 2017 and released the album Olympus Sleeping in 2018.

They are best known for the singles Golden Touch and America. (by wikipedia)

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Up All Night is the debut album by English indie rock band Razorlight, released on 28 June 2004. The album was mainly recorded at Sawmills Studio and mixed at Sphere Studios by John Cornfield.

The album garnered favourable reviews but critics questioned the band’s influence-filled musicianship throughout the tracks. Up All Night peaked at number 3 on the UK Albums Chart and spawned six singles: “Rock ‘N’ Roll Lies”, “Rip It Up”, “Stumble and Fall”, “Golden Touch”, “Vice” and “Somewhere Else”.

On 4 June 2014, the band, with only lead singer Johnny Borrell remaining from the line-up which recorded the album, played at the Electric Ballroom in Camden to mark Up All Night’s 10th anniversary. (by wikipedia)

Razorlight2004There must be a healthy middle when it comes to capturing the essence of Brit-pop. Something in between the impenetrable swagger of Liam and Noel Gallagher and the vacuous and hollow bravado of Jet that can both pay homage to big riffs and bad attitude, yet still maintain a unique personality, which is what made the rock gods of yesteryear so endearing. Razorlight mastermind, lead singer/guitarist Johnny Borrell wants so desperately to be the next Joe Strummer or Lou Reed, and for what Razorlight’s first album lacks in identity, it gathers momentum on effort and sheer will. It’s the same, albeit slightly worse, garage rock revival record that’s been all too common in the early 2000s, but quick, aggressive tracks such as “Vice,” “Rip It Up,” “Golden Touch” and “Stumble and Fall” are undeniably catchy and Borrell himself is largely responsible for playing them as if he really were the next Freddie Mercury.

Razorlight02He wails and passionately groans over some horribly vapid vocals, “hey girl/get on the dancefloor/rip it up, yeah/that’s what it’s there for” (on “Rip It Up”) but even a bad cover version of your favorite Strokes-type song can still appeal to the less cynical part of your brain. Even John Cornfield and Borrell’s production seems like a shoddy attempt to re-create the frontman’s favorite records note for note. His desire to add a layer of grime by muddying up the louder moments (such as on “Don’t Go Back to Dalston,” which starts off quietly before careening into a bloated call and response conclusion) doesn’t remove the feeling that the entire recording process was extremely sterile. At this stage, Borrell lacks the confidence to move beyond his idols, and his energetic music remains a game of spot the influence. (by Erik Leijon)

And one of best songs from this album “In The City” sounds a little bit, like “Gloria” from Them (they use the same chords…)

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Personnel:
Björn Ågren (guitar, vocals)
Johnny Borrell (vocals, guitar)
Carl Dalemo (bass, vocals)
Christian Smith-Pancorvo (drums, vocals)

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Tracklist:
01. Leave Me Alone (Ågren/Borrell/Dalemo/Smith-Pancorvo) 3.50
02.Rock N Roll Lies (Borrell/Fortis) 3.08
03. Vice (Ågren/Borrell/Dalemo/Smith-Pancorvo) 3.14
04. Up All Night (Ågren/Borrell/Dalemo/Smith-Pancorvo) 4.03
05. Which Way Is Out (Ågren/Borrell/Dalemo/Smith-Pancorvo) 3.19
06. Rip It Up (Ågren/Borrell/Dalemo/Smith-Pancorvo) 2.25
07. Don’t Go Back To Dalston (Ågren/Borrell/Dalemo/Smith-Pancorvo) 3.00
08. Golden Touch (Ågren/Borrell/Dalemo/Smith-Pancorvo) 3.25
09. Stumble And Fall (Ågren/Borrell/Dalemo/Smith-Pancorvo) 3.05
10. In The City (Borrell) 4.51
11. To The Sea (Ågren/Borrell/Dalemo/Smith-Pancorvo) 5.31
12. Fall, Fall, Fall (Ågren/Borrell/Dalemo/Smith-Pancorvo) 2.43
13. Get It And Go (Ågren/Borrell/Dalemo/Smith-Pancorvo) 3.23

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Bill Bruford & Michiel Borstlap – Every Step A Dance Every Word A Song (2004)

