General Comments for all Naweedna cds
A7 Cherry Ball Blues - Ry Cooder
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- A8 Dont Know Why - Norah Jones Come Away With Me (2002)
- A9 Everything I Have Is Yours - Max Robb PHC-D
- A10 And I Love Her - Gary McFarland Soft Samba (1964)
- A11 Spoonful - Heather Eatman Real (2001)
- A12 Ebudæ – Enya Shepard Moon (1991)
- A13 First Day Of Spring - Colorblind James Experience Colorblind James Experience (1987)
A7 Cherry Ball Blues - Ry Cooder Boomer's Story (1972) This is one of my favorite old Cooder tracks. This is from his second album. The first is untitled but has a picture of an Airstream trailer. I call it the Airstream album. Duh! Whether serving as a session musician, solo artist, or soundtrack composer, Ry Cooder's chameleon-like fretted instrument virtuosity, songwriting, and choices of material encompass an incredibly eclectic range of North American musical styles, including rock & roll, blues, reggae, Tex-Mex, Hawaiian, Dixieland jazz, country, folk, R&B, gospel, and vaudeville. The 16-year-old Cooder began his career in 1963 in a blues band with Jackie DeShannon and then formed the short-lived Rising Sons in 1965 with Taj Mahal and Spirit drummer Ed Cassidy. Cooder met producer Terry Melcher through the Rising Sons and was invited to perform at several sessions with Paul Revere and the Raiders. During his subsequent career as a session musician, Cooder's trademark slide guitar work graced the recordings of such artists as Captain Beefheart (Safe As Milk), Randy Newman, Little Feat, Van Dyke Parks, the Rolling Stones (Let It Bleed, Sticky Fingers), Taj Mahal, and Gordon Lightfoot. He also appeared on the soundtracks of Candy and Performance. Cooder made his debut as a solo artist in 1970 with a self-titled album featuring songs by Leadbelly, Blind Willie Johnson, Sleepy John Estes, and Woody Guthrie. The follow-up, Into the Purple Valley, introduced longtime cohorts Jim Keltner on drums and Jim Dickinson on bass, and it and Boomer's Story largely repeated and refined the syncopated style and mood of the first. In 1974, Cooder produced what is generally regarded as his best album, Paradise and Lunch, and its follow-up, Chicken Skin Music, showcased a potent blend of Tex-Mex, Hawaiian, gospel, and soul music, and featured contributions from Flaco Jimenez and Gabby Pahinui. In 1979, Bop Till You Drop was the first major-label album to be recorded digitally. In the early '80s, Cooder began to augment his solo output with soundtrack work on such films as Blue Collar, The Long Riders, and The Border; he has gone on to compose music for Southern Comfort, Goin' South, Paris, Texas, Streets of Fire, Alamo Bay, Blue City, Crossroads, Cocktail, Johnny Handsome, Steel Magnolias, and Geronimo. Music by Ry Cooder (1995) compiled two discs' worth of highlights from Cooder's film work. In 1992, Cooder joined Keltner, John Hiatt, and renowned British tunesmith Nick Lowe, all of whom had played on Hiatt's Bring the Family, to form Little Village, which toured and recorded one album. Cooder next turned his attention to world music, recording the album A Meeting by the River with Indian musician V.M. Bhatt. Cooder's next project, a duet album with renowned African guitarist Ali Farka Toure titled Talking Timbuktu, won the 1994 Grammy for Best World Music Recording. Boomer's Story Artist Ry Cooder Album Title Boomer's Story Date of Release 1972 (release) AMG Rating 4.5 * Genre Rock Time 38:38 Largely laidback and bluesy, this album features a number of paeans to an America long lost. — Jeff Tamarkin 1. Boomer's Story (Traditional) - 4:13 2. Cherry Ball Blues (James) - 4:10 3. Crow Black Chicken (Wilson) - 2:14 4. Ax Sweet Mama (Estes) - 4:23 5. Maria Elena (Barcelata/Russell) - 4:30 6. Dark End of the Street (Moman/Penn) - 3:25 7. Rally Round the Flag (Root/Traditional) - 3:34 8. Comin' in on a Wing and a Prayer (Adamson/McHugh) - 3:00 9. President Kennedy (Estes) - 4:39 10. Good Morning Mr. Railroad Man (Traditional) - 4:30 A8 Don't Know Why - Norah Jones Come Away With Me (2002) You probably have had enough of this by now, but here it is anyway. Did you know she is Ravi Shankar’s daughter? Connections, eh? Sultry vocalist and pianist Norah Jones developed her unique blend of jazz and traditional vocal pop with hints of bluesy country and contemporary folk due in large part to her unique upbringing. Born March 30, 1979, in New York City, the daughter of Ravi Shankar quietly grew up in Texas with her mother. While she always found the music of Billie Holiday and Bill Evans both intriguing and comforting, she didn't really explore jazz until attending Dallas' Booker T. Washington High School for the Performing and Visual Arts. During high school, Jones won the Down Beat Student Music Awards for Best Jazz Vocalist and Best Original Composition in 1996, and earned a second Best Jazz Vocalist award in 1997. Putting her vocal talents on the back burner, Jones worked toward earning a degree in jazz piano at the University of North Texas for two years before accepting a friend's offer of a summer sublet in Greenwich Village during the summer of 1999. Although she fully intended to return to college that fall, the lure of the folk coffeehouses and jazz clubs proved too strong and she soon became inspired to write her own songs. Jones appeared regularly with the Trip-hop-Electronica band Wax Poetic and assembled her own group around songwriters Jesse Harris (guitar) and Lee Alexander (bass), with Dan Rieser on drums. In October of 2000, the group recorded a handful of demos for Blue Note Records and on the strength of these recordings, Jones signed to the jazz label in early 2001. Following an appearance on Charlie Hunter's Songs From the Analog Playground, Jones spent much of 2001 performing live with Hunter's group and working on material for her debut. Come Away With Me, recorded by Craig Street (Cassandra Wilson, Manhattan Transfer, k.d. lang) and legendary producer Arif Mardin (Aretha Franklin, Dusty Springfield, the Bee Gees), was released in early 2002 and garnered much public attention. The combination of her striking beauty and the fact that she was the daughter of an internationally renowned musician placed Jones in the awkward position of defending her music from those who dismissed her as another pretty face (the same argument used by those opposed to Diana Krall) and/or another riding the coattails of her musical royal heritage (see Natalie Cole, Miki Coltrane, Corey Parker). Although not by any stretch a "jazz" album (the label chooses to call it "jazz-informed"), it does feature jazz guitarist Bill Frisell and session drummer Brian Blade, and seems to indicate a new direction Blue Note is willing to take. Jones and her group followed up the release of Come Away With Me with a series of tour dates on the West Coast. Come Away With Me Artist Norah Jones Album Title Come Away With Me Date of Release Feb 26, 2002 AMG Rating 4 * Genre Vocal Norah Jones's debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin. (It's pretty much an open secret that the 22-year-old vocalist and pianist is the daughter of Ravi Shankar.) Jones is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wolleson; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics. (Harris made an intriguing guest appearance on Seamus Blake's Stranger Things Have Happened.) Jones, for her part, wrote the title track and the pretty but slightly restless "Nightingale." She also includes convincing readings of Hank Williams's "Cold Cold Heart," J.D. Loudermilk's "Turn Me On," and Hoagy Carmichael's "The Nearness of You." There's a touch of Rickie Lee Jones in Jones's voice, a touch of Bonnie Raitt in the arrangements; her youth and her piano skills could lead one to call her an Alicia Keys for grown-ups. While the mood of this record stagnates after a few songs, it does give a strong indication of Jones' alluring talents. — David R. Adler 1. Don't Know Why (Harris) - 3:06 2. Seven Years (Alexander) - 2:25 3. Cold, Cold Heart (Williams) - 3:38 (future Naweedna selection) 4. Feelin' the Same Way (Alexander) - 2:57 5. Come Away With Me (Jones) - 3:18 6. Shoot the Moon (Harris) - 3:56 7. Turn Me On (Loudermilk) - 2:34 8. Lonestar (Alexander) - 3:06 (future Naweedna selection) 9. I've Got to See You Again (Harris) - 4:13 10. Painter Song (Alexander/Hopkins) - 2:42 11. One Flight Down (Harris) - 3:05 12. Nightingale (Jones) - 4:12 13. The Long Day Is Over (Harris/Jones) - 2:44 14. The Nearness of You (Carmichael/Washington) - 3:07