FrontCover1.jpgDrummer Bill Bruford has certainly come a long way since his emergence with Yes in the early ’70s. While his interest in jazz was evident in the improvisational aspect of his 25-year association with King Crimson, his mathematical sense of precision and disposition towards mind-boggling subdivisions of rhythm often precluded the kind of elasticity required to approach the looser demands of jazz. As early as ’83, however, Bruford was experimenting with the intimate conversational nature of the duo on recordings with Swiss pianist Patrick Moraz, a strong precursor of what was to follow with the formation of his Earthworks Mark I group featuring Iain Ballamy and Django Bates. Still, as wildly exploratory as that group was, and as comfortable as Bruford was at creating natural-feeling grooves in challenging meters, it would take a dozen more years and the creation of his all-acoustic Earthworks Mark II group before he would truly reconcile his predilection for challenging compositional form with a looser, more elastic playing style.

Since the release of Earthworks Mark II’s début, A Part, and Yet Apart (Summerfold, ’99), Bruford’s playing style has loosened up to the point where he is now a far more in-the-moment player, responsive to his musical surroundings. So when he met Dutch pianist Michiel Borstlap in ’02 and began playing duo shows that were less about the confines of structure and more about what Bruford terms “performance-based” music—music of the moment where spontaneity and interaction were the predominant factors—it seemed as though Bruford had made yet another leap forward. With the release of Every Step a Dance, Every Word a Song , an album of live performances culled from dates performed in Europe during ’03 and ’04, Bruford’s evolution is confirmed.

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While Bruford and Borstlap are still more concerned with form than, say, Italian pianist Enrico Pieranunzi—whose recent album with Paul Motian, Doorways , is another beast entirely—the reciprocation between the two jumps out from the first notes of the more structured “The 16 Kingdoms of the 5 Barbarians.” Bruford’s liner notes allude to the fact that the performance space impacts the nature of the musical dialogue—smaller rooms having “the intimacy of a dinner table conversation between old friends,’? while larger venues “naturally become a bit more muscular and assertive.” Still, on more introspective pieces including the title track, the anthem-like “Inhaling Shade,” and an abstract, yet faithful reading of Monk’s “Round Midnight,” Bruford may gently assert the forward motion, but he’s also become a masterful colourist. And while Borstlap’s supplementing of his piano with electronic keyboards sometimes gives the duo a broader complexion, the subtleties of their exchange are never overshadowed by sheer demonstrativeness.

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Every Step a Dance, Every Word a Song may not be as great a step forward for Borstlap, already a well-established jazz figure, but it represents one more advance in the pursuit of a more instinctive and natural approach for Bruford, an artist who has, for all intents and purposes, left his rock roots completely behind him. (by John Kelman)

Recorded live in Europe, 2003-4

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Personnel:
Michiel Borstlap (keyboards)
Bill Bruford (drums, percussion)

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Tracklist:
01. The 16 Kingdoms Of The 5 Barbarians (Bruford/Borstlap) 8.46
02. Bemsha Swing (Best/Monk) 6.07
03. Inhaling Shade (Bruford/Borstlap) 5.34
04. One Big Vamp (Bruford/Borstlap) 6.05
05. Round Midnight (Hanighen/Williams/Monk) 5.40
06. Announcement 0.53
07 Every Step A Dance, Every Word A Song (Bruford/Borstlap) 5.22
08. Stand On Zanzibar (Bruford/Borstlap) 7.55
09. Swansong (Bruford/Borstlap) 6.58

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Willie Nelson – It Always Will Be (2004)

WillieNelsonFrontCover1It Always Will Be is the fifty-second studio album by country singer Willie Nelson. It includes a cover of the Allman Brothers Band’s “Midnight Rider”, recorded here as a duet with Toby Keith. This cover was released, but did not chart. (by wikipedia)

On his millionth album (or does it just feel that way?), Willie Nelson teams with a new band — except for Family Band harmonicat Mickey Raphael — and duets with some major leaguers. Most of the time, It Always Will Be feels like a Willie album of old. Recorded for the Lost Highway label and produced by James Stroud in Nash Vegas, it’s an inspired collection of fine songs for the most part, and Nelson is in fine voice with the edges beginning to show just a tiny bit. He wrote the title cut, one of the strongest here. Lyrically, it’s tender without being overly sentimental, sweet without being saccharine, and delivered with his trademark elegance and grace. The cover of Tom Waits and Kathleen Brennan’s “Picture in a Frame,” though faithful, puts Nelson’s stamp firmly on it. With Raphael’s harmonica, Willie’s acoustic, and a skeletal band featuring an understated pedal steel, Nelson’s dignity in the delivery is deeply moving. When he’s this on fire, the only place he usually blows it is in duets — at least on his own records. There are duets here. “Be That As It May,” with daughter Paula and written by her, is just a gorgeous country song. The pair’s voices contrast beautifully and the tune itself is tight and hooky in a Texas country music way.

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“Dreams Come True,” with Norah Jones, is a pretty swing tune that is forgettable but far from offensive, and Lucinda Williams is the star on her own “Overtime.” Willie and Lucinda were made to sing together; the melancholy of the tune lends itself well to her whiskey contralto and his easy baritone. The tune sweetly drifts and lilts with swaying guitars, an accordion, and whispering brushwork. Toby Keith makes an appearance singing background vocals on his “Tired,” but Nelson makes the song his own. Nelson’s “Texas” is a wonderful mariachi blues song that gives way to bittersweet Southwestern honky tonk balladry and showcases his excellent guitar work. The set closes with the album’s only dog, a big-beat over-produced dancy punch-up of Gregg Allman’s classic “Midnight Rider.” It sucks bad. Why this song made the cut is a mystery, but it’s a typical thing for Nelson, to add something that just doesn’t fit. Thankfully, it’s the album’s final song and can be skipped. Be that as it may, It Always Will Be is the best outing for Nelson since Teatro. (by Thom Jurek)

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Personnel:
Eddie Bayers (drums)
Dan Dugmore (pedal steel-guitar)
Chris Dunn (horn)
Scotty Emerick (guitar)
Shannon Forrest (drums)
Paul Franklin (pedal steel-guitar)
Kenny Greenberg (guitar)
Wes Hightower (vocals)
Jim Horn (horn)
Clayton Ivey (keyboards)
Amy James (vocals)
Sam Levine (horn)
Liana Manis (vocals)
Brent Mason (guitar)
Steve Nathan (keyboards)
Willie Nelson (guitar, vocals)
Steve Patrick (horn)
Mickey Raphael (harmonica)
Michael Rhodes (bass)
Matt Rollings (keyboards)
Biff Watson (guitar)
Glenn Worf (bass)

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Tracklist:
01. It Always Will Be (Nelson) 4.12
02. Picture In A Frame (Waits/Brennan) 3.39
03. The Way You See Me (Adams/Day) 4.21
04. Be That As It May (Nelson) (Duet with Paula Nelson) 3.29
05. You Were It (Nelson) 4.28
06. Big Booty (Throckmorton) 3.03
07. I Didn’t Come Here (And I Ain’t Leavin’) (Emerick/Smotherman) 3.10
08. My Broken Heart Belongs To You (Anderson/Nelson) 2.26
09. Dreams Come True (Hopkins) (Duet with Norah Jones) 4.35
10. Over Time (Williams) (Duet with Lucinda Williams) 3.45
11. Tired (Cannon/Keith) 4.19
12. Love’s The One And Only Thing (Emerick/Loggins) 3.35
13. Texas (Nelson) 3.56
14. Midnight Rider (Allman/Payne) (Duet with Toby Keith) 3.00

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Gillian Welch and David Rawlings – Nobody Sings Dylan Like Gill ‘n’ Dave (2019)

FrontCover1.jpgIf you saw Gillian Welch and David Rawlings on the Oscars this year, you know they’re amazing. You may not know they are also amazing interpreters of a certain Nobel Prize-winning singer-songwriter. They were featured often on my 40-volume Dylan cover collection “Nobody Sings Dylan Like Dylan,” but when I heard that the Dave Rawlings Machine had covered “Lily, Rosemary and the Jack of Hearts” at a San Francisco concert last year – opening the show with the first half of the song, and closing it with the second half – I decided it was time to give them their own NSD collection. A year later, here it is.