Soft Samba Artist Gary McFarland Album Title Soft Samba Date of Release Jun 15, 1964 - Oct 7, 1964 (recording) AMG Rating 1 * Genre Jazz AMG REVIEW: Very popular in its day and still loathed by jazz lovers that remember it today. No jazz here and little of interest to those outside the bachelor-pad scene. — Douglas Payne 1. She Loves You 2. La Vie en Rose 3. California, Here I Come 4. I Want to Hold Your Hand (Lennon/McCartney) 5. From Russia With Love (Bart) 6. And I Love Her (Lennon/McCartney) 7. The Good Life 8. Emily 9. The Love Goddess 10. More (Ciorciolini/Newell/Oliviero/Ortolani) 11. Ringo 12. A Hard Day's Night (Lennon/McCartney) A11 Spoonful - Heather Eatman Real (2001) I hated this the first time I heard it on WFUV. After a couple more samplings, however, I started to like it. I especially like the conflict between the innocent little voice and the gut-bucket blues classic. Heather Eatman grew up in a theatrical household — her father directed plays at colleges in Texas, Michigan, and Pennsylvania, and she developed a strong affinity for the tragic, weary, memorable female characters of Tennessee Williams. She credits the theater with helping her overcome her shyness by demonstrating to her that she could create her own world through her songs and that once she was onstage, she could manipulate the way she came across. She moved to Manhattan at 17 years of age to attend the Parsons School of Design and was soon performing at bars and clubs around the city. The theatrical influence comes across in Eatman's spare acoustic songs, many of which concern Williams-esque female characters beaten down and scarred by life. Her album roster includes Mascara Falls which was released by John Prine's label Oh Boy in (1995), her critically acclaimed self-produced album, Candy and Dirt in (1999), and Real, which was issued by Eminent Records in (2001). Real Artist Heather Eatman Album Title Real Date of Release May 8, 2001 AMG Rating 4 * checked Genre Folk Though she maintains her traditional folk attributes, Heather Eatman's third release, recorded in Nashville, is a no-nonsense roots rock collection that expertly draws from classic pop ("Mine"), Americana ("Blackfoot"), blues ("Train," and a coquettish reading of Willie Dixon's "Spoonful"), and blue-eyed soul ("Phone Call"). Eatman's smoky vocal delivery, which is up front in the mix at all times, is the perfect vehicle to convey her tempered tough/sensitive observations of the human condition. Former Lone Justice pianist Bruce Brody co-wrote two standout tracks, the Beatlesque "How" and the lush dirge "Too Wild," a tender farewell to an ailing horse. Eatman's romantic side surfaces in "Heaven Help Us," a mid-tempo ballad that contrasts a stale love affair with a decaying movie theater in an aural backdrop that recalls John Lennon's early '70s work. On each cut, the singer's compositions are embellished with an array of guitar textures that stretch from Keith Richards' patented bar-band riffing to dissonant fragments of sound, along with stellar atmospheric keyboard work from Brody and producer Roger Moutenot. Lyrically and melodically, Eatman is at the top of her game, and her air-tight backing band captures the spark of a live performance in the confines of a recording studio without wasting a note. — Tom Semioli 1. Mine - 2:49 2. Blackout - 3:36 3. Train - 3:12 4. Heaven Help Us - 4:08 5. How - 3:45 6. Spoonful - 3:20 7. Real - 3:32 8. Phone