As always, thanks to the tapers – they are the true heroes of the ROIO world – and to Gill and Dave for daring to test their mettle on these incomparable songs. As you might remember, in the summer of 2015 Gill ‘n’ Dave did a 50th anniversary tribute at the Newport Folk Festival to the historic show at which Dylan first plugged in. Surprisingly, it has never turned up on any of the download sites I frequent, though there is a barely listenable/watchable version on YouTube. If you have a better version to offer, please do; if you don’t want to bother with the nuts and bolts of uploading, let me know and I’ll do it for you.

A few of these songs are featured on other NSD sets, but these are different versions. Finally, please allow me to dedicate this collection to my friend and fellow Dylan fan Erik, who first introduced me to Gill ‘n’ Dave’s music in 1996 by giving me a copy of “Revival” and telling me I’d love it. I did, and I still do. (jeffs98119 at dime)

Various dates and venues. Mix of audience and soundboard recordings
between 1996 and 2018

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Dave Rawlings & Gillian Welch (Oscar 2019)

Personnel:
Dave Rawlings Machine (on 01., 03., 05., 07., 11. + 13.)
The Esquires (on 02. + 09.)
Gillian Welch & David Rawlings (on 04., 06., 08., 10. + 12.)

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Tracklist:
01. Lily, Rosemary, and the Jack of Hearts (1) (Mar 1, 2018, Fillmore, San Francisco, CA) 7.36
02. Gotta Serve Somebody (Sep 27, 1999, Radio Cafe, Nashville, TN) 7.31
03. I’ll Be Your Baby Tonight (Oct 4, 2007, Tangier Restaurant, Los Angeles, CA) 5.00
04. I Dreamed I Saw St Augustine (Aug 21, 1996, Acoustic Coffee House, Nederland, CO) 3.42
05. As I Went Out One Morning (Sep 24, 2014, Moore Theatre, Seattle, WA) 5.32
06. Billy (Nov 18, 1998, Off Broadway, St. Louis, MO) 6.13
07. Oh, Sister (Mar 8, 2018, McDonald Theater, Eugene, OR) 5.10
08. Goin’ to Acapulco (Oct 13, 2004, McDonald Theatre, Eugene, OR) 5.53
09. Quinn The Eskimo (Sep 27, 1999, Radio Cafe, Nashville, TN) 3.29
10. Odds And Ends (Aug 2004, WXPN Studios/World Café session, Philadelphia, PA) 2.58
11. Queen Jane Approximately (Jun 20, 2014, Town Park, Telluride, CO) 10.28
12. Mr Tambourine Man (Oct 3, 2015, Golden Gate Park, San Francisco, CA) 6.07
13. Lily, Rosemary, and the Jack of Hearts 2 (Mar 1, 2018, Fillmore, San Francisco, CA) 5.05

All songs written by Bob Dylan

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Johnny Mastro And Mama´s Boys – The Black Album (2004)

FrontCover182 year old, forty-year veteran blues club owners from Vicksburg Mississippi don’t get impressed with slicked back hair and suits that went out in the 50’s….just dress nice and remember no shorts on stage. They don’t care who you played with….B.B., Albert, Big Mama, Pee Wee, George Smith, Neckbone, William Clarke, Mickey Champion and all the rest have already been there in person sweating it out just like you. Blues music to them is a living, breathing, drinking and dancing thing that they made their living from….not some petrified, mystified, glorified, rule-laden hallowed treasure to be worshipped on a pedestal. Basically, they know where the music comes from…but they really don’t care about this either. All they want to know is…can you play with soul?

Mama’s Boys come out of Los Angeles/Long Beach and were named after club owner Miss Laura Mae “Mama” Gross. They are led by harmonica player Johnny Mastro who learned to play and sing with Mama watching over. Harps aren’t the favorite instrument in these sax-friendly clubs so you have to know what your doing. But right along with George Smith and William Clarke, Johnny is her favorite. Dave Melton is one of the most soulful guitarists you’ll ever hear and many of LA’s guitarists come out to watch his hands and slide. You can put the rhythm section up against any in the business …no B.S.Mama calls them all her sons and encouraged them to listen, be yourself, and play from the heart.

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The Boys have played over 250 gigs a year for the last 9 years, headlined the 28th Annual Grand Prix of Long Beach, have been nominated for “Best Blues Artist” by LA Music Awards, were named “Best Unsigned Blues Band” in Southern California by Doheny Blues Festival, were one of two finalists in LA’s RockWar 2000, voted one of LA’s “Top 100 Unsigned Bands” by Music Connection Magazine, were featured on the national/international syndicated radio program “Blues Deluxe”, recorded 5 CD’s, and can still be found down at Babe’s & Ricky’s Inn. (by cdbaby)

Johnny Mastro & Mama’s Boys’ music, with its alarming, undisciplined presence, is on the cutting edge of modern Blues style. Although the band is awash with shocking juxtapositions that give it a dangerous, reckless look, the music is suprisingly accessible, even in larger venues. See them live is always a deeply moving entertainment experience.

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It was over 12 years ago at the oldest Blues club in Los Angeles, Babe’s and Ricky’s, that Johnny Mastro (harp & vocals) found himself in a Blues band called Mama’s Boys. Johnny was encouraged and guided by the band’s namesake, Ms. Laura-Mae “Mama” Gross, proprietor of the club since its earliest beginnings back in 1957. Johnny’s passion for Blues to propelled the band forward, building a local following that kept coming back week after week. Soon the Mama’s Boys band was playing its energy-infused Blues in other Southern California venues as well, often to sell-out crowds.

Looking back at what happened next tells most of this story: Mama’s Boys has consistently played 250+ gigs each year in Southern California for over 10 years running. They might be one of the hardest working young Blues bands in the world. And the world, it seems, is now beginning to discover what many Southern Californians have understood for years: Mama’s Boys Kick Ass.

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On The Black Album Mama’s Boys offer Blues that is raw and powerful,without excuses or apologies. They don’t need them. Mama’s Boys is carving its initials in the territory of blues benchmarks set by Hound Dog, Buddy, Muddy, Wolf, Willie, Walter, Junior, and Elmore, among others. It’s electrified Blues like you could have heard in a club on
the South Side of Chicago in about 1949; a musical expression of the kind of raw emotion that is the true grit of life. Fans of Chicago Blues will snap up this new Mama’s Boys CD, then get the two released before it, also excellent, Chicken & Waffles (2002) and Pinch That Snake (2001).

The band has just returned to L.A. after a wildly successful first tour of Europe and they are ready to rip it up in the homeland, from sea to shining sea. On this CD they have proven themselves worthy of the trip.

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Johnny Mastro’s gutsy, emotive harp is a perfect companion to his distinctive world-class vocals. Couple that with Jimmy Goodall’s greasy lock on the drums and suddenly we begin to understand the Mama’s Boys’ unflinching grasp on excellence. Without need for ego trips, these guys each play well enough to lead their own Blues band. It’s that simple.

Mastro5The music is recorded with simplicity, too. For this CD they went into the studio, set up some mikes and played live for about four hours. Then they did that again. These songs are taken from those live sessions, raw and natural. Not many bands have the guts to record like that, knowing that even the smallest error gets amplified by the recording process. When music stands as it is, without any overdubs or other studio tricks, you get the truth. On this new CD, or any of the Mama’s Boys’ CDs you can pick up at their performances, you’ll hear just that, the truth: the same great music by the same great musicians you saw on stage.

When Mama’s Boys come to play in your town, I urge you to make it a point to go see them play. You’ll be treated to rock-solid high-energy Blues and a butt-movin’ good time, guaranteed. (by Gary Wagner)

Oh yes … play this album loud … because it´s hot and dirty !

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Personnel:
Denny Freeman (guitar)
Jimmy ‘Jimbo’ Goodall (drums)
Jeff Henry (bass)
Johnny “Mastro” Mastrogiovanni (harmonica, vocals)
Dave Melton (guitar, slide-guitar, vocals)

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Tracklist:
01. Slave (Mastrogiovanni) 4.10
02. Loverman (Mastrogiovanni) 4.07
03. Cry For Me (Mastrogiovanni/Goodall) 4.32
04. Middle Of The Night (Mastrogiovanni/Henry) 3.23
05. Think Twice Before You Go (Hooker) 3.05
06. Can’t Kick the Habit (Dupree) 6.40
07. Sleeping In The Ground (Meyers) 3.19
08. Flat Down On My Back (Shah/Glazer/Mastrogiovanni) 4.56
09. Chariot (James/Levy) 3.32
10. Done Somebody Wrong (James/Levy) 4.31
11. Billy Boy (Melton/Mastrogiovanni) 3.29