Cal - 3:21 9. Mixed-Up Girl - 4:06 10. Midnight Shift - 2:45 11. On the Boulevard - 4:08 12. Too Wild - 7:07 A12 Ebudæ – Enya Shepard Moon (1991) There is a long story behind this … and all my other Enya tracks. We were watching an episode of Northern Exposure that featured the Native American receptionist, Marilyn. They played this track at the end of the show. It raised the hair on my neck. I’m a fool for Native American stuff, and, because the whole show was about Marilyn, I assumed this was a Native American piece. It seems others were equally intrigued because there was an article in the paper about it. The article identified the artist, but not the track or CD from which the track came. Okay, so now we know it was Enya, whoever that is, so we went to Buzzo’s and found two Enya CDs – and bought ‘em both. Of course, this is the only track like this on either CD. So now it is in a Naweedna CD, and I can put the rest of my Enya away. With her blend of folk melodies, synthesized backdrops, and classical motifs, Enya created a distinctive style that more closely resembled new age than the folk and Celtic music that provided her initial influences. Enya is from Gweedore, County Donegal, Ireland, which she left in 1980 to join the Irish band Clannad, the group that already featured her older brothers and sisters. She stayed with Clannad for two years, then left, hooking up with producer Nicky Ryan and lyricist Roma Ryan, with whom she recorded film and television scores. The result was a successful album of TV music for the BBC. Enya then recorded Watermark (1988), which featured her distinctive, flowing music and multi-overdubbed trancelike singing; the album sold four million copies worldwide. Watermark established Enya as an international star and launched a successful career that lasted well into the '90s. Enya (born Eithne Ní Bhraonáin) was born into a musical family. Her father, Leo Brennan, was the leader of the Slieve Foy Band, a popular Irish show band; her mother was an amateur musician. Most importantly to Enya's career, was her siblings, who formed Clannad in 1976 with several of their uncles. Enya joined the band as a keyboardist in 1979, and contributed to several of the group's popular television soundtracks. In 1982, she left Clannad, claiming that she was uninterested in following the pop direction the group had begun to pursue. Within a few years, she was commissioned, along with producer/arranger Nicky Ryan and lyricist Roma Ryan, to provide the score for a BBC-TV series called The Celts. The soundtrack was released in 1986 as her eponymous solo album. Enya didn't receive much notice, but Enya and the Ryans' second effort, Watermark, became a surprise hit upon its release in 1988. "Orinoco Flow," the first single, became a number one hit in Britain, helping the album eventually sell eight million copies worldwide. Enya spent the years following the success of Watermark rather quietly; her most notable appearance was a cameo on Sinéad O'Connor's I Do Not Want What I Haven't Got. She finally released Shepherd Moons, her follow-up to Watermark, in 1991. Shepherd Moons was even more successful than its predecessor, eventually selling over ten million copies worldwide; it entered the U.S. charts at number 17 and remained in the Top 200 for almost four years. Again, Enya was slow to follow up on the success of Shepherd Moons, spending nearly four years working on her fourth album. The record, entitled Memory of Trees, was released in December of 1995. Memory of Trees entered the U.S. charts at number nine and sold over two million copies within its first year of release. 