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“Hugely promising band. The dark drama of Mastro’s singing and harp playing and Dave Melton’s guitar recalls the early Paul Butterfield Band, while the recording ambience conjures up the 50s storefront studios of Chicago.” MOJO

“This marvellous album is as good an example as one would wish to hear of gritty gutbucket R&B in the Chicago style. Impossible to play quietly.” BLUES MATTERS

Lisa Gerrard & Patrick Cassidy – Immortal Memory (2004)

FrontCover1.jpgImmortal Memory is an album by Dead Can Dance member Lisa Gerrard and Irish classical composer Patrick Cassidy, released in 2004. It was Gerrard’s first studio release since 1998’s Duality with Pieter Bourke.

Gerrard first met Cassidy in 2000 in Los Angeles (where he lives), when she came to work on the Gladiator soundtrack, and they planned to work together one day. When they eventually found a shared two-month break, they joined at Gerrard’s Australian studio for this record.

The W. B. Yeats poem “Sailing to Byzantium” inspired the track of the same name.

The lyrics utilise three ancient languages:

Gaelic Irish) in “The Song of Amergin” poetically deicted as the first song sung by a mortal on Irish soil).
Aramaic in “Maranatha” (meaning “come lord, come teacher”), and “Abwoon” (meaning “our father”, a rendition of the “Lord’s Prayer” in the language of Jesus).
Latin in “Psallit in Aure Dei” (meaning “singing in the ear of God”, a dirge for Patrick Cassidy’s late father). (by wikipedia)

Lisa Gerrard2Since the demise of Dead Can Dance, the Australian band who performed ethereal goth with medieval and eastern influences, Lisa Gerrard’s unique vision and rich contralto voice has graced a variety of soundtracks, most famously Gladiator’s.

Collaborator Patrick Cassidy is a celebrated Irish classical composer. You might think these talents could disappear up an obscure path. But while the scope of Immortal Memory is huge – Gerrard sings in Gaelic, Latin and Aramaic, the ancient language spoken by Christ – the music is entirely accessible.

Forget that each song apparently evokes a stage through life, death and rebirth and concentrate on the spine-tingling beauty of the hums, wails and chants.

The Song of Amergin is primal, Gerrard concentrating on the buzzing sound of the Gaelic words. Maranatha is a spiritual mantra that transcends religion; Gerrard takes command of the melancholy melodies in a voice that is dark and dense, then high and fragile. Best of all is Abwoon (Our Father), which takes the Lord’s Prayer out of school assembly and re-creates it as a shimmering poem. (by Betty Clarke)

Immortal Memory is a collaboration between vocalist Lisa Gerrard and Irish composer Patrick Cassidy. Billed as a cycle of life and death and rebirth, Immortal Memory is better Lisa Gerrard + Patrick Cassadydescribed as an orphaned film score. Cassidy’s warm arrangements allow the former Dead Can Dance singer to step out of the dark medieval world that she’s called home for nearly 20 years — though there is much of that world within these castle walls — and focus on the simplicity of love, faith, and loss with a grace that’s bereft of the icy perfection of her previous work. Gerrard, whose voice has aged like the finest oak, displays an almost supernatural mastery of the material. Her effortless contralto wraps itself around the ten Gaelic, Latin, and Aramaic spirituals like an evening prayer, making each stunning entrance the equivalent of audio comfort food. Echoing her collaboration with composer Hans Zimmer on the Academy Award-winning Gladiator — Gerrard and Cassidy framed this work during the recording of the film’s soundtrack — ethereal pieces like the solo showpiece “Elegy” and the Cassidy-penned lament for his late father, “Psallit in Aure Dei,” are powerful statements hatched by two people who understand each other like old friends. The majestic opener, “Song of Amergin,” with its sublime Celtic melody and slow build, is indicative of the pieces to follow, allowing listeners the time to decide whether or not this is a road they wish to travel. Fans of Enya, Dead Can Dance, or snowy, image-laden soundscapes of powerful quietude will have no problem making that choice. (by James Christopher Monger)

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Personnel:
Patrick Cassidy (synthesized instruments)
Lisa Gerrard (vocals)

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Tracklist:
01. The Song Of Amergin (Gerrard/Cassidy) 5.30
02. Maranatha (Come Lord) (Gerrard/Cassidy) 6.18
03. Amergin’s Invocation (Gerrard/Cassidy) – 6:19
04. Elegy (Gerrard/Cassidy) – 6:41
05. Sailing to Byzantium (Gerrard/Cassidy) – 5:04
06. Abwoon (Our Father) (Gerrard/Cassidy)– 4:12
07. Immortal Memory (Gerrard/Cassidy) – 4:28
08. Paradise Lost (Gerrard/Cassidy) – 7:03
09. I Asked for Love (Gerrard/Cassidy) – 5:00
10. Psallit in Aure Dei (Cassidy) – 9:01

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Drive-By Truckers – The Dirty South (2004)

FrontCover1.jpgThe Dirty South is the fifth album by Alabamian alternative country/Southern rock group Drive-By Truckers, released in 2004. The Dirty South is Drive-By Truckers’ second concept album. Like its predecessor, Southern Rock Opera, the album examines the state of the South, and unveils the hypocrisy, irony, and tragedy that continues to exist.

“Where The Devil Don’t Stay” was inspired by a poem by Mike Cooley’s uncle Ed Cooley, and was recorded in one take.

Patterson Hood’s “Tornadoes” was originally written in 1988 in reaction to the closing concert for the Adam’s House Cat Nightmare Tour. The Nightmare Tour set list was composed almost exclusively of songs containing metaphors or imagery of trains, but the lack of the tour’s success forced Hood and his band to abandon the concept and start afresh. Hood read an eyewitness account of the tornado in the local paper the next day and wrote “Tornadoes” after reading her statement that “it sounded like a train.”

Isbell’s “The Day John Henry Died,” retells the story of John Henry.

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“Puttin’ People on the Moon”, written by Hood, tells the story of a town downriver of Huntsville and their “rocket envy” or economic depression due to the negative environmental and economic effects of NASA’s Marshall Space Flight Center.

Mike Cooley’s “Carl Perkins’ Cadillac” recounts the celebrated Sun Records, Sam Phillips, and the music industry in general.

“The Sands of Iwo Jima” recounts Hood’s experiences with his great uncle while growing up in North Alabama. Questioning the veracity of the movie, his uncle answers he never saw John Wayne on the sands of Iwo Jima.

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Isbell’s second track on the album, “Danko/Manuel,” is a departure from the usual southern gothic lyrical style written by Cooley and Hood. Originally Isbell tried to tell the story of Rick Danko, Richard Manuel, and The Band’s demise, but found the scope of the concept too difficult to actually do justice to their story, and instead shifted the concept to a telling of life of a musician through the eyes and actions of Danko and Manuel. Isbell stated that the horn parts for the song came to him in a dream.

“The Dirty South” contains a three song suite (“The Boys From Alabama,” “Cottonseed” and “The Buford Stick”) about Sheriff Buford Pusser. “The Boys From Alabama” was inspired by the misconceptions and “really bad movies” of the Redneck Mafia and recounts the movie “Walking Tall”‘ from a “different point of view.” Hood felt that telling the story from “the bad guy’s” point of view would be more interesting. Cooley’s “Cottonseed” tells a story of corruption, crime, killing, greed, fixed elections, guns, drugs, prostitution and alcohol and uses subtle imagery to provide a very negative interpretation of Pusser. Hood’s “The Buford Stick” completes the suite by providing examples of the negative effects of Pusser’s actions while offering a less glorified view of the mythology surrounding Pusser.

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Cooley’s last song on the album is a story about a father who instills a love of racing in his son. “Daddy’s Cup” is the only song on “The Dirty South” that does not revolve around a negative experience, instead offering a lighter touch to the overall dirty feel of the album.

Isbell has explained that “Never Gonna Change” is simply about a stubborn North Alabama man who “refuses to live in fear,” which Isbell goes on to explain are rather rare.