1997 saw the release of a greatest-hits collection, Paint the Sky with Stars: The Best of Enya, which featured two new songs. Enya's first album of new material in five years, Day Without Rain, was released in late 2000. Shepherd Moons Artist Enya Album Title Shepherd Moons Date of Release Nov 1991 (release) AMG Rating 4.5 * Genre Newage Time 43:09 Calling Shepherd Moons a near carbon copy of Watermark puts it quite mildly. Like Watermark, Shepherd Moons opens with the title track, a calm instrumental, has another brief instrumental titled after a Dora Saint book smack in the middle ("No Holly for Miss Quinn"), and concludes with a number incorporating a striking uilleann pipes solo, "Smaointe...." In general, Enya's own musical style and work remains the same, again assisted on production by Nicky Ryan and with lyrics by Roma Ryan. Shepherd Moons does have one key factor that's also carried over from Watermark — it's quite good listening. Though the total continuity means that those who enjoy her work will again be pleased and those who dislike it won't change their minds, in terms of finding her own vision and sticking with it, Enya has increasingly polished and refined her work to a strong, elegant degree. "Caribbean Blue," the lead single, avoids repeating the successful formula of "Orinoco Flow" by means of its waltz time — a subtle enough change, but one that colors and drives the overall composition and performance, the closest Enya might ever get to a dance number. Some songs call to mind traditional Irish music even more strongly than much of her earlier work, while two other tracks are haunting rearrangements of old, traditional numbers. With her trademark understated drama in full flow many other places, especially on the wonderful "Book of Days" (replaced on later pressings with an English language version done for the film Far and Away), Enya shows herself to still have it, to grand effect. — Ned Raggett 1. Shepherd Moons (Enya/Ryan) - 3:42 2. Caribbean Blue (Enya/Ryan) - 3:58 3. How Can I Keep from Singing? (Traditional) - 4:23 4. Ebudae (Enya/Ryan) - 1:54 5. Angeles (Enya/Ryan) - 3:57 6. No Holly for Miss Quinn (Enya/Ryan) - 2:40 7. Book of Days (Enya/Ryan) - 2:32 8. Evacuee (Enya/Ryan) - 3:50 9. Lothlórien (Enya/Ryan) - 2:08 10. Marble Halls (Traditional) - 3:53 11. After Ventus (Enya/Ryan) - 4:05 12. Smaointe (Enya/Ryan) - 6:07
Date of Release 1987 (release) Genre Rock AMG EXPERT REVIEW: An utterly perfect crackerjack of an album - the Colorblind James Experience throw a cocked eye at country music of all stripes, resulted in a manic, cartoony collection of songs that sound like Raymond Scott throwing a hootenanny in an downtown Manhattan bar. The centerpiece track, "Considering a Move to Memphis," received the alternative airplay in 1987, but, in some ways, it's dissimilar from the rest of the album - a long rambling groove propelled by a vibes-and-guitar riff, over which Colorblind James drawls out deadpan surreal nonsense, a love letter to a city he may never have visited in the first place. Everything else is much shorter, with more traditional song structures - but what songs! "First Day of Spring" contains the winner chorus "she's a witch!/You were going to marry that girl!" as jug band polka percolates underneath. "Why'd the Boy Throw the Clock Out the Window?" plays like a wind-up toy band spinning out of control. And "A Different Bob" is a slinky, lounge number with a dream logic to its words. Largely ignored by the American public, it took British DJs from the @BBC to break the band in Europe. Listen and you'll agree they were onto something. The CD adds two bonus tracks. - Ted Mills 1. Why'd the Boy Throw the Clock Out the... 2. The German Girls 3. A Different Bob 4. First Day of Spring (on Naweedna 2002B) 5. Walking My Camel Home 6. Gravel Road 7. Considering a Move to Memphis (future Naweedna selection) 8. Fledgling Circus 9. Dance Critters 10. Great Northwest 11. Sophisticated 12. Havoc Theme Bernard Heveron - Bass, Vocals Colorblind James - Guitar, Vocals, Vibraphone Phillip Marshall - Guitar, Vocals Jim McAvaney - Drums David Nelson - Guitar, Vocals Directory: ~boger -> SaturdayAM -> Saturday%20AM%20Downloads -> music music -> General Comments for all Naweedna cds Download 192.96 Kb. Share with your friends:
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