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“Lookout Mountain” was written around 1990 by Hood, and can be heard in its original incarnation on Adam’s House Cat’s LP Town Burned Down. It was a last minute addition to the album, beating out another Hood song entitled “Goode’s Field Road.” “Goode’s Field Road” was eventually rerecorded for 2008’s Brighter Than Creation’s Dark, however the cut that was dropped from The Dirty South managed to see the light of day on The Fine Print: A Collection of Oddities and Rarities. The version as it appears on The Dirty South was recorded in one take.

The Dirty South ends with Isbell’s “Goddamn Lonely Love.” Though described by Isbell as a love song, “Goddamn Lonely Love” heavily and painfully delves into the loneliness associated with love. Isbell wrote the song for Shonna Tucker. (by wikipedia)

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When you’ve named your band the Drive-By Truckers and your first three albums are called Pizza Deliverance, Gangstabilly, and Alabama Ass Whuppin’, you might have a hard time at first convincing folks that you aren’t joking. But the Drive-By Truckers proved that they were most definitely not kidding with 2001’s brilliant double-disc Southern Rock Opera, and 2003’s Decoration Day actually upped the ante on what might have been a fluke masterpiece with its dark and thoroughly absorbing chronicle of hard times in the American South. With The Dirty South, the DBTs have crafted an equally effective companion piece to Decoration Day that plays on the gangsta rap reference of its title with a set of vividly rendered portraits of life along the margins of respectability below the Mason-Dixon line, from laid-off factory rats dealing drugs to feed their kids to Alabama gangsters determined to shut down the cops who made their daughters cry. From the first low, metallic stomps from Brad Morgan’s kick drum on “Where the Devil Don’t Stay,” it’s clear that The Dirty South isn’t going to be a good-time party most of the way, and while there are some brilliant anthemic rockers on this album (most notably “The Day John Henry Died,” “Carl Perkins’ Cadillac,” and “Never Gonna Change”), and Patterson Hood, Mike Cooley, and Jason Isbell have grown into a force to be reckoned with as both guitarists and songwriters, there’s more than a little blood, fear, doubt, shame, and simple human tragedy at the heart of these stories.

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While much of America might be laughing at “You might be a redneck…” jokes, the Drive-By Truckers aren’t about to let anyone forget the harsh truth behind growing up on the wrong side of the tracks in this country, and the tough, muscular force of their music only sharpens the bite of their stories. They can also turn down the amps and still hit you in the heart, especially on “Danko/Manuel” and “Daddy’s Cup,” and David Barbe’s production gives this band the full-bodied clarity they’ve always deserved. Believe it — the Drive-By Truckers are the best, smartest, and most soulful hard rock band to emerge in a very long time, and while The Dirty South isn’t always good for laughs, it has too many great stories and too much fierce, passionate rock & roll for anyone who cares about such things to dare pass it up. (by Mark Deming)

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Personnel:
Mike Cooley (vocals, guitar, banjo on 06. + 08., harmonica on 06.)
Patterson Hood (vocals, guitar, piano on 02 – 14.)
Jason Isbell (vocals, (guitar, piano on 02., 07. + 08. organ on 14., mellotron on 07.)
Brad Morgan (drums, percussion)
Shonna Tucker (bass, background  vocals)
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David Barbe (piano on 04., 06., organ on 08, background vocals on 13.)
Clay Leverett (background vocals on 02.)
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The Minor Hill Singers (background  vocals on 01.):
Jason Isbell – Kimberly Morgan – Shonna Tucker
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The State Line Chain Gang (percussion 08.)

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Tracklist:
01. Where The Devil Don’t Stay (Cooley) 5.18
02. Tornadoes (Hood) 4.13
03. The Day John Henry Died (Isbell) 3.46
04. “Puttin’ People on the Moon” Patterson Hood 4:55
05. Carl Perkins’ Cadillac (Cooley) 5.24
06. The Sands Of Iwo Jima (Hood) 4.10
07. Danko/Manuel (Isbell) 5.43
08. The Boys From Alabama (Hood) 4.24
09. Cottonseed (Cooley) 6.20
10. The Buford Stick (Hood) 4.40
11. Daddy’s Cup (Cooley) 5.53
12. Never Gonna Change (Isbell) 5.23
13. Lookout Mountain (Hood) 5.00
14. Goddamn Lonely Love (Isbell) 4.55

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